Number 61 - Boston by Boston

Number 61: Boston by Boston

 The great album heist

Release: August 25th, 1976
Genre: Rock
Favorite Tracks: Hitch a Ride, Foreplay/Long Time, Smokin'

 

Where I heard it:

It's difficult to pinpoint an exact timeframe of when I began listening to Boston, because it seems as if I've heard their music my whole life. Boston is such an important cornerstone to the classic rock genre, producing such radio mega hits like Peace of Mind and More Than a Feeling that seemed to play on every station. Whether hard rock or oldies, Boston bridged the gap between music tastes and had at least one song that would sneak in on a broadcast here and there. I first remember becoming aware of their existence around 2008, turned on to the eight minute epic Foreplay/Long Time by its appearance in the Rock Band franchise. The song was a fantastic selection for the series; Boston has everything you could possibly want from a rock band. Turns out, their eponymous debut album was specifically curated for just this purpose.

 

We were just another band out of Boston
On the road and tryin' to make ends meet
Playin' all the bars, sleepin' in our cars
And we practiced right on out in the street
No, we didn't have much money
We barely made enough to survive
But when we got up on stage and got ready to play
People came alive
~ Rock & Roll Band

What to expect:

It's truly a miracle that this album even managed to see a release in the first place. The story behind the making of Boston is one of the most riveting tales of deception in the entire music industry. Its existence came at the behest of the expertise, determination, and madness of Tom Scholz. In 1973, three years before the eventual release of Boston, Scholz was shopping around a six song demo to every major record label he could. Inspired by the intricate composition of classical music along with revolutionary rock acts like the Yardbirds, Scholz' prototype to the eventual Boston was intended to create the perfect rock record: electric guitar riffs, perfect vocal harmonies, elegant keyboard solos, and catchy choruses. After numerous denials, it wouldn't be until 1975 that these tapes landed in the hands of a promoter at Epic Records, who enjoyed the songs but demanded they be re-recorded in Los Angeles to fulfill contractual obligations. Unwilling to uproot his operation from the East coast to the West, Scholz instead contracted an entire decoy band out of past session musicians he'd worked with to fool the record executives into believing the band was based in LA. All the while, Scholz tinkered and improved upon the original recordings in his Massachusetts basement. In essence, Scholz wrote, recorded, and produced the entirety of Boston by himself. The end product culminates into an album that effectively has no weak point, masterminded by a mad genius in his lab to synthesize the purest rock sound possible. While not every track is a perfect ten, the fact Scholz can even engineer an entire album of songs that are worthy of solo releases all by himself is a testament to the greatness of Boston. 

Gonna hitch a ride
Head for the other side
Leave it all behind
Never change my mind
Gonna sail away
Sun lights another day
Freedom of my mind
Carry me away for the last time 
~ Hitch a Ride

Why it's my favorite: 

Apart from its remarkable origin story, what makes this album so memorable is that every track stands on its own merit. Boston features nearly every iconic song from the group's catalog. When I says it's a radio-friendly record, the statistics show for themselves why its deserving of the title.  I think I've heard every song on this album played at least once, with others like More Than a Feeling I feel like I've heard a million times. The consistency in Boston's music is based around their patented formula of rock & roll that features boisterous singing and a combination of both acoustic and electric guitars. Although its style lacks ingenuity, the standards of its execution are flawless and outclass any other band in its caliber. The crystal clear production makes every tune sound timeless, transcending the decades and continuing to provide inspiration to musicians in the present day. It's thanks to the iron will and sheer talent of Tom Scholz's that we can celebrate Boston as one of classic rock's most recognizable records.  

Number 62 - At Folsom Prison by Johnny Cash

Number 62: At Folsom Prison by Johnny Cash

Doin' time with the Man in Black

Release: May 6th, 1968
Genre: Country
Favorite Tracks: Folsom Prison Blues, Cocaine Blues, 25 Minutes to Go

Where I heard it: 

I can definitively say that out of every genre out there, country is my least favorite and by proxy my least knowledgeable. At my last job, my managers would listen to top 40 country radio every time they were working in the back, and it permanently warped my perception on country music for the worst. Sure, today's country music is deserving of that scathing criticism, but recently I've discovered a wealth of country music from its golden era that has resonated with me after years of total abstinence from country. Artists like Waylon Jennings, Willie Nelson, and Hank Williams Jr. introduced me to the devious world of outlaw country, rife with tales of dubious activity and life on the fringe of society. Of course, nobody ever did it better than the king of country music Johnny Cash, the Man in Black himself. Even with limited knowledge of country music, Johnny Cash is a pop culture icon and household name that I've known of for years. I only began actively listening to Cash's music in 2017, where my strong detest toward country began to soften in an effort to expand my musical taste. This endeavor wasn't exactly the most fruitful in converting me into a country fanatic, but I did have the pleasure of listening to one of the most iconic live albums ever recorded as a result. At Folsom Prison is an album that raises eyebrows from its venue choice alone, but those aware of Cash's character should know that such an intimidating place like a maximum security prison was the perfect place for a performer like him.

When I was just a baby
My mama told me, "Son,
always be a good boy,
don't ever play with guns" 
But I shot a man in Reno
Just to watch him die
~ Folsom Prison Blues

What to expect:

True to his outlaw country name, Johnny Cash was no stranger to the judicial system throughout his early career. While he never served jail time, Cash heavily empathized with the incarcerated for their lackluster living conditions. His songs about life behind bars cultivated a small but devoted following among inmates across the country. This inspired Cash to begin regularly performing for prison populations across the country in the late 1950's, an unprecedented decision that initially shocked many. By the time Columbia Records reached out to Cash about recording one of these concerts in 1969, he was a seasoned professional both musically and theatrically. At Folsom Prison is the result of a combination between two sets in one day, splicing the best takes from each recording and condensing it all into a 45-minute production. The album progresses so naturally with the flow of the setlist, balancing rowdy jaunts like Cocaine Blues with tender ballads like I Still Miss Someone. Cash specifically includes songs designed to cater to his audience, selecting classic originals like Folsom Prison Blues and I Got Stripes as well as popular song covers like 25 Minutes to Go and The Wall, all of which revolve around the perspective of life in prison. What makes At Folsom Prison such an incredible album is its attention to detail that strengthens the immersion of the live performance. Some transitions between songs leave in snippets of behind-the-scenes production that showcases the charisma and stage presence of Johnny Cash. You can feel the delight of the audience when Cash delivers a racy line or a clever quip. At Folsom Prison captures the magic of the moment within the novelty of it all, featuring segments of the album where the music is secondary and the experience is paramount.

Won't you tell the folks back home I'll soon be comin'
And don't let them know I never will be free
Sometimes write and tell me how they're doin'
And send a picture of mother back to me
Say hello to Dad and shake his poor hardworkin' hand
And send a picture of mother if you can
~ Send a Picture of Mother

 

Why it's my favorite:  

The legacy that Johnny Cash has left behind since his passing is immeasurable. His music, his stories, and his personality were all so larger than life without the eccentrics of celebrity status. At Folsom Prison is a glimpse into the persona of the Man in Black at perhaps his most honest form. Cash sounds unnerved performing in front of thousands of convicted felons because he feels no danger. Rather, he feels even closer connected to the outcasts and disenfranchised than he would on stage in front of a bunch of upper class folk. At Folsom Prison goes to great lengths to humanize the prison audience, and a large part of that credit goes towards Cash's demeanor. Not every track on the album glamorizes criminality; there are plenty of thought-provoking songs that challenge the listener to put themselves in the shoes of a prisoner who hasn't seen their family in years, or who is about to die on death row. One of the best songwriters of all-time, Johnny Cash puts together an unforgettable show for the ages that we are lucky enough to have preserved through At Folsom Prison. It's one-of-a-kind approach ensures a unique listening experience unlike any other.

Number 63 - Texas Flood by Stevie Ray Vaughan & Double Trouble

Number 63: Texas Flood by Stevie Ray Vaughan & Double Trouble

The greatest guitar prodigy since Hendrix

Release: June 13th, 1983
Genre: Blues
Favorite Tracks: Texas Flood, Rude Mood, Lenny

 

Where I heard it: 

Please join me once again, as I recant the tale of the mystical stack of CDs I bought off someone at a garage sale in mid 2010. Texas Flood joins the list with the likes of Pearl Jam's Ten and Van Halen's debut release as albums in the stack with an entry on this list. I think back to that varied collection of albums (more to come later on!) which only shared the connection of my loose knowledge of each band from Guitar Hero III, and I'm amazed at how different they are musically. Stevie Ray Vaughan's unmistakable blues classic Pride and Joy first caught my attention for its complicated fret work that seemed to lack meter while always staying in time. When I started high school, my mom's boyfriend would often play one of the numerous blues CDs he had collected over his living room sound system, where I began to hear more of Vaughan's solo guitar performances. I'd play my copy of Texas Flood on his speakers when he wasn't home and groove along with the beat of the band, washing away my teenage troubles at the time. Years later, I still can't stop tapping my toe to some of these tracks.

 Well you've heard about love giving sight to the blind
My baby's lovin' cause the sun to shine
She's my sweet little thing
She's my pride and joy
She's my sweet little baby
I'm her little lover boy
~ Pride and Joy

What to expect:

From a standpoint within the genre of blues, Stevie Ray Vaughan is a highly notable but otherwise common performer. His distinct southern drawl paired with a jazz-inspired Texas blues style produces a versatile range of tracks on Texas Flood that are at times a sleazy crawl and others a rambunctious hoedown. Vaughan garnered much of his early success from renditions of blues legends like Buddy Guy and Muddy Waters. In fact, Texas Flood includes a handful covers from acts like the Isley Brothers, Howlin' Wolf, and Larry Davis. However, from a guitar playing perspective, Stevie Ray Vaughan is one of the greatest of all-time without a doubt. His prolific guitar solos are captivating and evocative in ways that vocals cannot attain. This exceptional talent greatly excuses the reliance on borrowed material throughout Texas Flood, as even classics like Mary Had a Little Lamb can sound completely reinvented through Vaughan's musical vision. But Stevie ain't no one trick pony. His composition skills shine through brightest when he is allowed to let loose and improvise whatever he wants to. These moments are best characterized by chaotic chord changes, blistering note runs, and textbook wails from Vaughan's signature guitar Lenny. While his virtuosic abilities earn him top billing, I'd be remised not to acknowledge the incredible supporting cast of Double Trouble's Tommy Shannon on bass and Chris Layton on drums. Together, the trio lays down jam after jam, some of which are entirely instrumental and display remarkable musical chemistry between the group. Double Trouble's flawless accompaniment blends perfectly with Vaughan's energy and provides a vital backbone for every song in Texas Flood's diverse repertoire. 

You know I love you baby
I'll do anything for you
But when we start to fightin'
I just get these same old blues
So I'm cryin'
Why do I have to feel this way 
~ I'm Cryin'

Why it's my favorite:

I have such intense nostalgia for the albums of my youth that shaped my musical preferences for years to come. Texas Flood introduced to the blues, a genre with deep generational history rooted in feelings of sorrow, grief, and retribution. Stevie Ray Vaughan's expressive style of play humbly pays homage to the masters that preceded him, respecting the culture of blues music and earning the admiration of his peers as a result. Vaughan breathes life into every guitar string he touches, extracting the cleanest and most beautiful notes I've heard since perhaps Jimi Hendrix. Both Jimi and Stevie have a relationship between their passionate playing and emphatic vocal style that trades off between verses to help compliment one another. Such is to be expected out of the blues format, but the flow between phrases is executed so brilliantly. Even being considered in the same league as Hendrix is an honor in and of itself. But on the same pedestal? That's a level of prestige worthy of only the best, and Stevie Ray Vaughan deserves every bit of it. All the proof you need is right here on Texas Flood.

Number 64 - Doolittle by Pixies

 Number 64: Doolittle by Pixies

Alternative rock's Rosetta Stone

Release: April 17th, 1989
Genre: Alternative
Favorite Tracks: Debaser, Monkey Gone to Heaven, Mr. Grieves

 

Where I heard it: 

When I was in middle school, my 8th grade class was super tight knit with each other. After all, I only graduated with about 30 other kids. Some of the parents were incredibly accommodating and opened up their homes for us to hang out at on weekends and such. I quickly developed relationships with my friends' folks, one of whom had some of the most down-to-earth and cultured parents I'd ever met in my life. I would find myself riding my bike over to their house to hang out and play Rock Band with my friend in his basement. Not only did he own all the instruments, but he also had downloaded a majority of the game's additional content, which surprisingly included the entirety of Doolittle. My friend and his family had very high praise for the album, but I was put off at the time by its more avant-garde tracks like Dead and Crackity Jones. I couldn't understand how people I admired so much could listen to music so far out there. Well, sometimes all you need to find appreciation for a band is a change in tastes. Pixies' Doolittle is an album I've always kept tabs on over the course of several years, and I've finally warmed up to it enough to recognize what makes it so brilliant.

 
Got me a movie, I want you to know
Slicing up eyeballs, I want you to know
Girlie so groovy, I want you to know
Don't know about you, but I am un chien andalusia
~ Debaser

What to expect:

The Pixies are almost singe-handedly responsible for setting the standard of alternative rock music in the 90's. Massively successful bands like Weezer, Radiohead, and Nirvana all credit the Pixies as a primary influence towards their music. The most notable attribute passed down from the Pixies is their formulaic use of dynamic range to contrast soft verses with loud choruses in the same song. If you pay close attention to Doolittle, most of its tracks are structured around this template. Quiet sections place a greater emphasis on Kim Deal's bass notes and simplify the rhythm of David Lovering's drums, while more cacophonous pieces can completely derail into unsettling guitar chords and off-key screaming fits characteristic of frontman Black Francis. For a great example of this concept in action, Tame follows this soft-loud principle to a tee. Doolittle also draws parallels to its successors through Francis' convoluted lyrical content that sounds nonsensical at face value, but upon further inspection reveals cryptic references to remarkably niche subjects. Black Francis peppers in allusions to the Bible, Jimi Hendrix, Japanese muder-suicides, and a 1929 surrealist short film by Salvador Dali, none of which are detectable without prior knowledge. Within the music of Doolittle lies an aura of mystery that is only further complicated with the added context of its delusional songwriting. Nonetheless, the album embraces obscurity and repetition with blatant disregard for familiarity. Doolittle crawled so that Nevermind could run.

If Man is five
Then the Devil is six
And if the Devil is six
Then God is seven
~ Monkey Gone go Heaven

Why it's my favorite: 

Out of all the strange music I've enjoyed through the years, the Pixies are hardly the furthest on that spectrum. In reality, most of the instrumental tracks from Doolittle sound perfectly normal when isolated from Black Francis' unique brand of madness. There's a subtle dissonance created through minor additions like Kim Deal's haunting backing vocals or a diminished chord from lead guitarist Joey Santiago. Doolittle for me falls into this uncanny valley of music that is somewhat disturbing, but not for the reasons you'd typically find an album unappealing. This album leaves the listener wondering (and at times fearing) what's around the corner at every turn. Its unpredictability creates shock when a phrase resolves into normalcy rather than taking a creative detour. Doolittle breaks ground all on its own with its inventive approach to bending the conventions of what alternative music should sound like. It's pretty remarkable to hear the metamorphosis of the Pixies' musical infancy into the explosion of grunge and alternative music in the 90's that the band was directly responsible for. It's said that Doolittle may not have been the most popular album of all time, but every person who bought the album started a band because of the Pixies. Their reach knows no bounds, and Doolittle finally has gotten a hold on me over 30 years later.

Number 65 - King of the Beach by Wavves

 Number 65: King of the Beach by Wavves

The soundtrack to summertime

Release: August 3rd, 2010
Genre: Indie Rock
Favorite Tracks: King of the Beach, Post Acid, Idiot

 

Where I heard it: 

My knowledge of surf culture is incredibly limited, which is embarrassing having grown up in California. The only reference I've had for years were classic surf rock tunes like Dick Dale's Miserlou and the Surfaris' Wipe Out. As I've come to discover, surfers' music tastes have shifted over time towards stronger punk tendencies in the modern age. I would often hear individual songs by Wavves on a surf rock playlist I regularly played over the speaker at my job just last year. It's a funny story how I ended up listening to King of the Beach; I was driving home and saw that one of my favorite groups Sweet Valley (a side project of Wavves' vocalist) had released a new album called King of the Bit. I excitedly turned it on, but realized about five tracks in that some of these songs sounded familiar. It turns out King of the Bit was just a bit-crushed cover of King of the Beach, and I'd heard a handful of the original songs on my work playlist just a few months prior. A bit disappointed, I felt it was necessary to give King of the Beach the proper listening it deserved. I'm thankful I finally gave Wavves a chance, because their brand of music suits my taste like few bands have in recent memory.

Let the sun burn my eyes
Let it burn my back
Let it burn through my thighs
I'll feel wide, wide open
At the beach I'm with Jeans
And it's wide, wide open
At the beach in my dreams 
~ King of the Beach

What to expect:

In comparison to their previous two releases, King of the Beach practically sounds like an entirely different version of Wavves. That's because they technically are; Wavves introduced new members Stevie Pope on bass and Billy Hayes on drums in addition to the returning Nathan Williams on vocals and guitar. King of the Beach moves away from the extremely raw production quality Wavves initially began with, instead favoring a mix of pop-punk and psych rock that maintains elements of their earlier lo-fi sound. The album's track list is carefully curated to balance the lively first half with its slower second half, managing to interject a song of contrasting style in each respective half like a musical yin-yang. In keeping with this theme of balance, King of the Beach does a wonderful job of matching the tone of the music with the mood of the lyrics. I really appreciate Wavves' ability to diversify their sound throughout the album, opening up the opportunity for more experimental music that features clean vocal harmonies and synthesized chord progressions comparable to surf rock legends The Beach Boys. Furthermore, King of the Beach reflects plenty of the same adolescent charm in its lyrical nods to the sun-kissed beaches of Los Angeles and wistful love lost to time that made The Beach Boys so appealing to begin with, just with a modern twist. Despite lofty comparisons, it's only more impressive that King of the Beach conserves the humble garage band roots that Wavves is still beloved for.

My feet are asleep
My hands chained to clouds
My toes are marble stones
Sinking in the sand
I'm stuck in the sky
I'm never coming down
I'm stuck in the ground
I'm never coming out
~ Linus Spacehead

Why it's my favorite: 

I actually discovered both Wavves and top 100 album alums Bass Drum of Death through the same playlist. Their close resemblance in style caused me a lot of confusion early on in differentiating the two. Coincidentally, I learned making this list that both groups are signed under the same record label Fat Possum. I didn't realize just how different these two artists were until I listened to King of the Beach. I love the ability this album has in creating imagery through its songwriting. The driving tempos and high intensity of songs like Super Soaker and Post Acid paint a picture of an action-packed day of surfing the waves, while Baseball Cards and Mickey Mouse evoke the feeling of sand through your toes as the tide rolls in. While I prefer the album's heavier offerings, it's the electronic-based sections of King of the Beach that contribute largely towards the immersion of its atmosphere. Although I wouldn't consider it a concept album by conventional means, King of the Beach perfectly captures the essence of the ocean with its unpredictable shifts and playful demeanor that's sure to delight.

Number 66 - Stand Up and Scream by Asking Alexandria

 Number 66: Stand Up and Scream by Asking Alexandria

Metal's junk food

Release: September 15th, 2009

Genre: Metalcore

Favorite Tracks: If You Can't Ride Two Horses at Once...You Should Get Out of the Circus, Not the American Average, The Final Episode (Let's Change the Channel) 

 

Where I heard it: 

Some of the more interesting entries on this list for me to write about are the albums that have appeared multiple times throughout different periods of my life. The first time I listened to Asking Alexandria, I looked up their song Not the American Average on YouTube because a girl I had a crush on in middle school said it was her favorite song at the time. She would constantly reference the song's final "fucking bitch" with heavy British inflexion, and crack herself up every time. Coincidentally, Not the American Average would also be the song that helped form a bond between me and one of my first friends in high school my freshman year. We'd blast the entirety of Stand Up and Scream over his dinky car speakers, and he'd scream every verse while unleashing an unforgettable air drum display, all in the driver's seat mind you. Who'd have guessed that such a polarizing band like Asking Alexandria would be the source of such great lifetime memories?

 

What I wouldn't give to live this night again
I knew when I first saw you
You'd fuck like a whore
I can hear you scream for more
Your thighs were made for cheeks to graze
My lips, your poison
~ Not the American Average

What to expect:

Understandably, there are several elements to Stand Up and Scream that the general listener may find unappealing. These qualities include but are not limited to gratuitous volume, overembellished lyrics, and aggressive vocals. All of which, for better or worse, can stereotypically define the ambiguous genre known as 'screamo'. Historically, screamo has received such an unfavorable reputation that there exist memes about its universal dislike. However, the terminology itself is a highly misunderstood label that has morphed over time to define any kind of music with screams and growls from its vocalists, which are especially prevalent in a genre like metalcore. There exist some pretty egregious examples of screamo-metalcore intersect in bands like The Devil Wears Prada and As I Lay Dying, but I feel Asking Alexandria carefully toes the line between sincerity and hyperbole in their songwriting. Stand Up and Scream shows the band's awareness of common metalcore tropes, but practices immaculate execution within their own delivery of those same tropes. This relies heavily on the outstanding production value on Stand Up and Scream, ensuring every channel is balanced perfectly between one another. You really get both the resonance and the clarity of a deep growl, while cleaner sections in tracks like A Single Moment of Sincerity are smooth as butter. The jarring contrast in tone is only further divided by the multiple tempo changes and breakdowns that interject between the majority of verses. These segments of Stand Up and Scream allow the talent of the rhythm section to flourish, especially from drummer James Cassells, who uses every piece of his kit to create a vast spectrum of sounds from high cymbal bell dings to low double-bass blast beats. Notably, the subtle use of electronics like synthesizers throughout Stand Up and Scream adds both texture and impact behind some of the more repetitive rhythmic sections. Don't let the unintelligible screaming put you off: there is a ton of nuance to this album that helps set it apart from other bands in the dreaded 'screamo' category. Stand Up and Scream cleverly integrates impressive harmonies and chord progressions into the metalcore formula, promising a theatrical performance that's truly one-of-a-kind.

 So now this is over and the world falls upon me
I never expected to be here alone
The shadows are forming as we burst into flames
Why does this end this way?
~ If You Can't Ride Two Horses at Once...You Should Get Out of the Circus

Why it's my favorite: 

Late 2000's metalcore bands provide an interesting time capsule into the culture and ideas that were popular around that time. The era of emo fashion was riding its last waves of popularity, slots on the Warped Tour were the ultimate symbol of status, and it seemed like bands like Asking Alexandria were a dime a dozen. There was fierce competition between fanbases to make a case for your favorite group as the best of them all. There may have been more successful bands like Bullet For My Valentine, but I can't overcome my own personal biases in crowning Asking Alexandria as the most talented act of their time. Although it's been over a decade since I've regularly listened to Stand Up and Scream, I'll still catch myself humming choruses from some of its tracks. The pacing of the album's energy induces so much hype leading up to the breakdown, you can't help but bob your head a little before launching into a full headbang. There are forgettable moments within the album, but the highlights stick around in your head for years. Ultimately, I enjoy that Stand Up and Scream doesn't take itself too seriously, having fun with silly track names like I Was Once, Possibly, Maybe, Perhaps a Cowboy King and I Used to Have a Best Friend [But Then He Gave Me an STD]. The catchy phrases, the band unisons...all of it is just a lot of fun. It may be a guilty pleasure, but you won't see me ashamed of vouching for it.

Number 67 - 40oz. to Freedom by Sublime

 Number 67: 40oz. to Freedom by Sublime

The stoner's rite of passage

Release: June 1st, 1992
Genre: Ska Punk
Favorite Tracks: Date Rape, Badfish, Smoke Two Joints

 

Where I heard it: 

In another instance of what I can only describe as brilliant public marketing, I was aware of Sublime's existence first through their branding before I remember having heard any of their music. I think everybody knows at least one person with a 40oz. to Freedom T-shirt or some other piece of merchandise related to the cover art. It's an undeniably iconic piece of 90's pop culture. When I began hearing Sublime staples on the radio like What I Got, Santeria, and Doin' Time in 2010, my taste was well set towards the album these songs shared in common. Sublime was the album that propelled the band into the mainstream, which is morbidly ironic considering it was released posthumously following the sudden overdose of lead vocalist and guitar Brad Nowell. However, my tastes have changed substantially since the days of Sublime on the radio. I figured Sublime was a shoe-in selection for my top 100 albums, but I'd neglected 40oz. to Freedom a proper full listen into my older age. After a couple careful listens, I'm once again here to testify against my original argument and make a case for the legacy of 40oz. to Freedom.

So don't tell me about a fake drug war
The people will one day learn and rise
Cause not everyone is out to score
People always ask me why people are all fucked up
At every corner liquor store
~ New Thrash

What to expect:

Labeling Sublime under one all-encompassing genre isn't an easy task, but both Ska Punk and Reggae Rock seem to do the trick. Initially, bassist Eric Wilson didn't even share the love and appreciation for reggae that frontman Brad Nowell approached him with. We've seen ambitious crossovers involving these genres notably from groups like Bad Brains and the Beastie Boys, but neither of these bands quite match the qualities that Sublime consistently delivers with their sound. 40oz. to Freedom temperamentally shifts between multiple traditional reggae styles, often infusing elements of hardcore punk and even hip-hop to various degrees among the album's 22 tracks. The band's musical influences are a hodgepodge of unique acts that range from Jimi Hendrix and Pink Floyd to Public Enemy and KRS-One, all of whom are referred to whether in large or small part on 40oz. to Freedom. Countless snippets and samples are shoved into the album's hour plus runtime, some subtly weaved into Nowell's lyrics and others crudely ripped straight from the original source material. Hell, six of the tracks are medleys or covers of groups that contributed toward developing Sublime's eclectic palate. However, the execution of these covers disguises each iteration just enough to make them sound authentic in their own right, especially Smoke Two Joints. As far as original recordings, Sublime's fusion of genres creates an even greater sense of ambiguity to the band's overarching style on 40oz. to Freedom. While some may consider a wide range in music unappealing, I find that individual tracks know exactly how long to play before they overstay their welcome and switch things up a bit to maintain a freshness to the album. There isn't a dominant sound that governs 40oz. to Freedom, ensuring that listeners can find at least one version of Sublime that they really resonate with, if not their entire vibe.

Threw a bottle at the bouncer
Didn't think that he was cool

Pissed in someone's drink

And threw a bike into a pool

Drivin' down the sidewalk

Like a drunken possessed fool

I broke every single traffic rule

~ What Happened
  

Why it's my favorite:  

For quite a while, Sublime was a band I respected for their place in history, but never really had a strong opinion toward their catalog. After closely comparing Sublime and 40oz. to Freedom, I've come to adore the latter for the growing pains that characterize the tone of the album. Overall, 40oz. to Freedom has poorer sound quality, crasser lyrical content, and fewer original songs than its counterpart Sublime. That's to be expected of a debut independent release versus a refined label-backed production, but Sublime were never meant to be radio darlings. The band's imperfections are what give 40oz. to Freedom its novelty and charm. Brad Nowell's whimsical immaturity that borderlines ignorance dominates his laymen approach to songwriting, whether ripping through a punk track or chilling on a reggae beat. The album's musical diversity serves as a tribute to the artists that inspired its creation, and does so with the utmost respect of a faithful rendition. Nowell was the heart and soul of Sublime, and I feel like 40oz. to Freedom more accurately reflects that spirit at its core. 

Number 68 - Return of the Black Emperor by Isaiah Collier & the Chosen Few

 Number 68: Return of the Black Emperor by Isaiah Collier & the Chosen Few

Long live the King

Release: July 13th, 2018
Genre: Jazz
Favorite Tracks: June11th, Return of the Black Emperor, Heath's Groove

 

Where I heard it: 

While music has always been an important part of my life, I never pursued my talents much further than high school band. Luckily, I was able to follow my musical calling vicariously through a handful of friends who continued to study music at the nearby university. Two of my best friends actually lived in the same house a block away from the music hall, an absolute Godsend for eager, up-and-coming musicians. Those few years at the Green Bean from 2018 to 2020 were some of my most potent as far as musical exposure. I was listening to some pretty rhythmically challenging and technically advanced stuff across every genre from djent to jazz. I think a lot of that was absorbed through osmosis from one of my friends at the Green Bean who was experiencing similar musical transgressions. Perhaps due to this link, I was bombarded in his kitchen one autumn night in 2018 with a proclamation: "Dude, you've got to listen to this song, it's crazy!" I was played June11th for the first time, and it was crazy indeed. That wild saxophone hook paired with a frantic tempo was unlike any kind of jazz I'd heard before. I don't think I actually listened to the rest of Return of the Black Emperor until later that year, until I asked the name of the band from my friend to look up on Spotify. They were well buried under the shitty algorithm, but I eventually uncovered a hypnotic jazz odyssey led by Isaiah Collier & the Chosen Few.

 

"There is a buzz about Isaiah Collier. Many believe he is the best jazz musician out there today, and at his young age, that is something. He plays with the fire and intensity from start to finish and is a joy to see and hear."
~ NUVO

 

What to expect:

Out of all the artists on my top 100 list, Isaiah Collier & the Chosen Few by far has the smallest following. Yet, this lack of fervent support isn't indicative of the sheer talent this group possesses. Fronted by the group's namesake, multi-instrumentalist Isaiah Collier grew up with deep musical influence among his entire immediate family. A graduate of the Jazz Institute of Chicago, Collier's instrument specialization was in saxophone, but excelled in arrangement and composition in addition to his astounding performance. All of these qualities are available in their rawest form on Collier's first foray into the recording studio: Return of the Black Emperor. Released at just 19 years old, Collier reflects upon the sounds and emotions of his ancestors before him, recanting their stories and memories through interpretive jazz. With the help of his brother Jerimiah on drums, William Kirk on keyboards, Cesar Martinez on guitar, and long-time bassist James Wenzel, each is delegated a member of Isaiah's chosen few to rule the jazz empire the new king has established. The motif of African-American royalty and history resonate strongly across every track, especially felt in the execution of the group's take on the historic slave song Wade in the Water. While Return of the Black Emperor sets an intimidatingly complex pace on its opener June11th, the majority of the album is much more progressive in nature, utilizing a leisurely softness to contrast with the sections of freestyle solos and blasting saxophone notes. The range of dynamics that each instrument achieves is almost unbelievable at times, specifically Isaiah's spectacular saxophone play, which spans from demonic squeals to gentle puffs. A lack of vocals prioritizes the expressiveness of the instruments, of which each member of the chosen few exhibits their responsibilities with charming solo features across the album. Although a prerequisite for jazz appreciation may be required, Return of the Black Emperor is an album I wouldn't stray away from recommending to anyone who enjoys a curated, theatrical type of production.

"Towards the end of our conversation, Collier showed me an image on his phone...With its intricate lines producing an eerie symmetry, I felt the gravity of Collier’s words on jazz. Mathematics, science, music—glued together through the sheer force of belief. Sonic chemistry, indeed."

~ South Side Weekly

Why it's my favorite: 

Admittedly, it was my initial obsession with avant-garde music that made my attraction to Return of the Black Emperor so immediately emphasized. I probably listened to June11th about 100 times in 2018, dissecting the drum phrases for an attempt at emulating it. Only once I gave the rest of the album a chance did I begin to value it for its full worth. The dramatic undertones embedded in the intros of many of Return of the Black Emperor's tracks including Heath's Groove and the album's eponymous song set the mood for what lies ahead in the drawn out solo sections. Despite this rambling nature, Return of the Black Emperor always knows which direction its headed in, thanks to the master minds of the musicians that create such riveting tales through a wide variety of musical fluctuations. The communication between Isaiah Collier & the Chosen Few is effortless among the various phrases and ideas that comprise a typical selection. For a bunch of college graduates, impressive is not enough to describe the undertaking of a composition like Return of the Black Emperor. Isaiah Collier is leagues ahead of his game in the world of jazz music and beyond, having performed with esteemed artists like Chance the Rapper. I hope that Isaiah Collier & the Chosen Few garners the recognition they deserve for their contributions to the genre as their reach grows by the day. Until then, I have but my utmost appreciation to show for Return of the Black Emperor.

Number 69 - RTJ4 by Run the Jewels

 Number 69: RTJ4 by Run the Jewels

The hip-hop manifesto

Release: June 3rd, 2020
Genre: Hip-Hop
Favorite Tracks: walking in the snow, JU$T, holy calamafuck

 

Where I heard it: 

Anybody remember 2020? What a time to be alive: a global pandemic, mass social unrest, all within a crucial election cycle. The fact we've made it out on the other side mostly in one piece is miraculous, to say the least. Like plenty of others, I had a lot of time to reflect on my surroundings and grow as a person. I don't like using the term 'woke' these days, but there were many examples to choose from in 2020 that heightened my awareness of systemic oppression and began my advocacy towards enacting policy changes. It seemed every other day was a new story on government ineptitude or police brutality, and the feelings of anger and sorrow were too much for me to stand back and be complacent. Right around this time of political activism, one of my friends was buzzing about how the new release from a group called Run the Jewels was released two days earlier than announced. Normally these two events would have been mutually exclusive, but after taking the recommendation of my friend to listen to RTJ4, it seemed like fate for me to hear it during this period of my life.

 
Pseudo-Christians, y'all indifferent
Kids in prisons ain't a sin?
Shit, if even one scrap of what Jesus taught connected, you'd feel different
What a disingenuous way to piss away existence, I don't get it
I'd say you lost your goddamn minds if y'all possessed one to begin with
~ walking in the snow

What to expect:

An unlikely pairing in the world of hip-hop, El-P and Killer Mike individually led successful solo careers more than a decade before the inception of Run the Jewels. The two were introduced by Jason DeMarco, head of Cartoon Network's late-night program block Adult Swim, who frequently featured the duo's content during signature bumps between shows. Run the Jewels quickly amassed a following among the underground rap scene, combining a blunt lyrical delivery with in-your-face beats and aggressive bass lines. The contrast between Killer Mike's hyper-syllabic southern rap and El-P's sophisticated east coast flow is stark, but maintains balance by clearly separating both artists' verses in order to preserve each unique flavor. Run the Jewels were never ones to turn away from controversial subjects over three numerical releases, but controversy became the primary focus by RTJ4's 2020 release. Both MCs are completely uncensored in their thoughts on immigration, excessive force, slavery, and government oppression, undaunted by the potential consequences their opinions may carry. The intensity of Run the Jewels' production perfectly compliments the imperforate lyricism of RTJ4, switching up beats between verses to better suit the rap style of each artist. Although some bars require outside context to fully extract their meaning, the verbiage translates plain and clear for listeners to easier understand each song's message. It's difficult to make an album like RTJ4 without coming off as preachy, but the impact made from some of these lines by both Killer Mike and El-P establish a rational case for their outrage towards social injustices. RTJ4 is a rap album that will have you simultaneously grooving along to the beat while contemplating the bizarre ideology of this country throughout its history.

You believe corporations runnin' marijuana
And your country gettin' ran by a casino owner
Pedophiles sponsor all these fuckin' racist bastards
And I told you once before that you should kill your masters
Now that's the line that's probably gon' get my ass assassinated
~ JU$T

Why it's my favorite: 

There's no shortage of songs throughout history with a politically inspired message weaved into its songwriting. In fact, one could reasonably argue that rap and hip-hop as genres are deeply rooted within anti-authoritarianism. RTJ4 integrates the bold stances of Killer Mike and El-P with tact, continuing and even improving upon the expectations Run the Jewels set the precedent for since their formation. My listening experience of Run the Jewels' discography wasn't chronological in the slightest, but I've since gained a strong appreciation for the duo's impressive execution in blending hard bars with fat beats. Both MCs of Run the Jewels bring their A-game to every verse, most of which inflict blow after blow of crazy rap flow. The symbiotic relationship of El-P and Killer Mike succeeds through embracing its differences, rather than forcefully creating chemistry through shared lines. This separation, paired with the variance in production style, allows each artist's vision to be fully realized without interruption. Even though some of my favorite songs by the group aren't on RTJ4, the pertinence of this album's lyrics at the time of its release is too much for me to ignore their genius in retrospect.  While its contents (thankfully) may not be as relevant as they once were, RTJ4 persists as a well-aged time capsule that will unfortunately remain timeless, as long as society continues to turn a blind eye to the true issues that Americans face on a daily basis.

Number 70 - Songs for the Deaf by Queens of the Stone Age

Number 70: Songs for the Deaf by Queens of the Stone Age

A quick drive through the desert

Release: August 27th, 2002
Genre: Hard Rock 
Favorite Tracks: You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire, Song For The Dead, No One Knows

 

Where I heard it: 

When I think back to my time in high school, I'm thankful for the lasting friendships that came from some of the most unexpected places. Say, gym class for instance. Instead of knocking out this required elective as an underclassmen, I waited until my senior year and got stuck with a bunch of freshmen and sophomores as a result. I only knew one other person in that class, but he was one of the more annoying kids in band that tended to be picked on. Reluctantly, I began building our relationship out of necessity in gym class. We would converse over any subject we could find common ground on, which was generally music. My friend would often talk about one of his favorite bands, Queens of the Stone Age, a band I had minor knowledge on based off songs featured in rhythm games like 3's & 7's on Guitar Hero and No One Knows on Rock Band. To make a long story short, that kid from gym class would become one of my closest friends, and his love for Queens of the Stone Age only grew with age. I decided that I had to brush up on my knowledge, and Songs for the Deaf was the only album I had any background with previously. Just like my newfound friendship my senior year, there was so much more to Songs for the Deaf than just face that I cherish to this day.

I know the sun is hot
Mosquitos come suck your blood
And leave you there all alone
Just skin and bone
When you walk among the trees
Listening to the leaves
The further I go the less I know
~ Mosquito Song

What to expect: 

The fad of combining well-established and talented musicians to form a super band for an album or two mostly ran its course by the end of the 90's. I wouldn't necessarily consider Queens of the Stone Age a super band by conventional terms, but the group's personnel history admittedly feels like frontman Josh Homme & friends. Of the various iterations of Queens of the Stone Age, the lineup featured on Songs for the Deaf boasts the highest musical IQ: Nick Oliveri of Kyuss, Mark Lanegan of the Screaming Trees, and the legendary Dave Grohl of Nirvana. Songs for the Deaf straps the listener in the driver's seat for a journey from the urban sprawl of Los Angeles to the desolate deserts of Joshua Tree. This expedition is represented through the album's gradual pacing, putting petal to the metal on opening tracks like You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire and First It Giveth before easing into the winding desert roads in God Is In The Radio and Mosquito Song. In addition, a plethora of alt rock musicians appear in cameo interludes as radio DJs, simulating the effect of receiving different and fewer radio frequencies as the signal weakens towards the desert. Even the slower selections available on Songs for the Deaf pack a punch from the force of Queens of the Stone Age's heavy playing style. Despite this rigidness, the band still attains a diverse sound spectrum by rotating vocalists between songs. Segmenting Homme's melodic moans, Lanegan's grungy growls, and Oliveri's shrill screams gives each performer their own signature contribution to the album which reflects their particular musical background. While this separation can be disjointed in practice, Songs for the Deaf flawlessly executes its transitions in such a way that the album's full context is required to be enjoyed in its entirety. Otherwise, the attention to detail that makes Songs for the Deaf so special in the first place goes completely to waste. 

They say the Devil is paranoid
Always runnin' for cover
But God is leakin' through the stereo
Between the station to station
~ God Is In The Radio

Why it's my favorite: 

In relation to my final statement on expectations for the album, Songs for the Deaf didn't click with me until I knew about its overall concept. I've since completely bought in to the idea of burning rubber across the California highway, seeking refuge from the metropolitan hellscape of Los Angeles in the mystical wastelands of the desert. Songs for the Deaf does an amazing job creating an atmosphere that replicates the exhilaration of flying down the interstate through the frantic tempos of Songs For The Dead, or the heat of the desert sun beating down with western ballads like Mosquito Song. Last but not least, the inclusion of parodic radio stations to preface some of the material on Songs for the Deaf remains one of my favorite examples of a concept album. Not only do these humorous snippets reinforce the road trip concept, they also include tiny references and easter eggs meant for fans of Queens of the Stone Age that start to get pretty meta the more you understand. While I obviously enjoy the songs off the album, I am more interested in the story Songs for the Deaf attempts to convey through its themes rather than its lyrics. The message isn't convoluted or preachy; it's aim is to have fun and not take itself too seriously. Ultimately, my love for Songs for the Deaf stems from the use of its music to create an overarching narrative while maintaining the integrity of rock and roll at its essence.