Number 91 - Thriller by Michael Jackson

Number 91: Thriller by Michael Jackson

No mere mortal can resist

Release: November 29th, 1982
Genre: Pop
Favorite Tracks: Wanna Be Startin' Somethin', Beat It, P.Y.T. (Pretty Young Thing)

 

Where I heard it: 

Being born in the late 90's, my perception of Michael Jackson was skewed toward what was reported in the tabloids. He was the subject of joke and ridicule for his strange antics and streaks of litigation throughout the 2000's. My opinion on Michael's musical career was pretty much null and void up until his death in June 2009 and the ensuing tidal wave of tribute for his loss. I remember exactly where I was when I heard Michael Jackson died: I was at a gas station down the block from my house buying Hot Cheetos and a Mountain Dew. I didn't understand the cultural impact of his death at the time, but the world seemed to stop for a few days to process what had happened. I remember watching MTV's 24-hour video tribute on my bedroom TV in the wee morning hours, wondering to myself if I was missing something here. Was the music of Michael Jackson that influential? I think Dave Chappelle puts it best.

Lift your head up high and scream out to the world
"I know I am someone", and let the truth unfurl
No one can hurt you now because you know what's true
Yes, I believe in me, so you believe in you
~ Wanna Be Startin' Somethin'

What to expect:

If you haven't heard at least one song off of Thriller, you're living under a rock. This album might as well be a best-of compilation with the amount of hits it has. Seven of its nine tracks were radio singles. That was the entire goal Michael had in mind with Thriller: every track had to stand alone on its own merit, not just ride the coattails of one hit single. He accomplishes this goal by covering a wide array of musical styles across every track: pop, funk, R&B, rock, you name it. There's even a couple strategic musical features from Paul McCartney and Eddie Van Halen that further immerse the listener thematically. Each style is infused with Michael Jackson's soulful disco roots, creating a combination of genres that was unprecedented for the early 80's. In fact, Thriller established many of the conventions that makes pop music popular. If modern pop music is formulaic, Michael Jackson is Archimedes. While the majority of the album's pace is toe-tapping and dance-inducing, even the slower ballads captivate your attention with cutting-edge synthesizer technology and buttery smooth vocals from Michael. Ultimately, everything about Thriller pales in comparison to the monolithic talent of Michael Jackson. Even when the lyrical content can get sappy or campy, Michael's flawless voice paired with his meticulous production value excuses just about every artistic direction Thriller takes. No matter your preference, I guarantee there's at least one song you'll find yourself really enjoying on this album. It's the best-selling album of all time for a reason.

 The foulest stench is in the air
The funk of forty thousand years
And grisly ghouls from every tomb
Are closing in to seal your doom
~ Thriller

Why it's my favorite: 

Thriller has transcended its popularity over time, establishing itself as a cultural landmark and inspiring countless musicians to emulate the signature sounds of pop music. Chuck Berry did for rock and roll what Michael Jackson did for pop: each constructed the foundation for an entire genre by introducing concepts from two different styles of music. There's a certain magnitude felt when listening to Thriller that heightens my appreciation for the album. Its legacy is still felt 40 years on; just ask any modern pop artist about their musical upbringing. While appreciation alone won't earn a spot on this list, Thriller earns a nod from me for perfecting the pop music formula. Pop music as a whole owes a derivative of its staying power to the incredible talents and remarkable efforts of Michael Jackson. Most if not all of his music holds up over the airwaves today. Thriller isn't a part of history from my perspective; it's a living, breathing entity that continues to make ripples on the music industry long after the last stone has been cast.

Number 92 - Exodus by Bob Marley & the Wailers

 Number 92: Exodus by Bob Marley & the Wailers

The quintessential reggae album

 

Release: June 3rd, 1977
Genre: Reggae
Favorite Tracks: Three Little Birds, Waiting in Vain, Jamming

 

Where I heard it: 

When it comes to reggae, there's no other name that's more synonymous with the genre quite like Bob Marley and his famous backing band the Wailers. While Marley wasn't the first to pioneer the genre, he helped perfect the signature sound that brought reggae into the mainstream and cemented his status as a pop culture icon. I was introduced to reggae in my early childhood; my parents took me to reggae festivals all across California. It wasn't until I hit school age that I began noticing the famous imagery of Bob Marley across different merchandise and started associating his likeness with reggae (and other nefarious activities). Once I began engaging in such activities during my later high school years, my ingestion of Bob Marley songs skyrocketed to the point where one of the first vinyl albums I bought for my collection was the acclaimed Legend. However, since Legend is a compilation album, I sadly can't include it in my list. I first picked up Exodus in 2020 while exploring the expansive Marley back catalog and realized many of its songs were on Legend, an album that supposedly touts the best of Marley's material. What makes Exodus stand out in the discography?

Open your eyes and look within
Are you satisfied with the life you're living?
We know where we're going
We know where we're from
We're leaving Babylon
We're going to our Father's land
~ Exodus 

 

What to expect:

Despite its status as one of the Wailers' best albums, this iteration of the band featured on Exodus is different than the original Wailers band comprised of the legendary Bunny Wailer and Peter Tosh. Label disputes and Rastafarian beliefs led to their departure from the band in 1974, leaving Bob Marley as the sole frontman to lead the new Wailers band. While previous albums highlighted the stylistic blend of the Wailers' trio, Marley's Wailers depend on a variety of vocal styles that adapt to each song as necessary. Intimate love songs are paired with tender and airy verses, while songs of oppression harvest a gritty tone that reflect the anger and anguish of his ancestors. Exodus covers a wide spectrum of topics and emotion that range from the spiritual worship of One Love/People Get Ready to the ultimate feel-good anthem in Three Little Birds. While there exist several similarities between songs on the track list, reggae as a genre prioritizes respecting tradition to its roots, which includes heavy reliance on source material. Bob Marley transforms time-honored tropes of reggae and provides his own beautiful interpretation on Exodus, which made so many of its songs instantly recognizable upon hearing them once again. Perhaps it's that familiarity that leads so many to claim Bob Marley and the Wailers as the forefathers of reggae.

 

They crucified Jesus Christ
I'll never forget, no way
They sold Marcus Garvey for rice
I'll never forget, no way
They turned their backs on Paul Bogle
So don't you forget who you are and where you stand in the struggle
~ So Much Things To Say 

Why it's my favorite: 

My appreciation for reggae has only grown over time; I discovered dancehall and riddim shortly after high school and fell in love with artists like Yellowman and Black Uhuru. Yet, I still find myself coming back to Bob Marley when I need to scratch the reggae itch. The intense emotional expression in Marley's voice fits perfectly within the harmonies from the Wailers, not just in Exodus but every release from this phenomenal group. I love Exodus for its balanced flow between melancholic jams and jaunty ditties with a healthy splash of romance thrown in. The Wailers consistently deliver engaging performances that feature heavy bass notes and playful synthesizer in the background. From the deeper cuts to the unmistakable hits, Exodus sets the standard for reggae music and continues to spread its message of love and compassion across generations. Although Bob Marley was taken from us too soon, his legacy is still very much alive through the music he left behind for us to enjoy.

Number 93 - Illmatic by Nas

 Number 93: Illmatic by Nas

Straight out the dungeons of rap

Release: April 19th, 1994
Genre: Hip-Hop
Favorite Tracks: The World Is Yours, N.Y. State of Mind, Represent

 

Where I heard it:

Growing up in the Bay Area, my childhood hop-hop upbringing included local artists like 2Pac and E-40. It was sacrilegious to be listening to anything contrary to the west-coast sound that was so prominent in the community. Thankfully, none of that mattered at the time because my rap renaissance wouldn't come until the end of my freshman year in high school. I looked down heavily on rap music before the maturation of my music taste, because...well, that's what edgy white teens do is criticize rap for its less musical qualities. My wall slowly began to crumble as I was exposed to the rappers of the golden age of hip-hop, namely through their inclusion in video game soundtracks. I played my fair share of the Saints Row series during the winter of my junior year of high school as an alternative to the much more popular Grand Theft Auto series, and found the former had a more diverse and enjoyable soundtrack. With Saints Row 2's addition of N.Y. State of Mind as the title screen track, it is impossible for me not to associate this GTA wannabe with what I discovered is one of the greatest hip-hop albums ever made.

 I sip the Dom P, watchin' Gandhi 'til I'm charged
Then writing in my book of rhymes, all the words past the margin
To hold the mic I'm throbbin', mechanical movement
Understandable smooth shit that murderers move with
~ The World Is Yours

What to expect:

Rap music reached its pinnacle in the 90's with the escalation of the east-west rivalry and ensuing mainstream explosion that spawned iconic artists who revolutionized hip-hop with their introspective and scandalous content. Testimonies of poverty, violence, and redemption from an artist's upbringing were now the soundtrack to millions of listeners who were captivated by the tales of ghetto lifestyle. New York-born rapper Nas aimed to add his perspective to the mix through his influence by local hip-hop pioneers along with his strong connections to the Queensbridge neighborhood he grew up in. Illmatic peers into a day in the life of a poor black teen in the projects, but elects not to focus solely on the miserable aspects of his background. Instead, Nas looks back with fondness and nostalgia of the memories he had with his crew, all the while navigating the spotlight in his rise to fame and fortune with optimistic tone. Illmatic undoubtedly boasts the edge typical of a 90's hip-hop album, but its execution relies on subtle delivery through calculated rhyme structures highlighted by a laid-back and minimalist beat, allowing Nas's remarkable wordsmithing to take front and center. In comparison to the brash and flamboyant lyrical content of other popular 90's rap artists, Illmatic's unique and playful flow lends to a more palatable listening experience for those less familiar with the tropes of hip-hop. A brilliant album overall for first-time hip-hop heads!

This rhythmatic explosion is what your frame of mind has chosen
I'll leave your brain stimulated, niggas is frozen
Speak with a criminal slang, begin like a violin
End like Leviathan: it's deep? Well, let me try again
~ It Ain't Hard to Tell

 

Why it's my favorite: 

My musical taste tends to gravitate more towards manic and eclectic content; just assault my eardrums with whatever you've got to give. Nas doesn't feature complex samples or beat breaks, but it stands as a testament to his talents that Illmatic does not need the excessive fanfare to showcase its value. This album exhibits simplicity in its production, but complexity in the societal commentary that reinforces its slice-of-life approach to songwriting. I'm so impressed at Nas's ability to relay his experiences without glorifying them or being overly existential as to why they occurred. Over time, I've become more accustomed to hip-hop with elements of story-telling that provoke thought as a listener, and Illmatic serves as one of the most elaborate and sincere accounts of life in the underground I've ever heard.

Number 94 - Doom by Job For A Cowboy

 Number 94: Doom by Job For A Cowboy

Metal turned up to eleven

Release: December 6th, 2005
Genre: Deathcore
Favorite Tracks: Entombment of a Machine, Knee Deep, Suspended by the Throat

 

Where I heard it: 

Middle school was an exploratory period for my music taste with the blessing of an iPod Nano and a certain citrus-based peer-to-peer site, which helped guide my listening habits away from only what I heard on the radio. I listened to the entire who's who of rock royalty during this period, from AC/DC to ZZ Top and everything in between. My desire to dig as deep into the genre as I could began, which only led further down the rabbit hole to the great titans of metal like Metallica and Slayer. I was immediately drawn to the evil themes of these kind of songs, paired with thrashing instrumentals and blazing guitar solos typically heard from metal music. I never knew music like this was possible before then. Naturally, my teenage curiosity only brought me further down the iceberg. Just how extreme could metal get? Well, somewhere along that journey, I stumbled upon Job For A Cowboy, and they made a compelling case for one of the most intense metal experiences ever with their debut EP. I am here, humbly and a bit ashamedly, to present to you Doom. Strap in, this one's a doozy.

Contamination grows in the town where she lays and sleeps
She can no longer hide what she is
Her people before her beg only for forgiveness
As their flesh begins to peel from their bodies
Their flesh pile at their own feet 
~ Relinquished

What to expect:

If you've never listened to the death metal subgenre, do not start here. Doom is not for the casual listener, and it's quite likely that most won't have any interest in death metal altogether. There will be plenty of other metal albums on this top 100 list with more taste, dignity, and musicianship than Doom. For those that remain to behold this spectacle, Doom's intrigue comes from its unabashed barrage of sound it crams into a sub-30 minute production. Job For A Cowboy exhibits all the tropes typical of death metal derivatives: furious blast beats on the drums, outright incomprehensible vocals, brutal breakdowns, it's all here. What sets Doom apart from other deathcore releases as a listener is the degree to which the sensory overload washes over you immediately after the album's introduction. Each bass tone resonates impossibly low through the speakers. The range of Jonny Davy's vocal spectrum lies somewhere between demonic rumbles and torturous screeches. Even within these extremes, Doom still possesses the ability to pull together for rhythmic sections that are surprisingly progressive in their nature, not to mention the tight syncopation between instruments. It's easy to take the intimidation of this music at face value and dismiss it as mindless dribble, but closer dissection reveals a stunning amount of polish from the rhythm section during each and every segment of this album. Doom takes the adage of a train wreck you can't look away from and puts the listener in the driver's seat, forcing your subjection to every impact as a result of such a terrible accident.

 

Far from its eternal home this demon stands over my crippled anatomy
He buries his weight into my impaired lungs and spreads my ribs wide open
This cancer now inhabits my chest in complete dormancy
I lay completely paralyzed with my entirely frozen limbs
My body turns cold, my organs shut down
~ Entities

Why it's my favorite: 

It's a little embarrassing to admit that I have such a connection with Doom. Its gratuitous, over-the-top approach really scratches the itch I have for extreme metal. My decision in its inclusion on this list is based from a criteria of emotional impact, not necessarily incredible musicianship. I constantly use music as an escape to work through the emotions I feel on a day-to-day basis, among which anger and stress can be more prevalent than others. Doom for years now has allowed me a healthy channel to alleviate my rage with a quick air-drum session in the car or a solo mosh pit in my living room. Strangely, death metal evokes a sort of calming effect upon me by unwinding all the pent up energy that builds over time. The instrumental assault invites me to marvel at its technicality, especially over the multiple blast beats that occur throughout Doom. Sometimes there's so much going on during a song that I honestly just chuckle to myself at how ridiculous the concept of its existence is. The wide array of emotions felt while listening to Doom is simply too compelling to ignore on a list of my favorite albums.

Number 95 - III by BADBADNOTGOOD

                  Number 95: III by BADBADNOTGOOD

 Jazz fusion fused like no other

 

Release: May 6th, 2014
Genre: Jazz
Favorite Tracks: Can't Leave the Night, Hedron, Confessions 

 

Where I heard it: 

My love and appreciation for jazz music I owe entirely to my time in high school band. In fact, before high school, jazz was always a part of the punchline to me (I wonder where I could have gotten that impression from) and never took it seriously. I never had the schedule open for jazz band, but their seasonal concerts would blow me away with their captivating performances year after year. Eventually, I was listening to jazz in the car with friends (shoutout KUVO/KVJZ!) and discovering an entire genre with decades worth of material to choose from. I actually first heard BADBADNOTGOOD on the radio in late winter of 2016 out on a night drive while Hedron rumbled through the speaker system. Hedron would be a regular song in my rotation for years after until I finally listened to BADBADNOTGOOD's aptly named third album III, and I was even more impressed with what I heard.

"III's hazy, after-hours vibe is infectious, and these songs reveal fresh nuance with repeat listens."
~ Exclaim Magazine

 

What to expect:

Before you develop any sort of expectations, this album is entirely instrumental. However, the instrumental lineup is so engaging and story-driven in itself, you often forget the fact there aren't any vocals. Instead, three core musicians along with several guest features peppered throughout the album create some of the most compelling jazz tunes that I've heard. BADBADNOTGOOD began their careers making instrumental covers of songs by underground hip-hop artists like MF DOOM, Waka Flocka Flame, and Tyler, the Creator. III is the first album from the jazz trio consisting of all original compositions, and their hip-hop background resonates strongly with every instrument. Make no mistake though: there are plenty of songs that would pass in the most bourgeois of jazz clubs. I find III most interesting when these two concepts are flawlessly integrated as if destined for each other, showing attention to detail in every note to ensure the harmony of the collaboration remains intact. While this musical mix comprises the core of III, it manages to maintain enough mystery that a sudden shift in tone comes as a delightful addition rather than an abrupt interjection. The wealth of theory knowledge among the band equates directly towards the impeccable synchronicity this studio recording displays across every track, no matter what's played!

"III is an album so methodically arranged 
yet lawless at times that even its more flatlined moments
play an integral role to its rebellion"

~ CMJ New Music Report

  

Why it's my favorite: 

I found that through the majority of III, I found myself torn on whether or not to define it as a jazz album or a hip-hop album. There are songs on the album that unequivocally plead the case in favor of both, but I would consider this album to lean slightly more toward jazz. In that respect, I think my difficulty in distinguishing this album as one or the other is an example of what makes it so great. BADBADNOTGOOD are breaking ground by reorienting jazz with this new, mordern-age sound that we've come to love in hip-hop, but maybe never fully appreciated. III reimagines the best of these concepts while still paying homage to the fundamentals through the band's own faithful interpretations. I love all of BADBADNOTGOOD's music, but something about the heavy jazz influence of III makes me come back to it time and time again. I'd recommend this album for its more modern and perhaps familiar atmosphere to anyone wanting to break into jazz music!

Number 96 - Tragic Kingdom by No Doubt

    Number 96: Tragic Kingdom by No Doubt

 

  

 

The birth of a young starlet

 

Release: October 10th, 1995
Genre: Ska
Favorite Tracks: Spiderwebs, Just A Girl, Excuse Me Mr.

 

Where I heard it: 

It's funny thinking back that I actually knew about Gwen Stefani as a solo artist before I knew anything about her past as frontwoman of No Doubt. I first experienced Gwen's velvety vocals during her transition to pop radio on a CD of her solo debut Love. Angel. Music. Baby. which my mom regularly played in the car when I was 9 years old. It wouldn't be until a few years later that I became aware of Gwen's history in No Doubt through popular songs like Underneath It All and Don't Speak. Still, this iconic ska band never quite made it on my musical radar until my sophomore year of high school. One of my friends and I were praising No Doubt's talents when she asked which album of theirs I considered their best, and I realized then I hadn't actually listened to any of their albums cover to cover. She recommended Tragic Kingdom, her favorite album from No Doubt, and I dove straight into it not long thereafter.

 

I'm just a girl, a little 'ol me
Well don't let me out of your sight
I'm just a girl, all pretty and petite
So don't let me have any rights
~ Just A Girl

What to expect:

I give Tragic Kingdom a lot of praise for its versatility within the genre. No Doubt may be famous for their roots in ska, but they don't quite sound like many other ska bands that I've listened to. This group isn't afraid of experimenting with different atmospheres between songs to keep the experience fresh, rather than establishing a formula that stales over the course of an album. Tragic Kingdom's musical spectrum ranges from all-out punk bangers, to full-on ska odysseys, even old-school disco grooves. All the while, every member of No Doubt integrates their multi-instrumental abilities to clash together the blasting of horn lines, the distortion of guitar riffs, and the impact of synthesizer hooks. However, the shining star in this planetary system is and always has been Gwen Stefani. From the beginning, Gwen's alluring voice intrigues the listener to follow her along the wild range of styles she adapts to across the album. You need a gentle, emotional intro? How about full three-part harmonic interludes? Maybe a little attitude and grit thrown in? Just another day in the life of this incredibly accomplished artist. Tragic Kingdom's track list can be a bit unpredictable, but nonetheless enjoyable from top to bottom!

 You'll be segregated
You're gonna be closed off
You're callow and you're green
Cause you're caught between
You're only sixteen
~ Sixteen

Why it's my favorite:

Given its place in music history, I'm not entirely surprised that Tragic Kingdom is often overlooked as one of the best releases of the 90's. In a decade that was so focused on the explosion of melancholic grunge music, it's refreshing to hear an album that is more candid in its songwriting. You don't have to analyze every word to unlock a deeper understanding of the music; Tragic Kingdom does a great job covering issues like coming-of-age and misogyny without coming off as forced or out of touch. On the flipside, there are plenty of songs which exist entirely for the fun of it. I appreciate that balance in lyrical content, especially for its contribution towards the flow of the album in general. There's no immediate compulsion to come away from songs with gained perspective, but there are certainly lines in some songs that require brief pause to fully ingest their brilliance. Tragic Kingdom comes packed with a punch of energy and fun delivered courtesy of the band that leaves no doubt about their influence towards an entire generation.

Number 97- Incredibad by The Lonely Island

           Number 97: Incredibad by The Lonely Island

 The comedy album reimagined

 

Release: February 10th, 2009
Genre: Comedy, Hip-Hop
Favorite Tracks: I'm On A Boat, Sax Man, Dick In A Box

 

Where I heard it: 

Incredibad is an album that I have such strong nostalgia for in the strangest way. I devoted way too much time to my high school marching band over my four years, but thankfully I earned a wealth of fantastic music exposure to show for it. In fact, one of the first examples I have of these instances came in the fall of 2010 during my rookie marching season. We traveled by school bus to competitions all over the state every Saturday for a month, leaving ample time for antics to occur on the percussion bus. The older drumline members had a habit of bringing their portable speaker aboard and connecting their iPods to play...let's call it inappropriate material for high schoolers. I think I memorized all the lyrics to Like A Boss before I even knew who The Lonely Island were. It was only a matter of time before Incredibad made its way into popular culture and compelled me to give it a listen for myself.

Uh huh...so, that's an average day for you, then?
You chop your balls off and die?
And I think at one point there you said something about sucking your own dick? 
~ Like A Boss

 

What to expect:

For being a derivative of Saturday Night Live, I've got to say that The Lonely Island is one of the greatest products to come out of the long-running show. The comedy trio of Jorma Taccone, Akiva Schaffer, and Andy Samberg have such wonderful chemistry in their songwriting and comedy stylings from their respective backgrounds in the industry. Yes, parts of the album are a bit corny like the hit-and-miss segments of a typical SNL taping, but it's all part of the charm of what makes Incredibad such a goofy, endearing album. The Lonely Island leans heavy into their dorky persona and contrasts that image with bombastic, over-the-top lyrics and concepts that are just absurd enough to work in practice. Each member of the band creates a larger than life caricature of themselves, making it impossible to take any given line at face value without cracking up. Conversely, some of the songs are so mind-numbingly normal that it breaks the tough-guy illusion and reminds you of the clowns these boys really are. What really leaves the finishing touches on Incredibad is the numerous celebrity cameos from reputable artists that further legitimize the ridiculous topics that comprise every track into a unique experience. Although a lot of the humor has aged, this record hasn't necessarily aged poorly in the two decades since its released. I consider it a timeless product of its time, if you will.

I jizz right in my pants every time you're next to me
And when we're holding hands, it's like having sex to me
You say I'm premature, I just call it ecstasy
I wear a rubber at all times, it's a necessity
~ Jizz In My Pants

Why it's my favorite: 

There's a fine intersect between comedy albums that are continuously funny and legitimately enjoyable to listen to. Artists like Flight of the Concords and Bo Burnham are great examples, but my comedic taste is not satiated by these acts quite like the savory flavors of The Lonely Island satisfies my appetite. Incredibad is so tongue-in-cheek, it rips through your entire mouth. The skits that play out during each track hardly ever feel tired or old by the end and extract just enough of a joke to hit nearly every time. Honestly, I just like this album because it's so silly and imbecilic. The incorporation of every guest artist fits perfectly for each song across a wide spectrum of styles, from T-Pain to Justin Timberlake to Jack Black. While every studio album from The Lonely Island can put a smile on my face, the rose-tinted glasses are too large to not acknowledge Incredibad for the influence it cast on my sense of humor to this day.

Number 98 - Live at Leeds by The Who

  Number 98: Live at Leeds by The Who

 

 

A truly immersive live experience

 

Release: February 14th, 1970
Genre: Rock
Favorite Tracks: Magic Bus, Young Man Blues, My Generation

 

Where I heard it:

A large portion of my early music education came from watching reruns of best-of lists on VH1. Contrary to its competition in MTV, VH1 did a great job showcasing many of the pioneer acts from decades ago who shaped music's history into what it is today. Commonly featured as cornerstones of their respective genre were legendary musicians Keith Moon and Pete Townshend of The Who for their virtuosic instrumentals and eccentric stage presence. I was enamored by vintage concert footage of the band leaping around stage and commanding the attention of their screaming fans. I pretty much have VH1 alone to thank for turning me on to Live at Leeds, which the network described as one of the best live albums out there. Following my first listening in the summer of 2010, I was initially underwhelmed by the absence of many of The Who's flagship songs like Won't Get Fooled Again and Who Are You. How could Live at Leeds be that good without songs like these?

I missed you and I must admit
I kissed a few and once did sit
On Ivor the engine driver's lap
And later with him, had a nap
You are forgiven
~ A Quick One, While He's Away

 

What to expect:

Live at Leeds was recorded during a turning point in the career of The Who. The band was fresh off the release of their smash-hit rock opera Tommy, while the majority of their major hits were yet to be released for their upcoming breakthrough album Who's Next. For their live set at the University of Leeds' Refectory in the UK, the audience witnessed a raw yet seasoned iteration of The Who that had yet to be fully unleashed into the world. The immersion of the performance is palpable throughout this recording, including all of the small yet welcome imperfections that come along with a live show. While frontman Roger Daltry's monologues are left intact between intermissions, they feel naturally included and don't necessarily interrupt the greater flow of the album. When the music does resume, listeners are treated to a synchronicity between the band that is highlighted by rocking interludes and sultry harmonization. The instrumental balance and acoustics are impressive for a live setting, especially in an age where recording technology was far from perfect. While it's true that the omission of The Who's most well-known songs in their catalog can be intimidating for casual fans, Live at Leeds' strengths shine through when the spirit of rock and roll flows through the fingers of the rhythm section and lets the band do what they're best at.

But you know nowadays it's the old man

He's got all the money

And a young man ain't got nothing in the world these days
~ Young Man Blues

Why it's my favorite: 

As an avid concert-goer, I have a deep appreciation for musicians who can take their show on the road and deliver an unforgettable performance. Even further; I admire shows where the performers can take the music and let their creativity flow by expanding upon certain musical motifs in specific songs or even mashing together a medley of songs that develops a sort of plot within the structure of the setlist as a whole. Live at Leeds accomplishes both of those requirements for me and so much more, reinventing a selection of The Who's early music into arguably the definitive versions of those songs. I don't think I can listen to the studio version of Magic Bus anymore without wishing for the clamorous and energetic energy that encompasses the encore of the Leeds show. It stands as a testament to the overall talent that resides between the powerful quartet behind The Who. My young teens will forever be defined by the clips I saw of the absolute cohesiveness and iconic showmanship that these guys displayed night after night for decades. When I hear Live at Leeds, I feel like I'm one of the college attendees at the 2100 capacity venue getting swallowed by this passionate performance. I can't say that about too many live recordings!

Number 99 - Kamikaze by Eminem

  Number 99: Kamikaze by Eminem 

 Slim Shady meets Marshall Mathers

 

Release: August 31st, 2018
Genre: Hip-Hop
Favorite Tracks: Lucky You, The Ringer, Not Alike

 

Where I heard it: 

I unintentionally listened to this album an hour after it released. There was no pomp nor circumstance in its announcement, just the album cover posted to Eminem's Facebook page with the brief caption: "Kamikaze. Out now." I hadn't seen any press coverage on Kamikaze leading up to its unveiling, and a quick Google search yielded me a lone article: "Eminem drops surprise album Kamikaze." Surprise? Like, you can just put out new content with zero warning like that? Well, if you're as big of a name as Eminem, I think the conventional rules of the record industry don't necessarily apply. The brand markets itself, and my intrigue towards a bombshell Eminem album was simply too strong to turn away from in that moment.

 

Are you really just gonna reply to everybody
who you don't like what they have to say about you
or the stuff you're working on? 
I mean, I don't know if that's really a great idea
~ Paul (skit)

What to expect:

Kamikaze isn't your traditional Eminem album, which can be a turn off to many long-time fans, but its deviation comes with good reason. Eminem had just released his previous album Revival to a lukewarm reception less than a year prior. Of course, this attracted up-and-coming rappers and musical pundits in droves to disparage Eminem as a washed up has-been who was well past his prime and didn't stand a chance amongst the titans of rap in the modern age. Eminem quite uncharacteristically remained silent towards the criticism as it continued to pour in before unleashing an absolute Iron Mike haymaker towards the haters. Kamikaze offers a laser-focused approach towards its subject matter: set the naysayers ablaze for the unprovoked shots they took. Rather than relying on overt explicits and blatant shock value, each track emulates current popular styles of rap with finer execution and a signature Shady flair. Kamikaze boldly proclaims Eminem's stance towards evolving into the new rap meta: "I won't assimilate, but if I did, I'd run circles around you." For me, the proof is in the pudding of this record.

 

You can never say to me I'm not a fucking record breaker
I sound like a broken record every time I break a record
Nobody could ever take the legacy I made
~ Lucky You  

Why it's my favorite:

While I enjoy Eminem's back catalog for its colorful content, my tolerance for the macabre and appalling material Slim Shady was cherished for has faded as my musical tastes continue to mature. Certain selections are palatable, but entire albums worth of X-rated songs wear me down by the end of it. Kamikaze was the first Eminem album that made me appreciate the artist for his work of art. From the thoughtful yet malicious bars to the brilliant production beat after beat, each track resonates with familiar tendencies found in modern rap mixed with a breath of fresh air from one of the game's most successful wordsmiths. Although it's one elaborate diss album, the call-outs never feel long winded or out of left field. Much like its name implies, Kamikaze pulls no punches because Eminem has nothing left to lose in this stage of his career. I wouldn't go as far to call it revolutionary, but in a genre that often receives criticism for its similarities, it's refreshing to hear a prevalent artist's perspective through all the noise.

Number 100 - Aja by Steely Dan

    Number 100: Aja by Steely Dan 

 The gateway drug to jazz appreciation

 

Release: September 23rd, 1977 

Genre: Jazz Rock

Favorite Tracks: Peg, Aja, Black Cow

 

Where I heard it:

Steely Dan wasn't quite a group that was on my radar until later in life. By early high school, I was much more a fan of Can't Buy A Thrill for songs like Reelin' in the Years and Dirty Work. Years after high school, I was browsing a common Reddit thread about all-time great albums and Aja by Steely Dan was a popular response. I had always heard the short name of this album floating around when discussing Steely Dan's best work, and I couldn't understand at the time why my pick of Can't Buy A Thrill wasn't more colloquially accepted. I finally listened to this album sometime in the summer of 2017, and soon thereafter got my answer as to why my musical peers adored this album so much.

 

I'm ready to cross that fine line
Learn to work the saxophone
I play just what I feel
Drink Scotch whiskey all night long
And die behind the wheel
~ Deacon Blues

 

What to expect:

Inspired by Eastern culture (Aja is pronounced like Asia), each track is infused with a taste of exotic flair paired with the trademark jazz stylings that Steely Dan are known for. Unlike more popular selections in their catalog, Aja strays away from a contemporary rock and roll bias in favor of a more focused jazz fusion drive, offering a much smoother listening experience. As such, the instrumental technicality shines through in the shifting time signatures and long-drawn solos that pass along rhythms between each performer seamlessly. The studio production quality is immaculate on every track and stands among one of the best recordings I've heard for any album, let alone one that's nearly a half century old. While the complexity of this album can be daunting for more casual music lovers, the melodies are often straight forward enough that harder sections will hold the listener's hand through each bar to aid in receiving the fullest from each instrumental section. Aja is fantastic for those looking to dip their toe into the deep, wide world of jazz music!

 

 On the counter by your keys
Was a book of numbers and your remedies
One of these surely will screen out of sorrow
But where are you tomorrow?
~ Black Cow

Why it's my favorite: 

I actually think Steely Dan are at their best when they have as many artists as they can put on a track as possible. Saxophone, trombone, keyboard, electric guitar, bass, marimba, backing vocals...the more the merrier. Steely Dan can blend any musical pairing together and make it sound like they were made for each other. The conglomerative talent of this group is simply unmeasurable, and I truly feel Aja is an embodiment of what that talent is capable of. Yet, Aja doesn't go too far to overwhelm the listener with an all-out assault of complexity. It knows exactly what it's trying to be, and executes it flawlessly. Aja's seven tracks aren't too many to overstay their welcome, nor too long to where I feel any section is unnecessary in its addition. Each solo oozes with style, every harmony rings sweetly throughout my ear canal. What better way to kick off this list by setting the bar high with this quality piece of music!