Number 81 - Drink the Sea by The Glitch Mob

 Number 81: Drink the Sea by The Glitch Mob

A new era of electronica

Release: May 25th, 2010
Genre: Electronic/Glitch
Favorite Tracks: Drive It Like You Stole It, A Dream Within A Dream, Bad Wings

 

Where I heard it: 

My life changed forever in late 2010 when I heard Scary Monsters and Nice Sprites by Skrillex for the first time in my high school band's storage room over an amplifier. I'd never had electronic music (much less any music at the time) awaken something in me so deeply after hearing it. I didn't quite understand what I was hearing, but I loved it. What would ensue afterward is an approximately two-and-a-half year obsession with dubstep, drum & bass, and EDM in general throughout high school. My best friends and I would drive to the town over every weekend so we could hear some no-name local DJ play a subpar set which we thought were so amazing every time. It even got to the point where we were experimenting with making our own music with home studio equipment and stuff we borrowed from our band room as we saw necessary. Those were some really great times, looking back. One of my good friends was nice enough to lug me around everywhere in his Kia Rondo, and he always made sure to have the appropriate mix to play on a CD he burned. The sound system on such a dinky little car like that was impressive to say the least, and electronic music definitely resonated throughout the entire vehicle when the volume was cranked up. One of the more memorable tracks on our most played disc entitled the 'Epic Playlist' was a song by the Glitch Mob entitled Bad Wings, and it stood out to me primarily for its futuristic sound that went great with a little joyriding. This friend of mine began to sing praises of this group increasingly often, and I too became a fan shortly after hearing a handful of songs from their debut album Drink the Sea.

"Drink the Sea is not the first electronic album to evoke an urban, nocturnal tone. However, the Glitch Mob is consistently successful here at creating a bird’s eye perspective of this hypothetical nighttime cityscape."
~ Fake Plastic Tunes

What to expect:

While the Glitch Mob's success rode the coattails of dubstep's sudden wave of popularity in the early 2010's, they comparatively function quite differently from dubstep. The Glitch Mob specialize in an electronic subgenre called glitch, which is characterized by the heavy utilization of digital equipment that is then modified to sound corrupted, or 'glitched'. I'd consider dubstep a more modern subsect of electronic music that emulates the verse-chorus-verse structure commonly used in pop music, while glitch harkens back to the roots of electronica like techno and house by layering several tracks in a progressive format. Each song starts with a basic idea that develops throughout its runtime, slowly building towards the big drop where everything all comes together masterfully. By the climax of each track, it feels like watching a well-oiled machine operate at full capacity: several moving parts, but each serves its purpose towards keeping the engine running. The Glitch Mob are experts at creating impact with a mellow tempo, allowing the listener to truly enjoy each harmonic line without feeling too overwhelmed. The blast from the bass drum delivers different tones with the inclusion of both synthesized and studio-recorded bass drums, integrating a tribal feel with a modernized twist in songs like A Dream Within A Dream. Although busier sections can be in-your-face, the low fidelity sound that comes from the digitized edits prevent most songs from being too jarring of an experience. Every song is meticulously constructed to ensure the maximum amount of groove with a level of comprehensibility that doesn't exceed the casual listener's range. The decision to primarily record instrumentals lends towards this same idea of focusing on the production side of the music, not songwriting. Again, this seems like a choice that favors tradition over trend toward the oversaturated female vocalist paired with EDM. Drink the Sea is an exciting, prolific album that opens the gate for anybody that appreciates an upbeat, energetic type of music. Dare I say...epic?

 

"Drink the Sea fully defines itself with [a] collection of bleeps, samples, and beats, displaying a dizzying onslaught of enjoyable aimlessness and embodying the group adage that the orthodox is to be avoided at all times."
~ URB Magazine

Why it's my favorite: 

Perhaps there's a certain lens of nostalgia that influences my ranking of Drink the Sea on this list, but as I listen through the album again for my retrospective, I could never justify leaving it off. It's just a fortunate perk that so many of these songs have commemorative value to me personally as well. The Glitch Mob are another grain of sand on the beach of DJs, but their luster shines a bit brighter even if buried under the surface layer. There was nothing groundbreaking accomplished in the grand scheme of it all, but I simply cannot overlook the amount of care and effort that went into Drink the Sea at the end of the day. For aiming to sound intentionally flawed, the execution of the Glitch Mob's beats are super clean and catchy. I forgot just how many of these hooks will get stuck in your head over the course of the day. Hearing a repeated line snowball into something mind-blowing will do that to you. There's so many moments throughout the album that make me smile with their ingenuity. Sometimes it feels like staring at a collage full of cut-and-pasted scraps that may be meaningless individually, but project something entirely different when arranged anew. The nuance of Drink the Sea simultaneously amazes and satisfies me with every listen, even to this day.

Number 82 - Abraxas by Santana

Number 82: Abraxas by Santana

 

Exploring the beauty of Mother Earth

Release: September 23rd, 1970
Genre: Latin Rock
Favorite Tracks: Singing Winds, Crying Beasts, Black Magic Woman, Oye Cómo Va

 

Where I heard it: 

I moved from California to Colorado when I was ten. It was a pretty jarring transition that I was strongly opposed to at the time. Instead of making friends in a brand new environment, the majority of fifth grade for me was spent in my grandparents' basement living room, playing video games on my Nintendo Wii. My gaming habits were fairly casual up until late 2007 when I received Guitar Hero 3: Legends of Rock, and soon after my habit turned into a religion. I became a full-time basement dweller (after school, of course), working to take on harder difficulties and tougher songs. I probably have this game alone to thank for at least 60% of the music I regularly listen to. Among the track list for Guitar Hero 3 was my first interaction with Santana's Black Magic Woman, which intrigued my young music taste with its exotic Latin flair. However, due to licensing restrictions, the recording featured on the game is a cover of Santana's original studio version. A good cover, mind you, but there are significant differences. I remember the confusion that ensued when I eventually heard the studio recording. I was accustomed to the cover version and got frustrated when I couldn't find a copy of the mp3 to download on my iPod. What a sweet summer child I was. Fast forward several years, Abraxas ended up being one of the first few vinyl records in my collection after I found a copy at a thrift store for two dollars. I knew Abraxas had Black Magic Woman on it, but the beauty of vinyl is that it forces you to listen to albums in their entirety. I just happened to find myself a winner in the clearance bin.

I got a woman that's treating me better
She takes her time and she ain't so cruel
I got someone to take you over
Your mother ain't so bad
What happened to you?
~ Mother's Daughter

What to expect:

With staying power lasting several decades, Carlos Santana has been a prominent representation of Chicano culture with his signature guitar style that fuses customary Mexican technique. Although most known for his contributions towards rock and roll, Santana's early work with his band takes inspiration from a handful of different sources. This hodgepodge is achieved through various writing credits spread between the band's six members, four of which contributed their own unique perspective on Abraxas. Keyboard player and lead vocalist Gregg Rolie offers a more conventional rock and roll approach with Mother's Daughter and Hope You're Feeling Better, while the percussion section skews towards traditional Afro-Cuban instrumental jams like Se a Cabó and El Nicoya. All the while, Carlos Santana's hypnotic guitar interludes induce a psychedelic trance with their story-like flow that takes the listener on a sonic journey. His strings resonate sweetly in tender tunes like Samba Pa Ti, but don't be fooled: the gritty tones of the amplifier can provide chilling dissonance to songs like Singing Winds, Crying Beasts. The way Santana interprets the notes on the page and brings them to life through his own musical vision leaves him unparalleled when compared to his compatriots of the greatest guitar players of all time. Two songs on Abraxas best exemplify this trait, Latin jazz legend Tito Puente's Oye Cómo Va and Peter Green's original Fleetwood Mac rendition of Black Magic Woman. Neither of these two songs belong to Santana, but his reimagining of the two titles popularized the works themselves, making the versions heard on Abraxas the gold standard. Utilizing a variety of backgrounds and skills, Santana's strength is that there is no weak link in the chain of members. Each instrumentalist plays an integral role in shaping the desired feel for a particular selection; and as such, the entirety of Abraxas is packed full with feelings of elation and euphoria.

Is that you who never saw your baby?
Is that you who never had a friend?
Is that you movin' to a new town?
Is that you?
Will diamonds replace your friends?
~ Hope You're Feeling Better

 

Why it's my favorite: 

Although Carlos Santana has established himself as a household name, I hadn't done much work as a teenager towards listening deeper into his catalog until my encounter with Abraxas. It's one of the first instances I have in my memory of taking a chance on a vinyl record because I liked one or two songs on the album already. Granted, pretty low-risk from a financial standpoint, but still bountiful nonetheless. I immediately appreciated the aura of spirituality that envelops especially the first section of Abraxas. Even the album cover looked like a celebration of life and creation. There's also a strange sense of sex appeal evoked from the passionate performances paired with some more risqué themes throughout this record. Through my own interpretation, I like to imagine my own album concept with Abraxas that uncompromisingly pays tribute to the beauty of Mother Earth through the resonate vibrations in the atmosphere produced by the band. It's some hippie-dippie bullshit, sure, but the time of Abraxas' release was perfect for that kind of stuff. This concept personally offers me even more fulfillment throughout the album's short run time, placing emphasis on every song's nuances to really embolden their place within the track list. Perhaps it was dumb luck I ended up buying this album on a whim, but I like to further the mystique by calling it fate that Abraxas eventually found its way into my collection and now onto my list.

 

Number 83 - Elephant by The White Stripes

 Number 83: Elephant by The White Stripes

The Detroit duo returns to its roots

Release: April 1st, 2003
Genre: Blues Rock
Favorite Tracks: Ball and Biscuit, Black Math, The Hardest Button to Button

 

Where I heard it: 

By the time I was regularly listening to The White Stripes, Jack and Meg White had already called it quits on the band. It's surprising to me looking back on it that I didn't grow up with a greater exposure to one of the most influential groups of the 21st century. In my head canon, The White Stripes were always a product of the past. In reality, they were steadily releasing new material well into my childhood. I was so busy educating myself on the history of rock and roll, I wasn't paying attention to its evolution happening before me in real time. I don't exactly remember what motivated me to listen to Elephant, but like many of the albums on this list, it likely came from the eventual realization that many of my favorite songs in the band's catalog reside on this album. I heard Black Math over the speaker of a hookah lounge, I played The Hardest Button to Button on Rock Band 3, Seven Nation Army is only the most recognizable bass hook ever written. I really liked all of these songs individually, but hearing them within the full context of Elephant only garnered more of my appreciation.

Mathematically turning the page
Unequivocally showing my age
I'm practically center stage
Undeniably earning your wage
Well, maybe I'll put my love on ice
Teach myself, maybe that'll be nice
~ Black Math

 

What to expect:

In comparison to their previous releases, Elephant does very little in the way of introducing anything new for an album by The White Stripes. The magnificence of this album comes from its immaculate polish and flawless execution of the strengths which make The White Stripes such a captivating band at their core. Since their debut in 1999, the small but mighty lineup of Jack and Meg White have always exercised a barebones approach towards their production. The White Stripes sound reminiscent to Motown blues that stemmed from the group's native Detroit, but equipped with a modern face lift that balances acoustic ballads and grungy riffs. While Elephant introduces small improvements like added bass guitar layers in songs like Seven Nation Army and The Hardest Button to Button, other tracks like You've Got Her In Your Pocket and It's True That We Love One Another are some of the most stripped-down productions I've heard from The White Stripes. The contrast between these two styles throughout Elephant are grouped together appropriately, forcing the pace and energy of the album to shrivel and swell again from beginning to end. Whatever the moment calls for, it's ultimately the musical chemistry between Jack and Meg that takes center stage. Meg takes a lot of heat for her lack of extravagance on the drum kit; which I will admit, her playing style is quite simple and easy to learn. However, the impact of the drum heads and cymbals are the perfect tone to integrate Jack's distorted guitar and wailing vocals. Whether the track heavy or soft, Meg flawlessly accompanies Jack's remarkable talent with equally impressive tact. Frankly, there are no White Stripes without Meg White. As for the band's other half, what more can be said about the brilliance of Jack White? As a performer, a songwriter, a vocalist, a guitar player...he's proven his capabilities of transcending genres in more recent years, but the signs of his rising talent were evident on early albums like Elephant. Jack plays the ever-loving hell out of his guitars, producing sounds and squeals that very few guitar players ever achieve. Together, Jack and Meg are a force to be reckoned with unlike any other. Elephant to me is the apex of what The White Stripes conceptually aimed to be from the very beginning.

Well, strip the bark right off the tree
and just hand it this way
Don't even need a drink of water
to make the headache go away
Give me a sugar pill
and watch me just rattle down the street
Acetaminophen
You see the medicine
~ Girl, You Have No Faith In Medicine

Why it's my favorite:

It's disappointing to talk about bands you love as relics of the past. It's a retrospective on their history, rather than excitement and speculation for what's to come. There's always the chance of reunion shows and what not, but I wouldn't hold out hope on them. Specifically in the case of The White Stripes, I think both Jack and Meg must feel they accomplished great things with this project. The White Stripes' discography has six solid studio albums, each of which hold up extremely well over time. What's the need to dig up what's already been buried? With this mentality in mind, Elephant holds a sacredness within its place in The White Stripes' releases. This record was the turning point in Jack and Meg's mainstream success after championing the underground, proving they were ready for the limelight. Elephant reflects the culmination of the band's first three albums, refined to a level that is palatable to the masses without sacrificing the spirit that made The White Stripes a spectacle to behold in the first place. It's not often we see a group sell out to a major record label and maintain their essence at heart, whereas The White Stripes only seemed to musically improve in an anomaly of contractual precedent. I have a ton of love and appreciation for this band, and I wish I could have shown that during The White Stripes' period of activity. Elephant in my mind will always be the flagship album of theirs that I'll recommend time and time again for first-time listeners.

Number 84 - Songs About Jane by Maroon 5

 Number 84: Songs About Jane by Maroon 5

Heartbreak never sounded so good

Release: June 25th, 2002
Genre: Pop Rock
Favorite Tracks: Sunday Morning, She Will Be Loved, This Love

 

Where I heard it: 

Like I've mentioned many times before, my childhood experience with music was primarily based on what was popular at the time on the airwaves. There was plenty of time to listen to the radio while stuck in California traffic or traversing the tangled highway system. During the summer time when I was off school, my mom would take me a few times a week to the childcare facility she worked at so I had something to do other than play video games all day. For some reason, I clearly remember hearing She Will Be Loved play fairly often during the early morning car rides. That soft guitar intro just stood out to me as a 6 or 7 year old kid. Maroon 5 continued to dominate the charts throughout my childhood into my teen years; even to this day, they're still cranking out hits. Call it nostalgia goggles or whatever, but I've never quite had any songs from Maroon 5 impact me like the songs from Songs About Jane did. My love for this album was reinvigorated around 2015, when a good friend of mine and I had a lengthy discussion about its brilliance. I said it was possibly a top 10 album for me back then...but now that I've actually constructed a top 100 list, maybe it isn't that good. Number 84 ain't too bad though!

Tap on my window, knock on my door
I want to make you feel beautiful
I know I tend to get so insecure
Doesn't matter anymore
It's not always rainbows and butterflies
It's compromise that moves us along
~ She Will Be Loved 

What to expect:

Here's a little trivia you may not have known: the members of Maroon 5 (sans lead guitar James Valentine) were originally in a pop-punk garage band called Kara's Flowers. If you haven't heard them before, you should check out a track from their album The Fourth World. I won't lie, it's a little jarring. How do you get from The Fourth World to Songs About Jane without a dramatic personnel change? Well, you can thank frontman Adam Levine's relocation from LA to NY for a large part of Maroon 5's musical shift from pop-punk to funk rock. Levine grew interested in the bountiful hip-hop culture unlike any he'd seen in Los Angeles that was a cornerstone of New York. Secondly, and perhaps more importantly, Levine's ex-girlfriend Jane was the next crucial influence that led to the inception of Songs About Jane. Every song on the album has at least one line that directly addresses their break-up, whether that be from an angle of regret, vengeance, lust, or validation. Though the entirety of Songs About Jane revolves around themes of a fractured relationship, these aren't your grandma's love songs. Maroon 5 isn't afraid to crank up the temperature and discuss some pretty racy themes, whether it's through subtle wordplay or blatant sexual fantasies. The lyrics are packed with whimsical, cunning, and outright erotic material that pushes the boundaries enough to moderately arouse the listener. This songwriting motif fits in well when integrated with the band, who flex their range of romanticism with tender slow ballads and funk rhythms straight out of a 70's porno flick. Although it's guaranteed to raise a few eyebrows, Songs About Jane maintains its musical integrity with the raw talent that Maroon 5 possesses among its members. It's impressive to hear this level of maturity (musically and conceptually) from a blossoming young group in their debut, which made it no surprise to see Maroon 5 emerge as pop megastars as the years went on.

 

What you are doing is screwing things up inside my head
You should know better, you never listened to a word I said
Clutching your pillow and writhing in a naked sweat
Hoping somebody someday would do you like I did
~ Harder to Breathe

Why it's my favorite:

Like many others, I've heard my fair share of songs by Maroon 5 and by proxy have been exposed to plenty of Adam Levine in peak celebrity form. Once Maroon 5 became radio darlings, the depth in songwriting seemed to dissipate with each album release. By the time I reached adulthood, Maroon 5's most successful songs seemed to be empty shells of what Songs About Jane established so many years ago. The formula of writing songs about promiscuity and sexuality was tired by the time they did it the third time, let alone the eighth or ninth or whatever. But this album...there's magic in every minute of it. While the singles released for Songs About Jane accomplished success in droves, the B-side content should not be undermined as mindless filler. In fact, plenty of the album's less popular songs are some of my favorites: The Sun, Secret, Must Get Out, Shiver...shoot, I may as well just attach the entire track listing. I don't think it's Maroon 5's fault for their shift towards full-on pop; they've kept their core lineup intact for nearly every album. This is just another unfortunate case of the tyrannical record industry swallowing up up-and-coming artists so they can shit out the same stuff that sells records. I often wander about what Maroon 5 could have accomplished on an indie label. Songs About Jane had so much potential that, in my opinion, was never fully realized.

Number 85 - Hot Shot by Shaggy

 Number 85: Hot Shot by Shaggy

The unmistakable voice of modern reggae

Release: August 8th, 2000
Genre: Reggae fusion
Favorite Tracks: It Wasn't Me, Luv Me Luv Me, Keep'n It Real

 

Where I heard it: 

Hot Shot is an album that I have a specific memory I associate with my childhood, and it's become much more special to me with time. I had extended family that my mom and I would visit a few times a year in a tiny little town with maybe 2,500 people. I have fond memories in that house of my older cousin Angelica and I playing Super Smash Brothers on her N64, and listening to CDs on her bedazzled boombox which included selections from Britney Spears and the Backstreet Boys. Did I mention this was the early 2000s? Anyway, I recall an instance where her and I were sitting out on the front porch listening to It Wasn't Me, the breakout single from the album Hot Shot. I was maybe 5 or 6 at the time, so my knowledge of the birds and bees was severely lacking. I'll never forget the expression from Angelica, a few years my senior, after hearing the line from the chorus about being butt-naked, banging on the bathroom floor. "Oh shit!" she exclaimed, to which I was none the wiser; I was more amused that she said a bad word. Angelica passed away last year, and I cherish that trivial memory now more than ever, along with the several other memories her and I have together. I'd like to dedicate this entry to Angelica and her memory. May she rest peacefully.

All the harsh realities appears to come in two and threes
Don't worry 'cause there'd be a better day
One thing I can promise you: just keep on keep'n on
I swear to you there's gonna be a brighter day
~ Keep'n It Real

What to expect:

Having already achieved success with his flagship song Boombastic, Shaggy was furiously working to strike while the iron was hot. While his sophomore effort Midnite Lover received a lukewarm reception, Hot Shot unexpectedly exploded onto the charts, becoming the second-highest selling album of 2001. Featuring a plethora of supporting acts, Hot Shot infuses Shaggy's reggae roots with the best of different genres represented through each song's style. This album draws inspiration from many of reggae's musical cousins, including the funky sample featured in Luv Me, Luv Me, the obvious hip-hop parallels in Keep'n It Real, even the Latin feel of Chica Bonita. These familiar songs embody the pop music vibe prevalent in the early 2000s, and I can't quite put my finger on what qualities evoke that feeling. There's a bouncy feel to each song created by the catchy hooks of more refined vocalists, while Shaggy compliments each chorus with a smooth-talking line that flaunts his promiscuity and flexes his talent as more than just a gimmick. Apart from genius musical incorporation, Hot Shot also provides jamming dancehall tracks that are less ambitious in premise, but executed in a manner that feels no need to reinvent the wheel in order to preserve its timelessness. While certainly not the most conventional reggae album, Shaggy helped breathe new life into a genre that desperately needed more representation on the airwaves with Hot Shot. Its success paved the way for the renaissance of reggae in the 21st century, modeled after this radio-friendly yet groundbreaking musical style.

 Life is one big party when you're still young
But who's gonna have your back when it's all done?
It's all good when you're little, you have pure fun
Can't be a fool, son, what about the long run?
~ Angel

Why it's my favorite: 

I find a certain charm in attempting to define the sound of music that was made popular at the turn of the millennium. The 80's were dominated by synthesizer technology, the 90's began integrating rap interludes, but the 2000's seem to be missing a clear musical identity. As someone who experienced the 2000's, it's a know-it-when-you-hear-it type feel. For me, Hot Shot represents so much of what makes early 2000's music so unique in comparison: feel-good music that pushes the envelope a bit but not too much with its subject material. Shaggy's vocal style undoubtedly contributes towards the overall character of Hot Shot, but his musical background is the catalyst that helps produce songs that are so simple in premise yet relatable as a listener. Honestly, it's just refreshing to hear pop music injected with a little bit of rhythm. You can hear the charisma in Shaggy's voice as he sings, and I've come to enjoy the juxtaposition between his suave personality and one-of-a-kind flow. Shaggy has managed to stand the test of time in his musical career, and I'm sure that longevity couldn't have been possible without the masterpiece that is Hot Shot.

Number 86 - Ten by Pearl Jam

Number 86: Ten by Pearl Jam

The birth of a movement

Release: August 27th, 1991
Genre: Grunge
Favorite Tracks: Jeremy, Black, Even Flow

 

Where I heard it: 

When it comes to music, I've hardly ever consumed physical media apart from my vinyl collection that began amassing in 2013. Before then, it was pretty much always digital media like iTunes, and very occasionally I'd rip CDs on to my computer. In the summer of 2009 right before high school, I acquired about 8 CDs from a yard sale down the street from my house, many of which made it in my top 100. Among the pile was the debut from Pearl Jam Ten, which I was vaguely familiar with for the inclusion of Alive and Even Flow in Rock Band and Guitar Hero, respectively. These two songs provide textbook examples of the Seattle grunge movement that Pearl Jam helped popularize, but don't exactly represent the whole of what Ten sets out to be. As I discovered, this album and Pearl Jam as a band signify redemption in the wake of tragedy, and helped launch the group to the top of the charts.

 

"Is something wrong?" she said
Of course there is
"You're still alive" she said
Do I deserve to be? 
Is that the question?
And if so, who answers?
~ Alive

What to expect: 

While considered pioneers of the Seattle grunge movement, Pearl Jam's formation evolved from the dissolution of two of grunge's predecessors: Green River in 1987 and Mother Love Bone in 1990. Guitarist Steve Gossard and bassist Jeff Ament reunited for a studio session in 1991 a year after the death of Mother Love Bone vocalist Andrew Wood, recording a demo tape to release in search of a vocalist and drummer. Vocalist Eddie Vedder received a copy all the way in San Diego through Red Hot Chili Peppers drummer Jack Irons. Vedder sent back the demo tape with lyrics for the five instrumentals, which were eventually reworked and featured on Ten with the songs Once and Alive. Eddie Vedder's emotionally provocative songwriting added intensity and poignancy to the band's highs and lows, establishing him as one of the most iconic rock vocalists of all time. Although Vedder's vocal style has been given a bad rap in the past for being growly and incomprehensible at times, these textures are simply features of grunge music as a whole that don't entirely represent what the majority of Ten encompasses. When the lyrics come through, they shine bright and hit hard psychologically in songs like Jeremy and Black. The combination of Vedder's prolific vocal talents and songwriting depth ensure that every drop of emotion is extracted from each track on Ten, whether that emotion be sorrow, rage, comfort, or any combination of the three. I would also be remiss if I didn't acknowledge the incredible auxiliary performance of Pearl Jam's rhythm section, from the distorted guitar solos of Mike McCready to the deep impact of Dave Krusen's snare drum. Together, Pearl Jam helped introduce the unfiltered sounds of grunge music to the mainstream that would dominate the better part of the 1990s. The craziest part is that they're one of three Seattle based groups to amass a gigantic following, the other two of which will be featured later on this list...

I know someday you'll have a beautiful life
I know you'll be a star in somebody else's sky
But why, why can't it be
Oh, can't it be mine?
~ Black

 

Why it's my favorite: 

There's an odd sense of both melancholy and nostalgia that I have for Ten looking back on it. My time of its discovery coincided perfectly with my need for moody, emotional music as a teenager moving on to high school in a new city. I had a playlist made on my iPod that I could listen to when I was sad (who didn't?), and I think half of Ten was on that playlist. The album's semi-lucid aura would induce me into this meditative trance that I could immerse myself with and channel my feelings into, becoming numb to the problems around me. I've been reminiscing over these memories recently, many of which happened over a decade ago. I'm incredibly thankful that I remember exactly what music helped me through the tough times, and only vaguely remember the trauma of those times. Music has done a ton for me therapeutically from some of the strangest sources, but I don't think Ten is too farfetched an album to compliment an emotional time in one's life. Ten muses over relatable topics of fragmented parental relationships and social unrest that resonate with the masses, despite their superstardom. Pearl Jam was always about the message and never about the image, and it's a message I received loud and clear.

Number 87 - Head Hunters by Herbie Hancock

 Number 87: Head Hunters by Herbie Hancock

The reason Herbie's a household name

Release: October 26th, 1973
Genre: Jazz
Favorite Tracks: Watermelon Man, Chameleon, Sly

 

Where I heard it: 

Although there exists plenty of arguments against its existence, I've got to admit that I'm so thankful for the rise of music streaming services, specifically Spotify. I've been a member since late 2011, and it's opened the door for so many new musical discoveries that I otherwise would have never uncovered. In mid 2015, Spotify began offering personalized playlists based off of previous listening habits called Discover playlists, which expanded my library even further. My friends and I would share songs that particularly stood out to us, which is when I first stumbled upon Watermelon Man by Herbie Hancock. I was listening to plenty of jazz in late 2015, but I hadn't heard anything like the cacophony of sound which preceded Watermelon Man. This song and its resident album Head Hunters definitely has grown on me over the years, and now it's one of my favorite jazz albums ever. Perhaps my palate hadn't matured enough for the flavors Herbie Hancock cooks up on Head Hunters to come through, but it tastes so sweet today.

"Head Hunters states its intent in its name: The music will blow open your skull the second you press play, the instant the bassline from Chameleon comes out of the speakers in full stereo sound"
~ Pitchfork 

 

What to expect:

Maybe you've heard Herbie Hancock's name, but know nothing about him. He's up there on the Mount Rushmore of jazz with the likes of Miles Davis on trumpet, John Coltrane on saxophone, and Buddy Rich on drums. Herbie's unparalleled skills in keyboard and composition already had him on many people's radar by the 1970's, but he was not satisfied yet. Taking heavy inspiration from the rise of funk artists like Sly & the Family Stone (who were the driving force behind the track Sly), Head Hunters masterfully merges the genres of jazz and funk into a blissful journey of songs and sounds. Herbie's discontent with his previous backing band led him to the formation of the eponymous Headhunters, who play a large role in Herbie's shift towards funk music. The synchronicity between the Headhunters is entrancing, almost disorienting in fact. I liken it to chatter among a busy café: droning when ingested all at once, but focus on a particular conversation and there's a ton of nuance in what's being conveyed. Featured soloists steal the spotlight in just about every track, but the excruciating detail in the backing instruments assure something new to be heard with every listen. Each performer on Head Hunters not only plays a technically flawless run, they break ground on conceptually genius ideas with each phrase. Most importantly, the various textures of Herbie's synthesizer shape the mood of every song, from the frantic beat of Sly to the slow burn that paces Vein Melter. Head Hunters' production value paired with its pioneering sound provide an unforgettable listening experience that bridges the gap from jazz to funk.

"Head Hunters (is) an aerodynamic groove machine built around catchy riffs, squelching synths, and airtight, danceable beats." 
~ Rolling Stone

Why it's my favorite: 

When I first heard Head Hunters, I perceived it as some of the most far-out music that I'd listened to at the time. As my tastes began to broaden, it turns out Head Hunters wasn't so much out-of-the-box as it was just new-to-me. Within this juxtaposition lies my love for this album: it's ambitious with its sound without overthinking or overcomplicating itself thematically. Although the average song length on Head Hunters can be a bit daunting at around nine to ten minutes, a short track list of four songs ensures a much more digestible experience that's easier to follow along with. Rest assured however, there's plenty of parts within Head Hunters that even the most seasoned of jazz aficionados can appreciate as well. This album was one of the first that led me to visualize jazz music as a conversation between instruments. There may be voices that are louder than each other in one moment, but the conversation carries on and fluctuates based on the center of focus. Ever since that comparison, I've never listened to jazz music quite the same way. From that perspective, Head Hunters is like a podcast of guests with riveting and thought-inspiring conversation: it just stays with you in your head for a while. 

Number 88 - Never Mind the Bollocks by the Sex Pistols

 Number 88: Never Mind the Bollocks by The Sex Pistols

The most famous one-and-done

Release: November 11th, 1977
Genre: Punk
Favorite Tracks: Holidays in the Sun, God Save the Queen, Anarchy in the U.K.

 

Where I heard it: 

No matter what direction in life I took, I feel as if it was destiny that I eventually crossed paths with the Sex Pistols. Their reputation as poster children of British punk and pioneers of the genre helped maintain their relevance through generations. Personally, I first heard the Sex Pistols' flagship song Anarchy in the U.K. as a part of the Tony Hawk Pro Skater 4 soundtrack when I was six years old. For the tastes of a young boy, Anarchy in the U.K. was tame enough to cultivate my enjoyment and stick with me as I grew older. I started hearing more of the Sex Pistols throughout the 2000's with their inclusion in more 'extreme' forms of media like the Jackass series and the Guitar Hero franchise. It must have been just before the turn of the decade where I began doing my research on the band, and discovered that all of my favorite songs came from the same album: Never Mind the Bollocks, Here's the Sex Pistols. In fact, it was the only album the Sex Pistols ever released. My teenage self was astounded that a band with under an hour worth of recorded content could possibly achieve the status they had in punk lore. What was so special about Never Mind the Bollocks that made it an instant classic?

 

You do not believe we're for real
Or you would lose your cheap appeal?
Don't judge a book just by the cover
Unless you cover just another
And blind acceptance is a sign
Of stupid fools who stand in line 
~ EMI

 

What to expect:

Punk music began its charge from the underground toward the mainstream in the mid-70's, led by legendary acts like the Ramones and The Clash. The Sex Pistols formed in 1975 as a sort of contrast to this cleaner, radio-friendly brand of punk that was polluting the airwaves. It's amazing that Never Mind the Bollocks ever saw the light of day, considering the tumultuous path it took to its release. The band was dropped from their label after three months following an on-air debacle. Original bassist Glen Matlock left the band after recording 10 of the 12 songs on Never Mind the Bollocks. The addition of punk icon Sid Vicious bolstered the band's nasty reputation, but Sid's dreadful bass implored guitarist Steve Jones to record the remaining bass tracks. Despite the best efforts of the opposition, the Sex Pistols unleashed Never Mind the Bollocks unto the masses. Everything associated with this album from the production to the execution is left in a raw state which embraces its flaws and makes them strengths. Laden with blatant expletives and harsh criticism of the monarchy, this album redefined the conventions of what punk music represents: social contrarianism with a heavy dose of anti-establishment and a dash of violent undertones. Punk as a concept owes so much to the image the Sex Pistols marketed in a time where their deviancy alone demonized them in the eyes of the public. They wouldn't have wanted it any other way.

God save the Queen
The fascist regime
They made you a moron
A potential H-bomb
God save the Queen
She ain't no human being
There is no future in England's dreaming
~ God Save the Queen
 

Why it's my favorite: 

The Sex Pistols were the first instance of a band with only one studio release that I encountered. Since then, I've been obsessively drawn to one-album wonders. Strangely, I found there's a lot of iconic punk bands who only put out 1-2 albums during their period of activity. Without question, Never Mind the Bollocks and the Sex Pistols' notoriety as one-album wonders is unparalleled among the rest. I was dumbfounded at the notion that a band with this high of regard could just come and go like that. The mythos of the Sex Pistols enamored me in my rebellious youth with their boisterous attitudes and shocking appearance. Never Mind the Bollocks contains a bluntness to every track which resonates with me even to this day. Vocalist Johnny Rotten furiously projects every syllable with unrivaled force. While not the most technical display, the catchy power-chord riffs increase the impact of every entry on the album. We may never see another act with as much short-lived success as the Sex Pistols again, and that fact alone earns Never Mind the Bollocks a spot on this list.

 

Number 89 - Doris by Earl Sweatshirt

 Number 89: Doris by Earl Sweatshirt

Baby brother becomes biggest brother

Release: August 20th, 2013
Genre: Hip-Hop
Favorite Tracks: Chum, Hive, Molasses

 

Where I heard it: 

I probably could just copy and paste this section from my Channel Orange entry and it would be just as accurate. I had a couple friends in high school who followed the Odd Future crew, keeping me constantly in the loop on the rumor wire with its members. While I wasn't actively paying attention behind the scenes, I was certainly exposed to songs on Doris once it released. My taste for hip-hop was beginning to blossom by my senior year, and Earl Sweatshirt's tongue-twisting wordplay caught my ear in between songs of my friend's rap playlist. Chum and Hive were among the regular rotation blasting over the bluetooth speaker for subsequent summers thereon. I wouldn't give Doris a proper listen until late 2018 after the release of Earl's third release Some Rap Songs. I learned by then that Earl's releases are few and far between, and craved more of Earl's playful style. Fortunately, I don't think it gets much better for word play and heavy bars than Doris.

It's probably been twelve years since my father left
Left me fatherless
And I just used to say I hate him in dishonest jest
When honestly I missed this nigga like when I was six
And every time I got the chance the chance to say it
I would swallow it
~ Chum

What to expect:

As a part of Odd Future's crowded collective, Earl Sweatshirt was immediately a standout among the group with his first EP Earl released in 2010. However, troubles in his personal life led his mother to send him to an at-risk boy's school in Samoa, abruptly rendering Earl's career in limbo. Fans wouldn't hear about another production in the works until late 2012, when material from Doris was teased and eventually released in full nearly a year later. The mounting anticipation placed lofty expectations on Doris, and it lived up to the hype. Earl's lyrical content closely shares qualities with Odd Future, exhibited in his unfiltered and at times crude verses. This resemblance isn't surprising when you consider the amount of Odd Future members with features on Doris: Domo Genesis and Tyler, the Creator twice, and Frank Ocean on Sunday. Make no mistake though, Earl contrives some of the most unique and complex rhyme structures with his raps throughout Doris despite the vulgarity. In fact, there exist plenty of bars on the album that are quite profound from the mind of a 19 year old. Filled with retrospective on his past and wrapped in exquisite prowess, Earl Sweatshirt created a masterpiece in Doris and couldn't even buy himself a beer to celebrate.

Food was always optional
Eating nothing but hard punches to the abdominal
Closed fist chronicles, sold sniff, Mama knew
Baggies laying 'round, peanut shells at a carnival
Stomping clowns, welcome pussy niggas to the romper room 
~ Centurion

Why it's my favorite: 

I'll put it as simply as I can: Earl Sweatshirt spits bars up there with the best of them. His immaculate attention to detail towards the relationship between the rhyme scheme and the rhythmic flow within a verse is second to none. Even with less sophisticated diction, every line from Doris contains a whimsical mouthful of rhymes maintained by liberal pronunciation of words that test Earl's creativity. I had such a fun yet difficult time combing through lyrics to feature in this article; there's just so many clever and ingenious uses of word play scattered throughout the album. On the other end of production, the beats which accompany each track vary from chill piano samples to straight bass in your face. It's tough to decide which style of the album I like better, as Earl's overall cohesiveness in his final product fits perfectly to suit whichever vibe he chooses to embrace. When it comes to underground hip-hop, it's hard not to acknowledge the tremendous effort and heart Earl puts forth in Doris.

Number 90 - Channel Orange by Frank Ocean

 Number 90: Channel Orange by Frank Ocean

Hip-hop for sad boy hours

Release: July 10th, 2012
Genre: R&B
Favorite Tracks: Super Rich Kids, Crack Rock, Thinkin Bout You

 

Where I heard it: 

Before I eventually listened to his solo work, I was a bystander to the Frank Ocean hype that surrounded the release of his second album Blonde in 2016. I had some close friends who were avidly discussing the newest rumors and leaks on release dates or production details, but it was all just background chatter to me at the time. All the while, I unknowingly began to hear songs from Channel Orange those same friends would play during car rides. Once Blonde did release, I figured I'd give a listen to see what all the hubbub was all about. At the time I was...underwhelmed, to say the least. I think my expectations for what R&B and hip-hop should be at that point in my life just did not line up with the more avant-garde themes that Frank Ocean explored in Blonde. It would be a number of years before I revisited Blonde in late 2020 and found myself more compatible with its musical style than my previous listening. Curious as to what I had missed in the past, I finally gave Channel Orange a long overdue listen in 2021, and now I think I have a better understanding of Frank's mythical status over the years.

 Monks in the mosh pit
Stage diving Dalai Lama
Feet covered in flowers
They mosh for enlightenment
Clean chakra good karma
One with the water
~ Monks

 

What to expect:

Frank Ocean's popularity stems from the underground hip-hop collective Odd Future, a massive rap group with several characters and personalities that clash into a melting pot of rap styles. Frank was a bit of a sore thumb among Odd Future, who were known for their crass and explicit content. In contrast, Frank's material was noticeably more soulful and emotionally vulnerable across several features and limited solo work. Those traits became hallmarks of his debut album Channel Orange, which revolves around a dreamy, lovesick vibe that Frank became known for. More importantly, this album provided the opportunity for Frank to showcase his incredible singing voice, which highlighted his prevalent existential writing style. Channel Orange scales back the eccentric production typical of Odd Future in favor of a loosely-based concept that portrays each track as a 'channel' into Frank's consciousness, even going as far to include interludes on the album that reinforce the idea of channel surfing. This concept helps weave the diverse ideas and contrasting styles of Channel Orange's track list and in turn feels less jarring when the album shifts in tone. Even so, these changes are subtle enough that the album's overall experience feels uninterrupted from beginning to end. 

You're shuckin' and jivin', stealin' and robbin'
To get the fixing that you're itching for
Your family stopped inviting you to things
Won't let you hold their infant 
~ Crack Rock

Why it's my favorite: 

There's not too many rap artists that are willing to wear their hearts on their sleeves quite like Frank Ocean does. Channel Orange in many ways plays out like an audio journal, documenting the chaotic and imaginative mind of a twenty-something in the midst of realizing his success. The heavily incorporated synthesizer chords help evoke the full range of emotion for whatever's necessary to convey. Frank has the ability to incorporate heavier lyrical themes over beats that are otherwise laid-back, achieving a level of uncanny valley that creates a unique dissonance within the listening experience. Ultimately, Channel Orange doesn't need to rely on typical tropes of the rap game to produce songs that are clever, catchy, and overall enjoyable to listen to. Given Frank's background with the more obscene Odd Future, it's surprising to me that he could make music with this level of depth. Oddly enough, I actually see a lot of Frank's influence among the rest of the hip-hop collective, encouraging more emotional vulnerability in the lyrical content that resonates to this day with the descendants of Odd Future. In fact, you may see more of them on this list...