Number 51 - The Doors by The Doors

Number 51: The Doors by The Doors

Mr. Mojo risin'

 

Release: January 4th, 1967
Genre: Psych Rock
Favorite Tracks: The End, Break on Through (To the Other Side), Twentieth Century Fox

 

Where I heard it: 

Back in 2010, my mom moved in with a guy she was seeing over the previous months. There were very few redeeming factors to my newly acquired father figure, but I have to admit that he sent me off on my vinyl collecting journey. I was amazed at his physical music library, comprised of hundreds of CDs and maybe about one hundred vinyl records. While my parents were away, I would set up his living room sound system and find a record that appealed to my tastes to give it a spin. My musical scope was more limited during my high school days, so there weren't too many selections that I was already previously familiar with. One album that jumped out at me during an evening listening session was The Door's self-titled album. I recognized the cover art of the band, and was familiar with the popular songs Break on Through (To the Other Side) and Light My Fire. My vague recollection of a legendary band inspired my decision to play The Doors on the turntable, and I was surprised by what I heard while sitting alone in my living room.

 Turn me out and I'll wander baby
Stumblin' in the neon groves
Your fingers weave minuets
Speak in secret alphabets
I light another cigarette
Learn to forget
~ Soul Kitchen

What to expect:

One of rock music's most affluent bands, The Doors made a home for themselves in the heart of Los Angeles, where they workshopped material at the famous Whiskey-a-Go-Go club for a potential release. Formerly known as surf rock group Rick & the Ravens, The Doors broke away from their uppity stage presence and developed their signature sound that melds blues, jazz, classical and rock together. The band's intriguing mystique spawns from the minds of its two founders, keyboardist Ray Manzerek and vocalist Jim Morrison. Manzerek's punctual organ notes steal the spotlight across nearly the entire album, highlighted by solos in Break on Through and Light My Fire or just keeping it suave with background cadences in Soul Kitchen and Twentieth Century Fox. The twangy tone of Manzerek's organ cuts through the levels of the rest of the band so potently, adapting to the various genre stylings with ease. This musical malleability works perfectly in conjunction with the gallant manner of frontman Jim Morrison, whose poetic lyrics draw heavy inspiration from works of classic literature. Morrison was famous for keeping a song journal with him, in which he would jot down lyrics or ideas for a song as he experienced them. As such, The Doors serves as a sort of chronicling of the early life of Jim Morrison's escapades within the city of angels. Its content are rife with allusions to promiscuous behavior and substance usage, matching the cheeky and disorienting moods forged by the band. Plenty of tracks experiment with elements of psychedelia, culminating into the album's most extraordinary track: the twelve minute epic The End. The disturbing imagery paired with the disillusioning reverb effects of the instruments cap off this album in dramatic fashion, beholding elegance in the macabre. It's a significant conclusion to an album that otherwise revolves around glorified love songs, setting the precedent for future releases by The Doors. If it weren't for this landmark debut album, many of the band's greatest hits may have never come to fruition.

The killer awoke before dawn
He put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived
And then he paid a visit to his brother
And then he walked on down the hallway
And he came to a door
And he looked inside
"Father?"
"Yes, son?"
"I want to kill you."
"Mother, I want to..."
~ The End

Why it's my favorite: 

A very compelling argument can be made for Jim Morrison as one of rock's greatest songwriters. His magniloquent lyrics weave captivating tales that immerse the listener within the experience of a song's setting, leaving a hint of open-endedness to some phrases that leave meaning up to interpretation. Morrison exudes complete confidence in his vocal delivery to the point it can nearly be misconstrued as pretentious. His laid back persona is cool as can be, lending to the mysterious aura that surrounded him as an artist. This guy was everything you could desire in a frontman, and yet his cumulative talents created this larger-than-life character that was greater than the sum of its parts. Perhaps Morrison's short-lived career inflates history's perception of him, but it's my firm belief that the success of The Doors wouldn't have been possible without a wild card like Jim Morrison. Credit to the musicians for their unmistakable contributions to this outstanding album, but I can't ever associate The Doors with anybody other than their illustrious leader. His unusual approach to a popular genre set the standard going forward for so many bands that succeeded him.

Number 52 - Weezer (Blue Album) by Weezer

 Number 52: Weezer (Blue Album) by Weezer

Music for emotional nerds

Release: May 10th, 1994
Genre: Alternative
Favorite Tracks: Holiday, Surf Wax America, Only in Dreams

 

Where I heard it: 

Like plenty of angsty teenagers, Weezer was instrumental in helping me find my way through an awkward period of life. Hormones and emotions are all out of whack, heartbreak is rampant, and sad boy hours were in full effect. I had a playlist on my iPod my junior year full of songs that attempted to cure (or in most cases validate) my depressive episodes, containing both Undone (the Sweater Song) and Only in Dreams. I distinctly remember sitting in my bed in the midnight hours, softly playing these sad songs over my speaker and gently weeping myself to sleep. That sounds pretty miserable, but it's a little pathetic in retrospect when I equate the problems back then to the obstacles of today. Maybe it's time to dust off that old playlist! In any case, I resonated closely with the wistful and gloomy lyrics at the time, but this attitude isn't the most prevalent on Weezer's Blue Album. 

You can't resist her
She's in your bones
She is your marrow
And your ride home
You can't avoid her
She's in the air
In between molecules
Of oxygen and carbon dioxide
~ Only In Dreams

What to expect:

From one look at the cover of their iconic Blue Album, it's clear that Weezer weren't destined for the lavish lifestyle of rock superstardom. Fresh into their 20s, the band had a tough time marketing their brand of soft garage rock during the grunge-dominated 90s. Their initial popularity rose thanks to airtime of the music videos for Undone - The Sweater Song and Buddy Holly on MTV. While audiences craved grittier and edgier material, Weezer remained faithful to their basic song structure that duplicates the rhythm guitar and bass lines for a more reenforced sound. Most of these guitar lines are nothing to write home about, but there do exist a few catchy hooks featured on My Name is Jonas and Surf Wax America. This sturdy backbone serves as the template for frontman Rivers Cuomo to integrate his tender singing voice, whether it's the reserved verses of Say It Ain't So or a more full-bodied approach in No One Else. Cuomo also shoulders the responsibility of songwriting, merging juvenile humor and quick wit to create songs that don't come off whiny or complaintive. Not alone in his efforts, the remaining members of the band provide instances of harmonization that shine through brightest in the closing moments of The World Has Turned and Left Me Here and Holiday. The juxtaposition between heavy guitar distortion and clean vocals brings out the finer qualities of each respective medium. In this regard, the Blue Album models itself in a similar fashion to rock legends The Beach Boys with a modern twist. It took a few years for Weezer to reach their demographic, but it's safe to say the group has found its footing over the tenure of their three decade career.

I've got a Dungeon Master's guide
I've got a 12-sided die
I've got Kitty Pryde and Nightcrawler too
Waiting there for me, yes I do
I've got posters on the wall
My favorite rock group KISS
I've got Ace Frehley, I've got Peter Criss
Waiting there for me, yes I do
~ In the Garage

Why it's my favorite: 

Weezer has never been about technically advanced licks or lyrics worthy of a dissertation, but instead embraces musical simplicity in order to closer relate to the listener. Cuomo isn't afraid to bear his heart on his sleeve and swing the doors open to his life experiences. The Blue Album is riddled with pop culture references to Marvel superheroes, Dungeons & Dragons, and rock influences that establish a connection between Cuomo and the listener towards coming of age as a twenty-something. I remember listening to In the Garage as a kid and thinking, "Wow! These guys are just like me!". There's a sense of comfort in relatability towards your favorite artists, and Weezer are so down-to-earth in their songwriting that it's really only a matter of time until a line in a song rings true to the individual. The Blue Album is as straightforward as can be; what you see is what you get. Out of all the spectacular productions I've enjoyed, it's nice to hear an album like this one that just keeps it real and does so exceptionally well.

Number 53 - Lift Your Skinny Fists Like Antennas to Heaven by Godspeed You! Black Emperor

 Number 53: Lift Your Skinny Fists Like Antennas to Heaven by Godspeed You! Black Emperor

An orchestral spectacle

Release: October 9th, 2000
Genre: Post Rock
Favorite Tracks: Storm, Static, Sleep

 

Where I heard it: 

Like several great personal music discoveries of mine, Godspeed You! Black Emperor came very suddenly and unexpectedly into my life around late 2015. I barely remember mindlessly browsing a Reddit thread that wasn't even music related, when someone made reference to the spoken word opening of The Dead Flag Blues by GY!BE. Curious, I clicked the link to check it out, and ended up staying for the entirety of the song's sixteen minute runtime. I was moved by the drama of its mysterious monologue, and couldn't help but be subsequently pulled in by the band's eloquent storytelling through song. To be honest, I don't think I'd heard experimental music quite like GY!BE in anything other than modern avant-garde classical works. I was certain that The Dead Flag Blues' residing album F#A#∞ was a slam dunk to make this list, but I took a closer listen GY!BE's proceeding album Lift Your Skinny Fists Like Antennas to Heaven just to be sure of my decision. In comparison, F#A#∞ just feels too desolate and ambiguous to me when compared to the artistic vision of Lift Your Skinny Fists Like Antennas to Heaven. In another stunning album upset, I present to you my observations.

 

And when you penetrate to the most high God
You will believe you are mad
You will believe you've gone insane
But I tell you, if you follow the secret window
And you die to the ego nature
You will penetrate this darkness
Oh yes, there's many a man or woman
That's been put in the insane asylum
When this has happened to them
And they're sitting they're today
People think they're insane
But they saw something that's real
And they see it when they're on drugs
~ Static

What to expect:

Named after a 1976 Japanese documentary on biker gangs, Godspeed You! Black Emperor is comprised of ten members that include the entire standard violin family, two drummers, and a film director. Additionally, the band contains pieces for a typical rock band, sans for a vocalist. Each member plays a vital role in shaping the meticulous structure of their second album Lift Your Skinny Fists Like Antennas to Heaven. Like a fine orchestral arrangement, the combination of specific instruments help emphasize a song's tone during a particular passage, while others may go several minutes waiting for their dramatic entrance. Over the course of Lift Your Skinny Fists Like Antennas to Heaven, you might hear anywhere between three to seven movements of varying lengths within four mammoth productions, all of which create a unique atmosphere of dissonant amalgam and powerful emotion. The lengthy song times gradually allow the music to slowly burn its fuse, passing a phrase all around the band before igniting at its cacophonous climax. These explosions can come in the form of the album's opener Storm during its beginning portion Lift Yr. Skinny Fists, Like Antennas to Heaven..., which crescendos into a majestic march that fades into my favorite part of the album Gathering Storm. More often, GY!BE favor eerie, atonal segments of noise that proliferate towards total madness, much like Static's first two movements Terrible Canyons of Static and Atomic Clock. Each portion sets the scene with appropriate musical accompaniment, as well as the occasional voice sample like in Sleep that provides context to a track's overall concept. Although its themes are vague with the music alone, the album's liner notes come with artwork and photographs as a visual aid, establishing a story arc to follow along to. Furthermore, live shows from GY!BE will project short films behind the band that channel feelings of anarchy and rebellion. The stories weaved through each selection on Lift Your Skinny Fists Like Antennas to Heaven are captivating and intricate through methods unlike any instrumental music I've heard before.

They called it the playground of the world over here
When I was very small, I even got lost in Coney Island
But they found me on the beach
And we used to sleep on the beach here, sleep overnight
They don't do that anymore
Things changed, you see
They don't sleep anymore on the beach
~ Sleep

Why it's my favorite: 

I was fortunate enough to catch a live performance from GY!BE back in 2015. Their enthralling stage presence fascinated me, watching the members collaborate with each other in real time to improvise new parts within songs. I have a terrible habit of executing deep dives on bands after I see their show, and GY!BE was no exception. Witnessing the band beforehand strengthened my appreciation for all the moving parts that it takes to develop the long-form style of Lift Your Skinny Fists Like Antennas to Heaven. GY!BE as a whole perceives the format of music as art without sounding overly contrived or vain. Their material explores the spectrum between minimalism and extremism, seamlessly transitioning between the two with deliberant delicacy. The range of emotions achieved within the album's hour and a half runtime feels akin to that of a feature film, which GY!BE sound perfectly tailored for. Albums like Lift Your Skinny Fists Like Antennas to Heaven preserve the magic of devoting your full attention towards an artist's full work. This album will always remain one of the most engrossing listening experiences for me to listen through.

Number 54 - High Voltage by AC/DC

 Number 54: High Voltage by AC/DC

More electric than Edison

Release: May 14th, 1976
Genre: Rock
Favorite Tracks: T.N.T., It's a Long Way to the Top (If You Wanna Rock 'N' Roll), The Jack

 

Where I heard it: 

I'll never forget the day that I embarked upon my special relationship with AC/DC. It was early 2009, and I was attending the birthday party of a friend of mine a grade above me. When the time to open gifts rolled around, my buddy uncovered a new copy of the Rock Band expansion AC/DC: Live for the Playstation 2. Wasting no time, us small group of four boys ran upstairs and popped in the game, jamming out to live renditions of AC/DC staples like You Shook Me All Night Long and Thunderstruck. In fact, we played it all through the night until my friend's mom had to pull the plug around 5 AM because the plastic drums were too loud. My friends and I all truly felt like rock stars the next morning as we sobered up from an intoxicating sugar rush and severe lack of sleep. We often found ourselves clamoring to return to my friend's house in subsequent months to relive that glorious night, venturing off to the nearby convenience store in search of Monster energy drinks and two-liter bottles of Coke. It must have been the electrifying energy of AC/DC that brought out the party animals in us kids. As their name implies, the rock and roll lifestyle the band portrays isn't for the faint of heart.

Ridin' down the highway
Goin' to a show
Stop in all the byways
Playin' rock 'n' roll
Gettin' robbed
Gettin' stoned
Gettin' beat up
Broken-boned
Gettin' had
Gettin' took
I tell you folks
It's harder than it looks
~ It's a Long Way to the Top (If You Wanna Rock 'N' Roll)

 

What to expect:

For those unfamiliar with the history of AC/DC, their catalog is split between current frontman Brian Johnson's gritty vocal timbre featured on albums like Back in Black and The Razor's Edge, and former frontman Bon Scott's prolific attitude that put the band on the map with Dirty Deeds Done Dirt Cheap and Highway to Hell. Founded by sibling duo Malcom and Angus Young, Bon Scott was recruited as AC/DC's new vocalist in an effort to better suit the group's shift from glam rock to blues rock.  AC/DC yearned for an edgier sound to accompany their eccentric stage presence, and Scott brought that energy with provocative behavior and promiscuous lyrics learned from his time as the vocalist of Fraternity. Scott's unmistakable singing voice is drenched with personality and sex appeal, pushing it to the absolute limit with squeals and shouts in songs like High Voltage and The Jack. If that wasn't enough talent for you, he also plays the bagpipe solo in It's a Long Way to the Top. That's just the kind of range that AC/DC has to offer on this album. Speaking of which, it's hard to discuss the heart and soul of the band without mentioning Angus Young, pictured on the cover of High Voltage. Famous for his use of Gibson's SG guitar, Angus is perhaps one of rock and roll's greatest soloists to ever pick the strings. His remarkable guitar fluency makes solos in Live Wire and T.N.T. flow so naturally with their respective tracks. Perhaps more impressive than his playing are his galvanic live performances, where Angus makes an absolute fool of himself on stage while simultaneously shredding some of music's most iconic riffs. These two larger-than-life stars personified AC/DC's supercharged style of rock and roll, capturing the attention of their native Australia before setting their sights on the international markets of the UK and America. There are major track list disparities between the Australian and international releases of High Voltage, but the format we received here in the U.S. contains a wealth of AC/DC's hallmark songs. High Voltage was the first of many releases to shock its listeners with explicit content wrapped in hard-hitting guitar chords.

She was holding a pair
But I had to try
Her deuce was wild

 But my ace was high

But how was I to know

That she'd been dealt with before?

Said she'd never had a full house

But I should have known

From the tattoo on her left leg

And the garter on her right

She'd have the card to bring me down

If she played it right

~ The Jack

Why it's my favorite: 

It seems as if AC/DC has been receiving a lot of flack in recent years for their lack of originality and dependence on formulaic songwriting. I find that odd, considering the AC/DC formula has cultivated one of the most devoted fanbases of any musical group through their historic longevity. Not even the death of vital members can stop the rock and roll train, from Bon Scott's passing in 1980 to the recent loss of founder Malcom Young in 2017. AC/DC has shown unwavering faith in the system they've developed over the decades, favoring a straightforward, no-frills approach that boils down rock music to its core essence. Fresh off of their seventeenth studio release, it's flooring to hear concepts that were first utilized on High Voltage be recycled in the modern age to a successful degree. It conveys just how far ahead of their time AC/DC were when this album initially hit the market in 1970's. It wasn't quite Sabbath-levels of Earth shattering, but there certainly was a public reaction to the image AC/DC embodies. I feel fortunate enough to have lived even but a taste of that extravagant lifestyle as a kid, and I couldn't imagine a better soundtrack than the robust tones of AC/DC.

Number 55 - Close to the Edge by Yes

 Number 55: Close to the Edge by Yes

A spiritual journey by the river

Release: September 13th, 1972
Genre: Prog Rock
Favorite Tracks: Close to the Edge, And You and I, Siberian Khatru

 

Where I heard it: 

Coincidentally, I began my adventure into the progressive rock genre right around the same time that I started experimenting with jazz cigarettes. I was amazed at the parallels between prog and classical music, which I was heavily exposed to in high school band class. While I gravitated toward prog legends like Rush and Pink Floyd, Yes was a band I slept on until well after I graduated. I was generally familiar with their sound from their song Roundabout, a track I first played on Rock Band 3 in 2011 that later gained massive popularity for its association with the 'To Be Continued...' meme. I was captivated by Roundabout's collective complexity, but didn't delve into the gargantuan catalog of Yes until around 2016 when my love for prog was in full bloom. I chose to listen to Close to the Edge in an effort to find songs that captured the magic of Roundabout. However, I discovered Close to the Edge isn't anything like Roundabout. It's something even greater.

Close to the edge
Down by the river
Down at the end
Round by the corner
Now that it's all over and done
Called to the seed
Right to the sun
Now that you find
Now that you're whole
Seasons will pass you by
I get up
I get down
~ Close to the Edge

What to expect:

Inspired by themes from spiritual literature and sounds of symphonic classics, Yes are one of the most collectively talented yet critically underrated bands to emerge from the English prog rock explosion of the early 70's, featuring legendary groups like Genesis, Jethro Tull, and King Crimson. In fact, the pressure of increased competition in the music scene fueled the success of Yes' early catalog, challenging the band to write stronger material with every new album. Only 9 months following their breakout record Fragile, Yes released Close to the Edge, an album that many consider the group's magnum opus. Featuring three epic arrangements, Close to the Edge opens with its sweeping orchestral epic title track. There's so much to unpack within this song, even for die hard prog heads...so let's begin, shall we? This song (and really the album as a whole) loosely describes the story of Herman Hesse's Siddhartha, a novel about Buddhist-style enlightenment through the protagonist's life journey which continually leads him to the same point of a river. It isn't difficult to notice the integration of the source material; Close to the Edge achieves this cyclical nature by conjoining uncommon time signatures to suddenly meet at certain intervals, and reprising specific phrases along with musical motifs throughout the staggering eighteen minute production. While that sort of length can be daunting, the first two songs off of the album are actually segmented into four distinct passages that lend toward the direction of a song's idea. Breaking down Close to the Edge begins with The Solid Time of Change (0:00-6:04), which establishes a chaotic rhythm before resolving into the song's main melody from Steve Howe on guitar. Settling into a more controlled time signature, Jon Anderson's high and soft vocal register enters near the end of this section, revealing the song's chorus before jumping across key signatures that bleed into Total Mass Retain (6:04-8:27). Shortest of the four, Total Mass Retain plays around with repeated phrases before winding down the song's energy for its transition into I Get Up, I Get Down (8:27-14:12), an emotionally powerful slow ballad that highlights the spectacular keyboard skills of Rick Wakeman on the organ. Dreamily comprised, I Get Up, I Get Down represents the attainment of personal enlightenment at the edge of the river, delivering a passionate performance before looping back around to the frantic drive of Seasons of Man (14:12-18:38). After navigating futuristic synth tones, the end of Close to the Edge unravels the tension built over several minutes to end with the familiar chorus line in a major key. This track is so monolithic, I could analyze just about every second of it if I had the time. Instead, it's only fair that I pay my tribute to the remaining two songs on the album: And You and I and Siberian Khatru are both incredible in their own right. I'll keep my review brief: check out And You and I for a less complicated story-driven song, or Siberian Khatru if you're looking for a standard prog rock jam sesh. Ultimately, no amount of words I write can compare to the experience of putting on a pair of headphones and listening to Close to the Edge unabridged. 

 

Coming quickly to terms of all expression laid
As a moment regained and regarded both the same
Emotion revealed as the ocean maid
A clearer future, morning, evening, nights with you
And you and I climb, crossing the shapes of the morning
And you and I reach over the sun for the river
 ~ And You and I

Why it's my favorite:  

There exist very few songs out there with the ability to create such poignant impact that it deeply affects me personally. To me, Close to the Edge awakens strong feelings of resilience and triumph for the obstacles that I have overcome to this point. Its concepts of cognizance and life progression expressed in tribute to the Hindu principles of Siddhartha resonated with me when I first heard the song in 2017. During a particularly rough patch of my life, I approached life with the same outlook of Close to the Edge: I get up, I get down. This simple phrase dictated a concentrated period of my life, motivating me to continue fighting even when the struggle seemed insurmountable. While it may sound silly, Close to the Edge pulled me out of dark times with the all-encompassing beauty of its songwriting. The sheer force of the organ solo from I Get Up, I Get Down has made me weep numerous times. The delicate triple harmonies of the band make the most of every line, specifically in the outro of Seasons of Man. It just so happens that the B-sides of this album are delightful to listen to as well. If all three songs from Close to the Edge evoked the kind of emotion of its feature presentation, this album would be my favorite of all-time, without question. But alas, you can't earn a spot on this list for one song alone. However, I'm unashamed to say Close to the Edge does a majority of the heavy lifting. I mean, the album is named after it. Do me a favor and discover the majesty of Yes for yourself. It's worth the wait.

Number 56 - w^w^^w^w by Car Bomb

 Number 56: w^w^^w^w by Car Bomb

Fractal fun with metal

Release: September 25th, 2012
Genre: Mathcore
Favorite Tracks: Finish It, The Sentinel, Third Revelation

 

Where I heard it: 

There was a period of my life between 2016 and 2017 where it seemed like every month, I'd hear about some crazy metal band from a couple friends of mine that would just be heavier and heavier with each new suggestion. Over that course of time, I learned about bands like Meshuggah, Intronaut, Gojira, Sepultura, and indeed Car Bomb that would come to dominate my listening preferences for the latter half of the 2010s. I have to admit, the name Car Bomb alone got my attention when first introduced to the technical frenzy that was Finish It. We listened to the song on full blast in my buddy's beat-up 4Runner while my friends pantomimed the instruments, as I sat slack-jawed in awe of Car Bomb's musical complexity accompanied by their brutally violent style. Full disclosure, that's the kind of stuff I was seeking out at the time: aggressive, technically challenging music to stimulate my brain. w^w^^w^w (pronounced 'W click W', but will henceforth be referenced as Waveform) scratches that itch better than any example I can conjure to this day.

I stare on my own
Down the hall they watch
You stare on your own
Kiss them goodbye
Eyes signaling, "This is too much.
I'm sick of it, sick of the bullshit."
Hush. Take your medicine
~ Finish It

What to expect:

Waveform is a very difficult listen for the casual consumer. If the excessive volume and hysterical vocals don't turn you off, the lack of easily discernable meter and tempo most certainly will. These are characteristics Car Bomb have loyally embraced throughout their career in navigating the independent metal scene. After releasing their debut record Centralia through a label in 2007, the band was dropped and subsequent material was released on the sharing service Bandcamp. Car Bomb cultivated a devoted following on the site, with their first independent release Waveform reaching #2 on the best-sellers list a week after its release. With a five year gap between albums, the band had plenty of time to fine tune the recording quality of their instruments to their desired preference, and Wavelength sounds much cleaner as a result. This album mirrors its predecessor quite closely, preserving the musical disarray and sonic blitzkrieg that defines Car Bomb while leaning hard into the motif of patterns and symmetry. Inspired by the works of artist M.C. Escher, composer Johann Sebastian Bach, and mathematician Kurt Gödel, Wavelength conglomerates the ideas of these scholars into a chaotically meticulous body with a dense, heavy metal core. Time signature is hardly a restriction to the arrangement of Waveform, streamlining snippets of carefully counted note segments together to frankenstein some semblance of a song. This eclectic showcasing of musical phrases can lead the listener on a winding adventure that mixes jarring blast beats with ominous harmonic choruses in songs like Lower the Blade and Magic Bullet. In the meantime, you'll be treated to the abysmal wails of guitar feedback and furious fills on the drum kit. It's shocking when the occasional moment of quiet or even silence eventually emerges among the clamorous composition of Waveform. Unsurprisingly, the absence of noise is just another tool in Car Bomb's arsenal of musical weaponry. While highly active sections may sound unintelligible to the untrained ear, Waveform is actually superb in its synchronization to intentionally sound so fragmented and imperfect. Even with basic knowledge of rhythm, it's not too tough for listeners to catch on to a specific pattern within a song. It can be a bit overstimulating to process a track's totality, but that's just part of the enjoyment of Car Bomb for me.

 You are killing us with what you're doing
Dig it up
One day you will see why
I will show you how it's done
One night, I'm gonna come inside your house
Wherever you're sleeping
And I'm gonna cut your throat
~ Third Revelation

Why it's my favorite: 

Although my knowledge across different genres is extensive, I don't profess to be a master of theory or composition or anything like that. In fact, I'm a little embarrassed at times when having discussions with people I know that studied music. Technical jargon has never been my forte, but as a consummate music appreciator, I know what I like when I hear it. In my adult years, my palate began acquiring a taste for extreme, avant-garde material that broke the boundaries of conventional music. Car Bomb remains my go-to source for mind-boggling songs with potent ferocity to boot. There's a surprising amount of substance to their music given the image they convey on face value. The air-tight syncopation and imaginative rhythm combinations arguably rival some of the greatest mathematically-inspired bands metal has ever seen. This dual threat featured on Wavelength suits my mood for when I want an attempt at mentally transcribing difficult songs, or if I just need a good 'ol fashioned rage session after a long day at work. Car Bomb has provided me with hours of entertainment dissecting their catalog both alone and with friends, yet I still find riffs or fills on Wavelength that feel just as new as the first time I heard them. The album's permutations practically ensure a unique listening experience with every run through.

Number 57 - Straight Outta Lynwood by "Weird Al" Yankovic

 Number 57: Straight Outta Lynwood by "Weird Al" Yankovic

Things get weird

Release: September 26th, 2006
Genre: Comedy
Favorite Tracks: Trapped In the Drive-Thru, White & Nerdy, Pancreas

 

Where I heard it: 

Did anybody else have an uncontrollably passionate Weird Al obsession as a kid? I could not get enough of this guy when I was ten years old. During YouTube's initial boom in early 2006, I would exclusively use the service to look up videos from Weird Al. I most often found myself looking up this animated video of the epic Weird Al anthem Albuquerque, along with crudely made lyric videos of songs like Ebay and Your Horoscope For Today created in Windows Movie Maker. Early YouTube was certainly a treasure. I instantly fell in love with the music of Weird Al, even seeking out my own songs to change lyrics to a la Yankovic. I must have been insufferable with my adoration toward Al, showing my classmates the music videos or repeatedly listening to his songs at home. This infatuation all came to a head with the announcement and eventual release of Straight Outta Lynwood, headlined by its breakout single White & Nerdy. Al's perfect comedic pacing and unrivaled wit really landed with my juvenile sense of humor, and still manages to find new ways to make me laugh as an adult. That's just the magic of Weird Al at work that has kept him a beloved public icon for generations.

And I say to him, "Hey Eugene,
could I get some ketchup for my fries?"
Well he looks at me
And I look at him
And he looks at me
And I look at him
And he looks at me
And I look at him
And he says, "I'm sorry, what did you want again?" 
~ Trapped In the Drive-Thru

 

What to expect:

If you aren't familiar with Weird Al's particular brand of humor, he brings an absurdist perspective to mundane or trivial aspects of life. Most famously, Al expresses these ideas through parodies of popular songs at the times of his albums' releases. Mind you, Weird Al Yankovic has been a professional in the industry for fifty years going strong. Weird Al has a treasure trove of silly songs and concepts from music legends of all kinds: Michael Jackson, Madonna, Queen, Nirvana...and every act in between. Cult fans of Al know that he's no one trick pony, though. There are plenty of hit original songs that parody the style of other bands, such as the DEVO-inspired Dare to Be Stupid. Given all of this success, it's surprising that Al never had a top-10 hit on the charts until the release of White & Nerdy as a promotional single for Straight Outta Lynwood. Weird Al's research and attention to detail in his song concepts are the key in unlocking the comedic genius of a song like White & Nerdy, which catalogs the habits of a stereotypical dweeb with pocket protectors and name sewn on his underwear. The combination of parody and wit just seem to hit perfectly on every song from Straight Outta Lynwood, whether it's the Beach Boys biology lesson of Pancreas or the ridiculously litigious I'll Sue Ya in the style of Rage Against the Machine. Of course, a Weird Al album is incomplete without a polka medley of popular songs featuring Al on his trademark accordion. Polkarama! includes snippets of songs like Somebody Told Me by the Killers, Let's Get it Started by the Black Eyed Peas, and Candy Shop by 50 Cent, serving as a sort of time capsule for mid-2000s pop culture. Truly, Straight Outta Lynwood in its entirety reflects the styles and tropes of what was popular at the time, all through the perspective of Weird Al's mind of madness. His hilarious songwriting has been a delight through the decades, and this album helped Al earn the public recognition he deserves for it.

First in my class here at M.I.T.

Got skills, I'm a champion at DND

MC Escher, that's my favorite MC

Keep your forty, I'll just have an Earl Grey tea

My rims never spin to the contrary

You'll find that they're quite stationary

All of my action figures are cherry

Stephen Hawking's in my library
~ White & Nerdy

Why it's my favorite: 

Weird Al exhibits a form of comedy that straddles the line between family-friendly and and R-rated. Some of the themes can get dark and twisted at times, but the lyrics are hardly ever explicit. Al has refined the formula for comedic songwriting, able to extract the punchline of an idea repeatedly without relying on the same joke or being overly crass in its delivery. It's incredible that this level of humor can be sustained while simultaneously making music that is enjoyable to listen to. Granted, many of his songs are based on the works of other artists, but the performance of Al's backing band keeps parodies sounding as true to the original as possible. The range of genres spans from the R&B beats of Confessions, Pt. III and Trapped in the Drive-Thru to the pop ballads of Do I Creep You Out and Don't Download This Song with impressive talent. I've found my appreciation for Weird Al's musical flexibility has only grown as an adult, as I understand more references and subtle jokes than I did when I was younger. In fact, Al's wide scope of song styles very likely helped form my tastes early on in childhood, inspiring the vast knowledge of music I've developed since then. Weird Al is an absolute treasure to both music and comedy, and Straight Outta Lynwood will always be the go-to album I associate him with.

Number 58 - Paranoid by Black Sabbath

 Number 58: Paranoid by Black Sabbath

The genesis of heavy metal

Release: September 18th, 1970
Genre: Heavy Metal
Favorite Tracks: Iron Man, War Pigs, Hand of Doom

 

Where I heard it: 

While not everybody has heard a song from Black Sabbath, Ozzy Osbourne has been a household name across generations for his unbelievable antics and iconic slurred speech. I certainly knew who Ozzy was as a child thanks to old VH1 documentaries that chronicled the drug-fueled misadventures of his musical career. It's truly marvelous that Ozzy is still alive and kicking. I didn't start listening to heavier forms of music until middle school, but I do have a potent memory of hearing Black Sabbath's Iron Man for the first time when I was about seven years old. One of my older cousins would playfully sing the first couple verses, and I inquired into what he was singing about. We looked up the song on iTunes, and I distinctly remember how I felt when the opening chord played. This song wasn't the jaunty tune I had imagined it to be. This was something...scary. Evil. I was taken back by how music like this could even exist. Little did I know, I shared that exact sentiment at the time with tens of thousands of others who protested Paranoid's release back in 1970. Man, how the times change.

 Has he lost his mind?
Can he see or is he blind?
Can he walk at all?
Or if he moves, will he fall?
Is he alive or dead?
Has he thoughts within his head?
We'll just pass him there
Why should we even care?
~ Iron Man

What to expect:

When Ozzy, Tony Iommi, Geezer Butler, and Bill Ward formed Black Sabbath, they had a vision to create a kind of music that starkly contrasted the flower power hippie movement that dominated the latter part of the 60s. Inspired by the 1963 horror film of the same name, the band wrote their first song Black Sabbath in 1970 as an attempt to make a musical equivalent to horror movies. The lyrics relied heavily on themes relating to witchcraft and the occult, which none of the members of the band practiced, but found interesting to write about nonetheless. These demonic subjects heavily resonated throughout the group's eponymous debut album, garnering Black Sabbath a pretty sinister cultural reputation. Only four months later, the band was back in the studio to record their next album. In contrast to their debut, Paranoid focuses less on concocting satanic motifs at the behest of the record company and shifts responsibility on the musicians to lay down riff after riff, most notably guitarist Tony Iommi. Throughout the three day recording process, Iommi churned out some of metal's most famous and recognizable hooks and solos, integrating musical triads for a truly diabolical sound. Ozzy showcases his vocal strengths with impressive range, utilizing recording technology to distort his voice in songs like Planet Caravan and the intro to Iron Man. His one-of-a-kind singing style helps emphasize the magical and mysterious songwriting of bassist Geezer Butler, who penned most of the lyrics on Paranoid. While mythological tales do exist on the album, Paranoid makes a bold decision to criticize current events by challenging the Vietnam War in its opening track War Pigs, initially set to be the name of the album before Paranoid was chosen last minute. Bill Ward's drumming is not often the center piece of Black Sabbath, but his forceful performance in War Pigs steals the spotlight (not to mention the solo in Rat Salad). For the first heavy metal album, it's hard to find a flaw within the formula that makes Paranoid such an enjoyable listen. The band's collaborative effort on the album shows in its sheer mastery of execution, influencing artists in rock and metal to this very day.

 

 Politicians hide themselves away
They only started the war
Why should they go out to fight?
They leave that all to the poor
Time will tell on their power minds
Making war just for fun
Treating people just like pawns in chess
Wait 'til their judgement day comes
~ War Pigs

Why it's my favorite: 

It feels impossible to say anything that hasn't already been said about Paranoid. Many regard it as the greatest metal album of all time, and it's half a century old. To say Black Sabbath helped pioneer a genre would be an understatement. Albums like Paranoid completely altered the musical paradigm, inspiring legendary artists who may never have gotten involved in music if not for Black Sabbath. It blows my mind trying to imagine what hearing Black Sabbath would be like in 1970. Would I have instantly gravitated towards this new, avant-garde brand of noise? Or would I have sought out something more conventional and mainstream? Keep in mind, there was a point in time where people really believed Black Sabbath were the most evil form of music you could ever conceive. Those people would be rolling over in their graves if they could see the evolution of heavy metal over the last 50 years. The metal family tree has exploded in growth since 1970, with countless limbs and branches and twigs that dissect metal to the most specific of subgenres. But down there, all the way at the root, lies Black Sabbath. As I listen to Paranoid today, I can't help but appreciate its historical value to not only music, but social culture as well. There's a significance to every track that echoes through my brain, and it all started because of that damn pitch bend. Well played, Sabbath.

Number 59 - Favourite Worst Nightmare by Arctic Monkeys

Number 59: Favourite Worst Nightmare by Arctic Monkeys

Some like it hot

Release: April 23rd, 2007
Genre: Indie Rock
Favorite Tracks: Brainstorm, Teddy Picker, 505

 

Where I heard it: 

As far back as 2008, I recall knowing the Arctic Monkeys simply from their band name alone. One of my best friends in middle school was particularly fond of them, and I was amused by the imagery conjured from the word pairing. I never actually listened to an Arctic Monkeys song until maybe a year or two ago. For over a decade, my only association with the group was their stand-out name. My first encounters with their music occurred at my current job, where songs like Fluorescent Adolescent and When the Sun Goes Down were often mixed into playlists of similar artists like The Strokes that my boss really liked. Once I could pinpoint Alex Turner's distinguishing English inflection, I felt like I noticed more songs by the Arctic Monkeys when they would come up. I checked out Favourite Worst Nightmare on a whim near the end of 2022, as this album contained many of the individual songs I enjoyed most from the band. It took a while to get there, but I now understand the hype for the Arctic Monkeys after all these years.

You used to get it in your fishnets
Now you only get it in your night dress
Discarded all the naughty nights for niceness
Landed in a very common crisis
Everything's in order in a black hole
Nothing seems as pretty as the past though
That Bloody Mary's lacking in Tabasco
Remember when you used to be a rascal? 
~ Fluorescent Adolescent

What to expect:

Arctic Monkeys stormed onto the music scene in the mid 2000's, riding the wave of post-punk revival alongside bands like the White Stripes and the Hives. Their breakout album Whatever People Say I Am, That's What I'm Not set records in the UK as the fastest-selling debut ever, with 120,000 units sold in one day. The Arctic Monkeys knew they had to strike while the iron was hot, and immediately began the writing process on the next album during their first world tour. It took a little over a year to for Favourite Worst Nightmare to be made, which harnessed the sharp energy from their previous release and fine tuned it for maximum listening pleasure. Musically, Favourite Worst Nightmare maintains a swift and sprightly sound through the majority of its track listing, integrating elements from funk and dance music that invite the audience to bust a move. The musical magnitude is reenforced by the salacious songwriting of Alex Turner, who's risqué lyrics aren't shy about stating their intentions through cunning innuendo. His prominent British tongue helps further accent the suave subject matter. Turner's wordplay weaves dramatic and interesting scenarios that match the emotion of the instruments, ranging from the softcore erotica of The Bad Thing to passionate poetry of Only One Who Knows. Despite its juvenile nature, Favourite Worst Nightmare carries a surprising amount of depth within its structure that captivates the listener's attention from start to finish.

In my imagination, you're waiting lying on your side
With your hands between your thighs
Stop and wait a sec
Oh, when you look at me like that, my darling
What did you expect?
I'd probably still adore you with your hands around my neck
Or I did last time I checked
~ 505

 

Why it's my favorite:

I think what initially drew me to the Arctic Monkeys' music, in contrast to other comparable bands I've listened to for years like Franz Ferdinand and The Killers, was how much the Arctic Monkeys stand out among their peers. Apart from their notable name, Favourite Worst Nightmare contains compositional complexity that can be appreciated without a immense knowledge of music theory. There are intense moments within the album that don't exceed extreme limits. Favourite Worst Nightmare pushes the envelope for its genre without any sensational departures from the norm. The album remains faithful to its conventions with a little added ingenuity, creating a record that stands up for itself with its contents alone. Every track leaves an impact, whether it be from a particularly witty line or a powerful band unison. Favourite Worst Nightmare has certainly left an impact on me in the short time I've been listening to it, and I feel it only appropriate to give it a spot on the list for that reason.

 

Number 60 - Adolescents by Adolescents

 Number 60: Adolescents by Adolescents

Kids being kids

Release: April 1981
Genre: Punk 
Favorite Tracks: Amoeba, Democracy, L.A. Girl

 

Where I heard it: 

While most of my listening to specific genres came during highly concentrated periods, there do exist small examples of breakthroughs in my childhood. The primary culprit was usually soundtracks to video games, which I played my fair share of. It was once a novelty to hear licensed music featured in games that were not specifically based around music. One of the earliest examples I can remember is Tony Hawk's Pro Skater 3, a series renowned for its track lists that I first played when I was six years old. Although I've come to appreciate this soundtrack in retrospect, only a few selections deeply resonated with me quite like Amoeba by the Adolescents. Thinking back, Amoeba may be the first instance in my memory where I recall hearing non-melodic vocals. I remember feeling this inner dissonance towards the imperfection of its timbre, yet simultaneously drawn to the sheer emotion evoked in its delivery. In essence, the Adolescents were my first experience with punk, and I still carry reverence for their iconic debut album to this very day...because of a video game about skateboarding. Thanks, Tony Hawk.

We are scientists in our lab
Looking through the microscope
The little glass slides, they never lie
How can this small mind cope?
I've never seen anything like it before
This amoeba's got a mind of its own
But don't turn your back, you stupid science world
This is reaching for the telephone
~ Amoeba

What to expect:

Instrumental toward progressing the California punk movement, the Adolescents helped introduce a more aggressive tone to the genre through thought-provoking lyrics and bold musical arrangement. Popularized across the pond by the Sex Pistols with their remarkable one-and-done Nevermind the Bollocks, hardcore punk still remained largely unknown among the American populous at the start of the 1980s, save for a few small pockets of urban areas within New York and California. Based in the metropolis hellscape of Los Angeles, the Adolescents particularly loathed the area for the materialism and mindset of its people. The band's eponymous debut Adolescents revolves all around their aversion to L.A., drawing from personal experiences and sensationalizing them to highlight their absurdity. This disgust is prevalent from Tony Cadena's gruff vocal style, who projects every syllable with ferocity and malice over the album's sixteen tracks. In typical punk fashion, the average song length is only a couple minutes, but every song makes the most of its time. Cadena's unfiltered songwriting is unabashed in its disdain across a wide range of topics, from the detestable social opinions lampooned on I Hate Children and Creatures to the more glaringly obvious criticisms of city life like L.A. Girl and No Friends. Not to be outdone, the Adolescent's rhythm section play the hell out of their respective instruments, headlined by sibling string duo Frank and Rikk Agnew. Their heavy power chords paired with Steve Soto's deep bass notes are layered to build a strong foundation for the frantic form of drummer Casey Royer, with the occasional wailing guitar solo thrown in. In addition, plenty of songs include backing vocals from Rikk and Casey, providing a sort of harmonic relief from the brash nature of Cadena's scowls. Despite its rebellious and rambunctious reputation, the Adolescents were able to intensify punk music with critical yet mature subject matter. Ironic, considering Adolescents was recorded and released with four out of five members still being teenagers, as their band name implies. Not bad for a bunch of kids.

 

Democrat, Republican, Libertarian

Do you really care what party you're in?

Did you really think you could make it big

Living among these nuclear pigs?

If you didn't know you'll never see

We're too far gone for democracy
~ Democracy

Why it's my favorite:  

It's interesting for me to look back on what was considered 'hardcore' or 'extreme' in society throughout history. Especially of music, so much of it is incredibly tame compared to today's standards. Of course, the evolution of trends moves at such a rapid pace, nothing ever stays the most polarizing for long. However, I tend to appreciate the landmark groups that influenced the direction of a genre moving forward. It's undeniable that Adolescents helped inspire the sound of punk in the 80's, which gained grit with acts like Black Flag and Circle Jerks. The band emerged right before the precipice of hyperviolent forms of punk, but still brings an edge sharper than that of groups like the Ramones that came before. The Adolescents display the potent angst of teenage youth with a focus on social activism, characteristics that have since become hallmarks of punk as a genre. Their longevity and popularity into the modern age stands as a testament to the revolutionary style they helped pioneer over forty years ago. Just ask any skate punk; I'm sure they could tell you just as much as I.