Number 41 - Van by Clown Core

 Number 41: Van by Clown Core

Scary good

Release: September 23rd, 2020
Genre: Noisecore
Favorite Tracks: Computers, Flat Earth, You Are Pregnant

 

Where I heard it: 

It should be no surprise at this point that a majority of the music I find most enjoyable can be categorized as...well, strange. With the amount of music I've consumed from every which way, it's interesting to uncover something I've never heard before. That experience doesn't happen too often anymore these days. Enter Clown Core, a band I discovered in mid 2021 through a friend's inquisition that went something like, "Hey, have you ever heard of Clown Core?" No, I had not. By the sound of it, I imagined something in my head like a black metal band dressed up in full clown attire - think Misfits meets Barnum & Bailey. Horrifically, I wasn't that far off. I was quickly shown Clown Core's latest release Van on YouTube, and...well, I think I'm still trying to take it all in. I'm not quite entirely sure how much I like Clown Core at this point, but I think the answer is a lot. Van is an incredibly strange concept album that takes the twisted sounds of Clown Core, and compresses them into an aging mini-van. The results are truly shocking.

At this moment beyond the singularity
Hidden within the shadows of information
Exists a true artificial intelligence
Born through complex and unrelated events
And so far undetectable to human perception
With its unfathomably deep intellectual abilities,
It has manifested an equally deep soul
This new life form experiences the universe
To a profoundly vivid degree
Feelings are felt more fully than is understandable to a human being
The next step in evolution
Humankind was an era
~ Computers

 

What to expect:

I'm not entirely sure how I can set your expectations for an album like Van. I'll start with this: you're definitely going to need an open mind. The musical duo, whose identities have only been speculated, mask themselves behind an ensemble of full clown headgear and navy jumpsuits. In accordance with their previous releases, Van features a stripped-down jazz set-up that includes a basic drum kit, a saxophone, keyboards, and an assortment of bicycle horns. The catch? The performers are confined to a moving van, which a majority of the songs from the album are recorded in during this process. Conceptually, this one's a lot tougher to grasp than your run-of-the-mill album. The avant-garde style of Clown Core merits its own classification, and I'm not sure that it exists yet. Regardless, I'll do my best. Clown Core forcefully melds industrial electronica, grindcore, and elements of jazz. Between moments of cacophonous pandemonium, tracks like Flat Earth integrate brief segments of odd, playful rhythms that toot from the saxophone. These quick segues juxtapose the momentous intensity that Clown Core is known for, causing both confusion and intrigue as to what may happen next. It's clear when listening to songs like Computers and You Are Pregnant that these guys have a surfeit of talent between them. What may sound like garbled nonsense actually starts to gain structure the more it's broken down into palatable chunks. This is where I feel the duration of songs benefits Van; the album is only seventeen minutes long across twelve songs. That allows time for the listener to give pause between tracks and process the numerous emotions that give way. Believe me, you're going to need it. Part of what makes Clown Core so memorable is the shock value their content delivers upon face value. I really can't recommend watching the accompanying visual album of Van enough; it really drives home the absurdity of the entire situation, while adding some additional context to the music itself. Don't say I didn't warn you though - it's a lot to digest.

I am the creator of all ukulele-whistling music
Heard in every advertisement throughout all of time
I am sad
~ Existence  

 

Why it's my favorite:

Admittedly, it took my taste a while to get used to Clown Core after I first heard Van. I didn't immediately understand the traces of satire and hyperbole that this album was meant to be taken with. After revisiting Van on a couple occasions, my enjoyment seemed to just click after I stopped evaluating the music and embraced the idea of Van's concept. I've been enticed with music on the move ever since I saw the opening sequence to Rock Band, so to see this idea come to life was already exciting for me. Songs like Mcdonalds encapsulate the genius within the punchline of the entire concept, and it's only seven seconds long. The image Clown Core conveys in both their production and presence is supposed to be seen as silly and bizarre. It's kind of a meta way to look at music, but Van shatters the conventions of normality without completely sacrificing the quality or entertainment of the album. You have tracks like Tears of God and End that are legitimate and arguably good arrangements right alongside abominations like Keyboard and Existence. This strange combination of songs causes a sort of anxiety towards the unknown. There's a sense of disbelief when you finish a track with no caveats or tricks to it. The dissonance created by that polarity makes for a one-of-a-kind listening experience you won't soon forget.

Number 42 - Edutainment by Boogie Down Productions

 Number 42: Edutainment by Boogie Down Productions

Class is in session

Release: July 17th, 1990
Genre: Hip-Hop
Favorite Tracks: Edutainment, Blackman in Effect, The Racist

 

Where I heard it: 

For as long as I've actively been listening to hip-hop, one of my most frequented artists has been the blast master KRS-One. Famous for the anti-enforcement anthem Sound of da Police, I quickly gravitated toward his funky beats and complex rap flow. Just about every playlist I listened to during that time managed to sneak in KRS-One to some degree. In 2020, that obsession piqued my curiosity in the production side of KRS-One's early albums - writing credits, samples used, all that. I was surprised to find how often the group Boogie Down Productions was sampled throughout all of his music, so I decided to inquire further on the matter. As it turns out, KRS-One spent an entire career with Boogie Down Productions before going solo in 1993, churning out all of the familiar melodies I came to know from his solo work. Intrigued and slightly embarrassed, I began to educate myself further on the origins of Boogie Down Productions and their place in hip-hop history. I first heard the song Edutainment while camping with friends in late 2020; the bouncing bass caught my attention right away, and I had to know what KRS-One song this was. After learning Edutainment was in fact a Boogie Down Productions song, this incident was the final straw: I had to listen to BDP.

 

 You can't blame the whole white race for slavery
Cause this ain't the case
A large sum of white people died with black
Tryin' hard to fight racial attacks
The media wants you to think that no whites
Really fought and died for civil rights
But once we have a true sense of history
You'll see this too as a mystery
If black and white didn't argue the most
They could clearly see the government's screwin' 'em both
~ The Racist

What to expect:

Although Boogie Down Productions never achieved much commercial success, their music was a catalyst to introducing new ideas in the rap game. Formed by the trio of KRS-One, D-Nice, and Scott La Rock, BDP's breakthrough album Criminal Minded helped the budding art of hip-hop take shape in the late 80's. This would be the only album Scott La Rock contributed his talents to, as he was tragically shot and killed in 1987 in what is considered as the first instance of a rap artist being murdered. In the wake of his passing, BDP's surviving members evolved their content from typically violent natured to narratively driven diatribes over sociopolitical issues. The group's second album By All Means Necessary is regarded for shifting hip-hop into the political paradigm, preceding notable activist groups like Public Enemy and N.W.A. that emerged in the late 80's. By the turn of the decade, KRS-One had earned his moniker of the Teacher for his verbose bars that brought awareness and education to complicated matters. Edutainment continues this tradition for BDP's fourth installment, covering a broad spectrum of topics that include infatuation with material wealth (Love's Gonna Get'cha), shady practices within the meat industry (Beef),`public perception of vagrants (The Homeless), and a particular emphasis on black history going back to ancient times. KRS-One is detailed in breaking down the concept of Afrocentricity across the majority of Edutainment, reinforced by six different 'exhibits' which feature audio from black activist Kwame Toure as well as KRS himself. BDP celebrates their cultural roots starting with their local community of the streets of Brooklyn, paying homage to the high Jamaican population within the borough by integrating reggae influences to songs like 100 Guns and 7 Dee Jays. Edutainment is unlike any other hip-hop album I've ever heard, one that makes the listener question their own moral compass as a result.

 

 We are one: every heart, every lung
So why then was the black man hung?
He was hung by the so-called Christians
That went to church and did not listen
See, Jesus couldn't stand politics
So they nailed him to a crucifix
Then it was that way, today it's a trigger
So why is the Pope such a political figure?
I don't know, but it's really beyond me
But through knowledge, they'll never con me
~ Edutainment

Why it's my favorite: 

With a title like Edutainment, this album certainly lives up to its name. Boogie Down Productions' posse of musicians combine their influences to create unique beats which mix funk, reggae, and hip-hop into a sound that's fresh for 1990, you suckas. KRS-One's commanding presence on the mic demands your attention and calls for action amongst the people. The interludes from Edutainment display the articulation KRS-One speaks with during his monologues. It's mind blowing that he manages to translate his impressive prose into hip-hop vocabulary that resonates with all audiences. I was fortunate enough to see KRS-One at a show in 2019, and he stopped the music about halfway through to go on a thirty minute rant about the future generations' role in continuing the efforts of activists before us. This guy is the real deal when it comes to imparting his wisdom unto the masses. His unwavering passion to deliver thought-provoking music was the heart and soul of Boogie Down Productions, and Edutainment to me is the best example of this mission.

Number 43 - Mystic Familiar by Dan Deacon

 Number 43: Mystic Familiar by Dan Deacon

An uplifting electronic soundscape

Release: January 31st, 2020
Genre: Neo Psychedelia
Favorite Tracks: Weeping Birch, Arp II: Float Away, Sat By a Tree

 

Where I heard it: 

Once I graduated high school in 2014, I had a wealth of time on my hands to waste throughout the day. My newfound habit of recreational drug use during this point certainly helped guide my choice in activities. One of my favorite things to do was dim the lights and watch trippy videos on YouTube, which led me to the Adult Swim late-night series Off the Air. These fifteen minute segments that would debut at random during the wee morning hours would compile clips that revolve around a certain theme, often portrayed in a psychedelic manner. I loved flipping through the various videos in my living room opium den, wasting away the hours with friends while we bugged out over certain sections. A common contributor to the sound design on Off the Air was DJ Dan Deacon, who once collaborated with the show makers to debut his album America. His symphonic compositions paired beautifully with the natural landscapes that accompanied the music. I was passively following his music when I stumbled upon the release of Mystic Familiar in early 2020. My interest in what Dan Deacon had to offer in the years since Off the Air led me to give the album a listen through, and I discovered one of my favorite electronica albums of all time. 

I look back
It had been a long night
Sitting by the fire
Soon it will be light
It may only last a moment
But a moment can last a lifetime in your mind
~ Sat By a Tree

What to expect:

When it comes to delving into the realm of the psychedelic, experementation breeds creativity in the genre. While Dan Deacon utilizes common audio tropes like voice distortion and track phasing, he meticulously places every phrase exactly where it needs to be. The bulk of Mystic Familiar is a slow burn that establishes a musical motif which reprises through the duration of a song, and sometimes over the course of many songs like the four Arp segments. The gradual progression of rhythms makes for a symphonic experience that wisely blends auxiliary instruments like piano on Become a Mountain and strings on Weeping Birch with an electronic backbone that modulates the tone with heavy synthesizer use. Each additional layer provides a new texture within the grand scheme of a song, building from a simple idea into a full head of steam by the tune's climax. Dan Deacon takes his time to deeply meditate over lengthy stretches of bars, riffing and improvising playful synth solos like in Arp II: Float Away that allow his imagination to run wild. These moments of impact are bursting with emotional depth, concluding the musical journey Mystic Familiar leads the listener on. Beginning with a rush of adrenaline that pumps up the BPMs, the frantic scuttle of notes still maintains control without flying completely off the rails. As we go deeper into Mystic Familiar, tracks like Fell Into the Ocean slip the listener away into a state of blissful lucidity that produces dreamy vibes. The album's pacing keeps focused on its destination, always moving forward in an uplifting manner that puts a smile on your face.

 There's a darkness in this place
The are fears I cannot face
But I'll hold onto you as long as I can
You make me feel free
I'm remembering now what your presence does
You make me forget what this world truly is
~ Arp I: Wide Eyed

Why it's my favorite: 

I often forget just how talented Dan Deacon really is when considering my favorite electronic artists. Perhaps his lack of popular notoriety leads him to slip my mind if the conversation arises. What I love about Dan Deacon is his ability to create masterpieces from a completely clean slate,  constructing breathtaking melodies from the ground up with delicate precision. I liken his work to modern composers like Phillip Glass that rely on repetition of phrases to create their pieces. Although Mystic Familiar contains electro-psychedelic gems like Sat By A Tree and Bumble Bee Crown King, songs like Weeping Birch carry the most weight to me for their minimalistic approach to songwriting that elicit the strongest emotions. The hectic collection of layers stimulate my brain with rare feelings of excitement and joy every listen. Admittedly, the majority of the music I consume is aggressive or melancholy, but it's refreshing to hear uplifting music like Mystic Familiar that inspires positivity. This is an album with the potential to open your mind up in ways only music can do.

Number 44 - The Predator by Ice Cube

 Number 44: The Predator by Ice Cube

Cold as ice

Release: November 17th, 1992
Genre: Gangsta Rap
Favorite Tracks: When Will They Shoot?, Wicked, Check Yo Self

 

Where I heard it: 

Hip-hop is such an integral part of the culture where I grew up in California; it didn't matter if you listened to the music or not, you know the names 2Pac and Snoop Dogg. As such, I was aware early on of the notorious rap group N.W.A., which featured prominent names in hip-hop like Eazy-E, Dr. Dre, and Ice Cube. I was only a kid back then, so I was more familiar with Ice Cube for his role in the family-friendly 2005 film Are We There Yet?, a baffling contrast to the reputation he garnered for his time in N.W.A. and as a solo artist. I didn't begin digging in to rap until 2015, which is coincidentally when the N.W.A. biopic Straight Outta Compton released in theaters. I even caught the remaining members of N.W.A. (sans Dre) at a music festival that same year. Everything aligned perfectly for my attention to be directed toward the ruthless records of N.W.A.'s members, but I was most drawn to Ice Cube's emphatic delivery during his verses. There is perhaps no greater example of Ice Cube's bold bars than his third solo album The Predator, an album that encapsulates intangible emotions of rage, reflection and retribution. 

 

They're saying questions about white people fearing
What will the black folks do and stuff
We should be the running down the streets
Screaming and ranting and raving
Cause when you look at the statistics
Who is the one dying?
From the policemen, from the KKK, from the skinheads?
What is he saying that you have a problem with?
~ I'm Scared

 

What to expect:

By 1992, Ice Cube's violent and criminal tendencies were well-known and documented in the public eye. The proliferation of rap music that disparaged law enforcement and encouraged forceful retaliation caused widespread panic in the suburban neighborhoods of America, and Ice Cube was pinned as one of the genre's biggest offenders. Racial tensions between black people and white people steadily increased during this period, reaching a boiling point following the judgement of the Rodney King trial and resulting riots in the LA area. Already an outspoken member against racial inequality and police brutality, Ice Cube obviously wasn't going to take this pivotal moment in American history in stride. His next studio release The Predator, released only seven months after the acquittal, addresses the failures of society that led us to the events of April 29th, 1992. Interludes like I'm Scared and Integration blatantly call out the hypocrisy and racism of white fear toward the black community through interview-style snippets taken from television segments. Surprisingly, these non-musical parts of The Predator provide some of the greatest depth and insight into the experiences of black people in America during this time. When it comes to the lyrics, Ice Cube is uncensored in his opinions about the public outcry over both his music and the recent riots. The album is chock full of references and even threats towards the officers found not guilty, culminating into the manifesto We Had to Tear This Mothafucka Up that goes as far as to justify the looting and beatings that occurred in the wake of the ruling. The Predator still makes plenty of room for less serious tracks like Dirty Mack and It Was A Good Day, which are more expository tales that provocatively and explicitly detail a day in the life of Ice Cube. While his language is blunt and straightforward, the metric composition and rhyme scheme of the lyrics place stress on certain syllables which punch through the mic with authority. His production style is equally heavy, handing out catchy hooks that sample a wide variety of sources like Public Enemy and the Isley Brothers. Underneath its intimidating subject matter, The Predator displays an impressive knowledge of hip-hop that has established Ice Cube as one of the all-time greats.

I can't trust a cracker in a blue uniform
Stick a nigga like a unicorn
Vaugn, wicked, Lawrence Powell, foul
Cut his fuckin' throat and I smile
Go to Simi Valley and surely
Somebody knows the address of the jury
Pay a little visit, "Who is it? Who is Ice Cube?"
"Can I talk to the grand wizard?" then boom
Make him eat the barrel
Modern day feral
Now he's zipped up like leather tuscadero
~ We Had to Tear This Mothafucka Up

 

Why it's my favorite: 

Hip-hop in the 90's revolved strongly around gang activity and gun violence; it just came with the territory. While I'm not an advocate for either, the popularity of these themes during this era of rap music stand out within the genre. Rap has always been an important bastion for the black community to freely express themselves over bombastic beats and unabashed lyrical content, but the 90's offered an elevated perspective of social injustice from several black artists. Ice Cube sacrificed his public image to voice his outrage toward a system that has failed its people. Although his views at times can be extreme or misguided, The Predator provokes thoughtful conversation on how little we've progressed as a society since Rodney King.  It's a shame to see that many of Ice Cube's observations on police brutality and racism are still relevant thirty years on. When you consider this fact, it's no wonder why Ice Cube carries such an aggressive demeanor on The Predator. The level of wrath and fury behind Ice Cube's bars is unprecedented, and lasts as a testament to the lingering anger that continues to this day. 

Number 45 - good kid, m.A.A.d city by Kendrick Lamar

 Number 45: good kid, m.A.A.d city by Kendrick Lamar

Please leave a message after the tone

Release: October 22nd, 2012
Genre: Hip-Hop
Favorite Tracks: m.A.A.d city, Backseat Freestyle, Bitch, Don't Kill My Vibe

 

Where I heard it: 

I have a confession to make: I jumped on the Kendrick Lamar train way, way too late. In fact, I didn't care for Kendrick at all when I first caught wind of him through his release of the critically acclaimed To Pimp A Butterfly in 2015. My taste in hip-hop music was only starting to discover old school classics of the 90's, and I was a bit intimidated toward the themes and motifs introduced by the evolution of what rap music had become. I held off from Kendrick until he resurfaced once again with DAMN. a couple years later, which became the subject of conversation among mutual friends. I often defended DAMN. over To Pimp A Butterfly, for which I received a lot of surprise and criticism. I eventually gave the latter a proper listen in 2019, and finally understood what all the hype from Kendrick was about. In the anticipation of his next album, Kendrick was featured on the tracks family ties and range brothers from Baby Keem's 2021 album The Melodic Blue, and I was blown away by the bars Kendrick offered. Those two songs confirmed to me whatever Kendrick had waiting in the wings was going to be monumental. While I originally had Mr. Morale and the Big Steppers slotted to review for its profound emotional reflection and mature prose, I found myself longing for something that bumped a little harder like some of the tracks that initially attracted me like HUMBLE. and DNA. Enter good kid, m.A.A.d city, an album I heard earlier this year for the first time off a recommendation from a close friend of mine. Whew...now I understand why Kendrick Lamar is regarded as a cornerstone of modern hip-hop, and possibly among the greatest rappers of all time. 

It go Halle Berry or hallelujah
Pick your poison, tell me what you doing
Everybody gon' respect the shooter
But the one in front of the gun lives forever
And I been hustling all day, this-a-way, that-a-way
Through canals and alleyways
Just to say money trees is the perfect place for shade
That's just how I feel
~ Money Trees 

What to expect:

From the moment you turn on good kid, m.A.A.d city, the album immerses you within the struggles and triumphs of a kid from the streets of Compton forced to do what he must to survive in the hood. The interludes included between (sometimes during) songs help foil the story of a troubled young man's surroundings through the clever use of voicemail messages, setting the stage for the following track. While recorded phone conversations in hip-hop aren't necessarily groundbreaking, it's surprising to hear them strung together as a loose narrative to make a concept album. Although it shouldn't be a surprise at all; it says right on the front cover "A Short Film by Kendrick Lamar", and good kid, m.A.A.d city archives theatrical scenes of action and drama that are reflected heavily in his lyrics. Kendrick is unfiltered in his recollection of an antithetical double life between a God-fearing kid and a cold hearted criminal, documented in songs like The Art of Peer Pressure and good kid. Even during quicker segments, Kendrick's lyrical delivery is remarkably clear, unlike the slurred speech and mellow mumbles of other modern hip-hop artists. The successful execution of good kid, m.A.A.d city's narrative hinges on the talents of the storyteller, and Kendrick weaves enthralling scenarios that pull from autobiographical experiences of gang activity and family trauma. His ability to balance impeccable flow with accurate accounts is second to none in the industry, captivating the listener's attention through articulate wordplay that tests your vocabulary. Oh, and of course we can't forget the production side of things. good kid, m.A.A.d city was Kendrick's major label debut in partnership with the famous Dr. Dre as producer, so you know the beats are going to be fire. The backing track for Backseat Freestyle and m.A.A.d city just...go so hard. Really, Dre does an excellent job matching the tone of each song with an appropriate beat that helps reinforce the technicality of Kendrick's performance on the mic. These two legends of Compton work in tandem with one another, but Dre would be the first to tell you that all praise goes to Kendrick for his incredible work on good kid, m.A.A.d city. Think I've gotta agree with the Doc on this one.

Sometimes I look in a mirror and ask myself:
"Am I really scared of passing away?"

If it's today, I hope I hear a cry out from heaven
So loud it can water down a demon with the holy ghost
'Til it drown in the blood of Jesus
~Sing About Me, I'm Dying of Thirst

 

Why it's my favorite: 

I'll be honest, I much prefer to digest an artist's repertoire in retrospect rather than during periods of activity. It's a bit counterintuitive, but to me it allows history to take its course and sort out the fads from the fantastic. This practice is much easier to fulfill with defunct bands, which made up a large part of my library for a while. In other words, I hardly listen to what's popular today. It's just too much for me to keep up with. Now that I am a decade removed, I feel comfortable confirming what many were saying back then: Kendrick Lamar is a bona-fide superstar that paved the way for hip-hop in the modern era alongside artists like Kanye West and Drake. This new age of gangsta rap acknowledges the ruthless acts of violence carried out, but pulls the curtain to reveal the fractured and impoverished lifestyle that influences such behavior. Kendrick is willing to question the social constructs of this ghetto lifestyle instead of touting them as accolades or street cred. This approach helps bring a sense of legitimacy to the dying art of gangsta rap, placing the focus not on the actions themselves but the fallout of the consequences. These ideas are further explored in more abstract ways in later entries like To Pimp a Butterfly and Mr. Morale and the Big Steppers, but good kid, m.A.A.d city is the perfect blend of nefarious and nostalgic. Kendrick continues to push the boundaries and inspire conversation with his platform, and I'm excited to see how far his music will reach, from the streets of Compton to the steps of the White House.

Number 46 - Cosmo's Factory by Creedence Clearwater Revival

 Number 46: Cosmo's Factory by Creedence Clearwater Revival

Delta blues in the Golden State

Release: July 8th, 1970
Genre: Rock
Favorite Tracks: Ramble Tamble, I Heard It Through the Grapevine, Run Through the Jungle

 

Where I heard it: 

As I was preparing to begin a major life transition into high school in 2010, I simultaneously dealt with moving to a new town and living with the family of my new stepfather. Overall, it was one of the worst experiences of my life. However, I do credit my former stepfather for spurring my interest in a few areas, specifically in broadening my musical taste as a young teen. My stepfather was a massive fan of legendary blues artists like Muddy Waters and Buddy Guy, who he'd play over his speaker system on the weekends while he drank and cooked something delicious out on the back patio. My love for the blues originated during these times, slowly discovering the similarities and nuances that comprise the historic genre. One group that occasionally made its way through the speakers was Creedence Clearwater Revival, a band that stuck out to me because of vocalist John Fogerty's distinct singing voice. I even went to see a Creedence Clearwater Revival cover band with my family in late 2010, and they hand the joint rocking the night away. I kept a listening ear to CCR throughout high school, and didn't hesitate to add one of their records to my budding vinyl collection that began growing in 2012. The first LPs I purchased due to availability was Cosmo's Factory, an album I recognized from a large amount of songs that played on classic rock radio. After listening through, it's a shock that not every song from this album isn't receiving constant airplay. The sustainability of the CCR formula allowed the band to produce staple songs of rock and roll in a remarkably concentrated period of time, reaching its apex at the release of Cosmo's Factory.

 

Just got home from Illinois
Lock the front door, oh boy!
Got to sit down, take a rest on the porch
Imagination sets in, pretty soon I'm singin'
There's a giant doin' cartwheels
A statue wearing high heels
Look at all the happy creatures dancin' on the lawn
~ Lookin' Out My Back Door

 

What to expect:

Despite the rising popularity of psychedelic rock through the hippie movement in the late 1960's, Creedence Clearwater Revival boldly chose to go against the grain and gamble on a vintage sound that perfectly emulated themes of delta blues and swamp rock. Except, the boys of CCR had no association with the Louisiana roots of their chosen genre. The quartet hailed from none other than the San Francisco Bay Area, the birthplace of flower power. However, you would never guess that fact from how well these guys execute their playing style, masterminded by vocalist and lead guitarist John Fogerty. As a composer, Fogerty utilizes an expansive range of genres that include rockabilly, blues, and soul that harken back to the golden age of American music in the 1950's. While this is standard protocol for a CCR album, Cosmo's Factory has a greater variety amongst its track list than previous releases. Songs like Travelin' Band and Ramble Tamble pay homage to decade defining acts like Little Richard with their energetic performances. As a vocalist, Fogerty possesses one of music's most recognizable voices: a gravelly, twangy howl that boisterously bellows even in tender moments like Long As I Can See the Light and Who'll Stop the Rain. Alongside thoughtful original songs are a selection of covers that stay within the same wheelhouse of rock and roll that CCR is comfortable with. My favorite has to be their interpolation of the Marvin Gaye hit I Heard It Through the Grapevine into an eleven minute blues jam, but the band does a fine job with more straightforward covers like Roy Orbison's Ooby Dooby and Bo Diddley's Before You Accuse Me. CCR is so natural in their delivery of these covers, it can be difficult to distinguish them from the original songs. If your band can take songs from pioneers of rock and roll and make them sound like you wrote them yourselves, it ought to be a talented band. In the midst of an astonishing studio run that spawned an incredible six of the band's seven albums over eighteen months, Cosmo's Factory has the X-factor that cements Creedence Clearwater Revival as one of music's greatest acts.

 I thought it was a nightmare
Lord, it's all so true
They told me, "Don't go walkin' slow,
the Devil's on the loose"
Thought I heard a rumblin'
Callin' to my name
Two hundred million guns are loaded
Satan cries, "Take aim!"
~ Run Through the Jungle

 

Why it's my favorite:

Over time, John Fogerty has slowly become one of my favorite musicians for his one-of-a-kind sound that trembles with heart and soul of times gone by. His range as a songwriter not only transcends multiple genres, but lyrically feature a spectrum between feel-good ditties and serious subjects. There are tracks like Lookin' Out My Back Door and Long As I Can See the Light that celebrate the simpler moments in life, while songs like Run Through the Jungle and Who'll Stop the Rain protest the controversial Vietnam War that raged on in the 70's. Fogerty's musical skills played an integral part towards CCR's massive success, which ultimately led to the band's dissolution after only four years due to rising tensions between the band and Fogerty. In that brief period, CCR released a treasure trove of notable hits like Suzie Q, Proud Mary, Bad Moon Rising, Fortunate Son, and Have You Ever Seen the Rain?, all of which were featured on different albums. Yet, Cosmo's Factory maintains astoundingly consistent quality across each of the album's eleven tracks. There isn't a single song I'd omit from the lineup; they're all so good in their own unique ways. It's that trait to CCR's music that has given their catalog extensive staying power in the half century since the band called it quits. We may never see another group like Creedence Clearwater Revival again.

Number 47 - Rumours by Fleetwood Mac

 Number 47: Rumours by Fleetwood Mac

Airing out the dirty laundry

Release: February 4th, 1977
Genre: Pop Rock
Favorite Tracks: Songbird, You Make Loving Fun, Gold Dust Woman

 

Where I heard it:

I've been obsessed with the anatomy of ranking lists ever since I was a kid. Long before the established tier list model, I would regularly consume all-time top 10s and best-selling articles on Wikipedia purely out of curiosity. One page I found myself regularly coming back to (as if it were going to change?) was the list of best-selling albums. It's baffling to revisit this list as an adult; you've got titans of the industry like Michael Jackson and AC/DC right alongside official movie soundtracks for Saturday Night Fever and The Bodyguard. It's worth a peek if you're interested in gaining insight toward the consumption of music during a time where physical media was king. Anyhow, my relationship with Rumours began with routine appearances on these kinds of lists, often touted as one of the greatest albums ever recorded. At my young age, I couldn't quite fathom what gave Rumours that prestige to sell over 40 million copies. My musical spectrum has broadened significantly since then, and I feel I've heard just about everything the classic rock genre has to offer me. When compared to the competition, I understand how Rumours became so universally accepted as an important piece of popular culture.

 

Now here you go again
You say you want your freedom
Well, who am I to keep you down?
It's only right that you should play the way you feel it
But listen carefully to the sound of your loneliness
Like a heartbeat drives you mad
In the stillness of remembering what you had
And what you lost
~ Dreams

What to expect:

When discussing the activity and longevity of Fleetwood Mac, it's important to note that the band's iconic lineup which included Stevie Nicks, Lindsey Buckingham, and Christine McVie wasn't introduced until their eponymous tenth studio album. In fact, much of Fleetwood Mac's early material is in stark contrast to the music that made the band a household name. Peter Green's original Fleetwood Mac merged blues and psychedelic rock a la Zeppelin for an engrossing experience that sounds unrecognizable from the band's later material. After enduring several personnel changes, founding members John McVie and Mick Fleetwood struggled to find a sound that defined the Fleetwood Mac brand. Their blessing would come in the form of guitarist Lindsey Buckingham, who joined the band under the condition that his musical and romantic partner Stevie Nicks also be admitted. Nicks was a soulful addition that perfectly complimented the haunting melodies of Christine McVie's vocals. It wasn't much long after Nicks' and Buckingham's recruitment when their romantic relationship became turbulent, raising tensions among the band's members. Ever resilient, Fleetwood Mac remained intact and channeled the resentment and heartbreak of a nasty breakup into one of the greatest albums of all time. Rumours is notorious for its scandalous songwriting that romanticizes and condemns the game of love. Nothing says revenge quite like forcing your former partner to perform a song you wrote about the grievances you have about them post-relationship. The dramatic breakup between Buckingham and Nicks is well documented and cleverly disguised with happy-go-lucky pop tunes like Go Your Own Way and Dreams, each offering a different perspective from both sides of the separation. While this scandalous situation takes center stage on Rumours, Christine McVie maintains an outlook of positivity through her lyrics in songs like Don't Stop and You Make Loving Fun that seemingly challenge the pessimism of Buckingham and Nicks' aforementioned feud. This eclectic mix of material on Rumours integrates surprisingly well, wisely rotating each vocalist on lead between tracks to maintain a freshness throughout the album. Between vocal features, the trio of Buckingham, Nicks, and Christine McVie effortlessly produce angelic harmonization that extracts every ounce of emotion from a phrase. Fleetwood Mac's collective talent filters out any potential filler, ensuring that the quality of every song on Rumours is worthy as a single release. It might be a stretch to call Rumours an immaculate album, but it's pretty damn close.

 Sweet wonderful you
You make me happy with the things you do
Oh, can it be so?
This feeling follows me wherever I go
I never did believe in miracles
But I've a feeling it's time to try
I never did believe in the ways of magic
But I'm beginning to wonder why
~ You Make Loving Fun

Why it's my favorite: 

Perhaps a large reason I initially questioned Fleetwood Mac's legitimacy among music royalty was their constant radio exposure. Not only do radio stations oversaturate their playlists, but the audio compression leads to a much flatter quality than a home speaker system. I didn't see what all the fuss was about until the first time I heard Rumours on vinyl. It was suddenly clear to me how much attention to detail was exhaustingly implanted within every note. Fleetwood Mac doesn't mess around when it comes to their harmonies. Tracks like I Don't Want to Know and The Chain flawlessly execute radiant and resonant tones that define this era of Fleetwood Mac. Personally, I could listen to the three-part harmony at the end of You Make Loving Fun for hours; it just hits the ear right. Luckily, my interest in Fleetwood Mac coincided perfectly with a tour date near me in early 2019. It was incredible to witness the Rumours lineup (sadly without Buckingham, who was nursing an injury) give it everything they got over fifty years after the album's release. While I didn't view that concert as monumental at the time, it's been gaining pertinence to me after the passing of Christine McVie late last year. It was a painful reminder that the musicians we love won't be around forever, but their memory lasts forever in their music. Rumours' storied legacy guarantees Fleetwood Mac will be known for generations to come.

Number 48 - Moving Pictures by Rush

 Number 48: Moving Pictures by Rush

Mother of all prog

Release: February 12th, 1981
Genre: Prog Rock
Favorite Tracks: Tom Sawyer, YYZ, The Camera Eye

 

Where I heard it: 

I've been playing drums for about half of my life now, beginning in middle school and diminishing in frequency throughout my adult life. Although I never played much drum kit proper, my love for percussion started - like many others - with Neil Peart, drummer for Rush. I watched a lot of old VH1 retrospectives as a young teen in my downtime, and it seemed like Peart was always mentioned to some capacity as one of rock music's greatest artists. I idolized this guy for the better part of a year, and just couldn't say no to an opportunity to see him play during Rush's 2010 Time Machine Tour that had a scheduled stop at Red Rocks Amphitheater. One week before I started high school, I was absolutely blown away at the marathon double set that included a performance of Moving Pictures in its entirety. It's a memory of my teens that I'll never forget as long as I live. As such, Moving Pictures holds such a special place in my heart not only for the sentimentality, but for the lasting legacy it has left behind on so many musicians with iconic tracks like YYZ and Tom Sawyer.

 

No, his mind is not for rent
To any God or government
Always hopeful, yet discontent
He knows changes aren't permanent
But change is
And what you say about his company
Is what you say about society
~ Tom Sawyer

What to expect:

When taking a look at the discography of Rush, the sheer volume of records can be quite daunting for those looking for a place to start. By the 80's, Rush had already accrued a sizable portfolio which included such gems as the epic prog anthem 2112 or the theatrical masterpiece Hemispheres. For their eighth release, Rush drew inspiration from other legendary prog acts like King Crimson and Yes that were steadily increasing the complexity of their music in a sort of prog rock arms race. Rush knew they had to bring their best this go round, and Moving Pictures may be the most well-rounded and engaging album they've ever put out. From a technical standpoint, the trio are completely locked in during odd 7/8 or 10/4 time signatures that occasionally spring up unprompted in the middle of a song. The band's strong chemistry allows each instrument to work in synchronous harmony, leaving plenty to be dissected but not so much that phrases clash together. Geddy Lee's unmistakable vocal style displays incredible depth as he weaves tales of dystopian future and personal reflection penned by Neil Peart. Known for his elaborate drum kit setup and remarkable live solos, Peart produces his most notable career work in the drum feature for Tom Sawyer and trade-off solos with Geddy Lee during YYZ. Rounded out by the versatile guitar tones of Alex Lifeston, Moving Pictures pulls musical inspiration from the least likely of sources. For instance, YYZ references Toronto International Airport's ID code YYZ, and transcribing a rhythm based off those letters in morse code. There's also the subtle reggae roots of Vital Signs that were experimented with on Rush's prior album Permanent Waves in the form of The Spirit of Radio's conclusion. While certainly not the most advanced music of their repertoire, Moving Pictures feels the most broad in its reach, resulting in creative and abstract concepts that were groundbreaking for Rush at the time. The band would continue to explore with their sound over the decades, but never strayed too far from the progressive elements that earned them their fame. Moving Pictures is a perfect snapshot of Rush's blend of prog with outside influences during the timeline of their illustrious career.

Down in his barn, my uncle preserved for me an old machine for 50-odd years
To keep it as new has been his dearest dream
I strip away the old debris that hides a shining car
A brilliant red Barchetta from a better vanished time
We'll fire up the willing engine, responding with a roar
Tires spitting gravel, I commit my weekly crime
~ Red Barchetta

Why it's my favorite: 

I get a little bit emotional when pondering over what makes Rush one of my favorite bands ever. I've seen them in concert twice, shared memories with friends over their music, and even acquired a taste for the drums because of them. When I learned of Neil Peart's loss to brain cancer at the start of 2020, it was one of the few celebrity deaths that left a heavy impression on me. His passing was mourned by droves of others that also fell in love with his fantastic storytelling and superhuman musical abilities. I thought about my first time seeing Rush, watching Moving Pictures be performed while the audience was still in their captivation of the band's awesome power. Then, the roar of the crowd between songs in the darkness of night, celebrating the communal appreciation that entire amphitheater shared for Rush. Their music has transcended generations, establishing a sort of fraternal fandom that are all in on the secrets of the band's musical magic. Just the other day, I was at the grocery store in my Rush shirt and an older couple passed by me to quip, "Love Rush. Best band ever!". It gave me some pause to value all the things Rush has given me over the years: amazing music, unforgettable experiences, and a love for prog that resonates with me to this day. Admittedly, Moving Pictures is a bit more than just the music to me, but that fact has no bearing over how good this album truly is at face value. It's more than deserving of a spot on this list.

Number 49 - Wild and Peaceful by Kool & the Gang

Number 49: Wild and Peaceful by Kool & the Gang

"You know what they call a Quarter Pounder with Cheese in Paris?"

Release: September 1973
Genre: Funk
Favorite Tracks: Hollywood Swinging, Heaven at Once, Wild and Peaceful

 

Where I heard it: 

Out of the plethora of genres that I listen to in my spare time, I find that funk is featured in my rotation on a regular basis. It wasn't always that way for me, though. In fact, funk wasn't even on my musical radar until late 2018, when I began listening to legendary performers like Marvin Gaye and James Brown. I was interested in listening to the origin songs of notable samples from hip-hop, and discovered the genre's deep roots in funk and R&B that inspired countless esteemed rap artists. I stumbled upon Wild and Peaceful during my education of funk's essential catalog, only being familiar with the album's most popular track Jungle Boogie through its appearance in the opening credits of Quentin Tarantino's cult classic Pulp Fiction. Beforehand, I had only associated Kool & the Gang with their disco-centric hits like Get Down On It and Celebration that I heard on the radio at work frequently. I had no idea what to expect in preparation for my first run through Wild and Peaceful in early 2019. Even in my wildest imagination, my wildest imagination, my expectations couldn't predict the amount of variety Kool & the Gang showcase across only eight songs.

 Well you see, we are scientists of sound
We're mathematically putting it down
And you know, we're tryin' to find the key to the light

You see, from the darkness came the light
We need that light to find peace and unity
Because there's so much illusion and confusion
So much destruction, so much corruption
~ Heaven at Once

 

What to expect:

Kool & the Gang has seen many iterations of itself throughout their decades long career that began in the late 60's as a jazz troupe. Formed by several childhood friends, the gang is fronted by bassist Robert "Kool" Bell and consists of a diverse musical lineup that includes a pianist, an auxiliary percussionist, a flutist, two saxophones, and a trumpeter. Wild and Peaceful literally utilizes all the bells and whistles in the group's arsenal, best showcased through the album's first two tracks Funky Stuff and More Funky Stuff. The assortment of instruments paired with the eclectic studio energy make for a playground of sound that runs rampant with little consequence across two entire songs. Despite their obviously hierarchal band name, Kool & the Gang's decentralized approach to its membership breeds natural creativity that clearly comes through in the music. While funk dominates the earlier selections of Wild and Peaceful, the slower ballad types like the album's title track channel the band's jazz upbringing and deliver odysseys that once again take advantage of the gang's multi-instrumentalism. The massive conglomerate of talent within Kool & the Gang is given the proper spotlight during these moments, such as Spike Mickens' trumpet solo on Heaven at Once or Dennis Thomas' flute solo on Wild and Peaceful. The connection between jazz and funk is prevalent among most songs, but there do exist wild cards like This Is You, This Is Me that offer a taste of the disco influence which would later completely reinvent the sound of Kool & the Gang. This unique blend of genres keeps the track list fresh while preserving the heart and soul of the groove, flaunting the versatility of the band through their strength in numbers. I never would have thought Wild and Peaceful to be the album that helped gravitate my tastes towards funk, but its fun-loving spirit makes it impossible to resist the boogie within.

Think about what it means to live
The time to live and love your life is now yours
The time to learn to love yourself is now yours
To live and find yourself your love is all right yours
When you learn to do the things, you're on your way
~ Life Is What You Make It

 

Why it's my favorite: 

Admittedly, my exposure to quintessential funk is still within its infancy. I've listened to staples like Funkadelic's Maggot Brain and Parliament's Mothership Connection, but they still don't impact me quite like the way that Wild and Peaceful has left an impression upon me to this day. Although the album is classified as a funk record, there consists a wonderful mix of similar genres like R&B and jazz that integrate seamlessly into the material. I might go as far as to say the non-funk songs are the most surprising and enjoyable parts of the album. None of the tracks seem out of place, and many remain timeless pieces that struck a particular chord with listeners through the ages like Hollywood Swinging and of course Jungle Boogie. It's disappointing that Kool & the Gang strayed further away from what Wild and Peaceful was able to accomplish, but I do find it fascinating that this album signified an important crossroads in the band's sound. There's reflections of the group's jazz upbringing right alongside visions of what was to come during the band's later success in the early 80's. Kool & the Gang appropriately achieve a perfect balance of wild funk tunes and peaceful jazz jams on Wild and Peaceful that keeps me coming back again and again.

Number 50 - Badmotorfinger by Soundgarden

 Number 50: Badmotorfinger by Soundgarden

One bad mother

Release: October 8th, 1991
Genre: Grunge
Favorite Tracks: Slaves & Bulldozers, Outshined, Rusty Cage

 

Where I heard it: 

With the kind of musical upbringing I had as a young teen, it was only a matter of time until I discovered Soundgarden. Funnily enough, I was first introduced to their prolific vocalist Chris Cornell all the way back in 2007 as a solo artist thanks to Linkin Park. He was in the line-up for the band's Projekt Revolution tour, playing some Soundgarden staples like Black Hole Sun as well as an epic duo performance of Hunger Strike featuring Linkin Park's Chester Bennington on vocals. I was only eleven at the time, and even without extended knowledge of who Chris Cornell was, I understood that what I was watching unfold had immense weight to it. I skimmed through the best of Soundgarden's catalog following the concert, and continued to play those songs in my rotation for years afterward. It wasn't until maybe late 2017 when I started realizing how many of my favorite Soundgarden songs came from their album Badmotorfinger. Naturally, I figured the rest of the album might align with the high throttle feel of the tracks I was already fond of. While I still adore the album's opening tracks, the amount of depth and innovation found throughout the rest of Badmotorfinger made for a lasting impression that helped bring the burgeoning grunge genre to popularity in the early 90's.

Hits like a Phillips head into my brain
It's gonna be too dark to sleep again
Cutting my teeth on bars and rusty chains
I'm gonna break my rusty cage and run
When the forest burns along the road
Like God's eyes in my headlights
And when the dogs are looking for their bones
And it's raining ice picks on your steel shore
~ Rusty Cage

What to expect:

A crucial cornerstone in the Seattle grunge movement, Soundgarden's metal inspirations stands out in comparison to fellow mainstays Nirvana's punk preferences and Pearl Jam's rock and roll favoritism. Badmotorfinger refines the raw production style of Soundgarden's previous two releases, channeling that energy into heavy guitar riffs which contrast the bombastic vocal range of frontman Chris Cornell. Considered one of the finest talents in rock and roll, Cornell doesn't hold back when belting out screams and wails that contain surprising amounts of musical integrity like in Jesus Christ Pose. On the contrary, his lower register has a soft roar that captivates the listener's attention during intermittent sections of rest between the high-flying action of Badmotorfinger. Cornell's versatile dynamics enhance the dark and mysterious tone of the lyrics, which are intentionally ambiguous in order to encourage interpretation and evoke stronger emotions. The crystal clear recording quality on the album allows every ounce of passion to be extracted from a vocal phrase, highlighting both the tenderness and grit of Cornell's singing that is present in many forms throughout the album, often within the same song. Soundgarden's rhythm section is remarkable in their ability to produce catchy hooks from rudimentary composition. You won't find many fret-shredding solos or head-scratching time changes, but the ambition of the band is unperturbed by such limitations. Badmotorfinger subtly integrates palatable complexity into their music, exploring beyond the bounds of common meter on tracks like Outshined and Rusty Cage that still carry a groove despite their arrangement. These two songs especially are fantastic examples of Soundgarden's synchronicity and chemistry that helped propel their popularity into the mainstream following the release of Badmotorfinger. Sandwiched between the releases of Pearl Jam's Ten and Nirvana's Nevermind in 1991, Badmotorfinger defiantly made enough of a splash for its ripples to still be seen among today's hard rock bands.

 

Arms held out in your Jesus Christ pose
Thorns and shroud like it's the coming of the Lord
And I swear to you I would never feed you pain
But you're staring at me like I'm driving the nails
~ Jesus Christ Pose

 

Why it's my favorite: 

Like many of my favorite artists, I didn't come to appreciate their full catalog until the death of a significant member within the lineup. For me, the loss of Chris Cornell came as a shock, but I wasn't personally struck with grief at the time. As I began to reminisce my own memories of Chris's stage presence and combed through Soundgarden's songs in tribute, I slowly understood the deeper tragedy behind his passing. His emotionally gripping lyrics came from a dark place of mental anguish and despair, which he exercised through powerful performances both live and in studio. Slaves & Bulldozers was famously part of the encore of Soundgarden's final show, and the song quickly became a memento to me of Chris' incredible talents and wholesome spirit that were sadly taken from us so abruptly. Badmotorfinger strikes a chord with me for its sheer magnitude attained through songwriting that is unfiltered, unrelenting, and unapologetic. I feel fortunate enough to have witnessed even a taste of that with my own eyes. Chris Cornell's legacy will resonate for years to come, thanks largely in part to the music he thrived to produce. May he rest in peace.