Number 21 - ...And Justice For All by Metallica

 Number 21: ...And Justice For All by Metallica

A metal masterpiece

Release: August 25th, 1988
Genre: Thrash Metal
Favorite Tracks: Blackened, The Frayed Ends of Sanity, One

 

Where I heard it: 

Metallica has managed to impressively defy the odds with their aggressive metal image to become a household name in the industry. Esteemed members of metal's big four alongside Slayer, Megadeth, and Anthrax, Metallica were the clear frontrunners among their peers, amassing a staggering fanbase that still sells out arenas across the world to this day. My first Metallica concert was during their Death Magnetic tour on November 4th, 2008 - the same night Obama was elected to his first term. I was with my mom, who was a fan of Metallica during their time as Bay Area locals in the mid 80's. We took a shot of Jägermeister in the back of her boyfriend's van. I was twelve years old. That was a night full of headbanging and rocking that I won't soon forget. My only prior background with Metallica was my relationship with One, which was the final song in the setlist of Guitar Hero III: Legends of Rock. Lo and behold, my two obsessions would soon merge only a few months later with the spin-off release Guitar Hero: Metallica. I was gifted the game at my thirteenth birthday party, which took place with a bunch of my friends in the auditorium of the school my mom worked at. We had a projector hooked up to my Wii, and as soon as I unwrapped my new game, I immediately slapped it in the console to jam out to tracks like The Shortest Straw and Dyers Eve with all my closest friends. Now that is a memory that I'll cherish as long as I live. Metallica became a defining part of my identity toward the end of middle school. I downloaded a majority of Metallica's catalog to my iPod that I definitely didn't pirate, Lars. I bought Master of Puppets merchandise from the Hot Topic at the mall. I made the ringtone on my dinky cell phone the bridge reprise of ...And Justice for All (starting at 5:54 to be specific). How much more devoted can you get than that? Anyways, any fan of Metallica understands the struggle of picking their favorite album from the legendary run of albums they released from 1983 to 1988. Funnily enough, I think I've regarded each of the four albums as my favorite of the bunch at one point or another. However, I think I've solidified my answer over the last few years: ...And Justice For All takes the cake by a narrow margin. Kill 'Em All, Ride the Lightning, and Master of Puppets all easily would have made the top 100 if not for my restriction of one entry per artist. While this album is arguably Metallica's heaviest, there's so much more nuance to this one than just its volume that keeps me coming back for more. ...And Justice For All is the culmination of the band's experience up to their fourth outing on full display.

Darkness imprisoning me
All that I see, absolute horror
I cannot live, I cannot die
Trapped in myself
Body my holding cell
Landmine has taken my sight
Taken my speech, taken my hearing
Taken my arms, taken my legs
Taken my soul
Left me with life in hell
~ One

What to expect:

After the breakout success of Master of Puppets in 1986, Metallica were on top of the world. The group carefully plotted their next move as they trifled through a rigorous tour schedule that spanned the globe, demanding spectacular performances by the band on a nearly nightly basis. It was during this tour that Metallica would experience their greatest loss to date due to a tour bus accident in Stockholm, Sweden. Legendary bassist Cliff Burton tragically passed away at only 24 years old, leaving a gaping hole within the quartet and bringing the future of Metallica into question. Nevertheless, Metallica persevered with a vengeance and retorted with perhaps their greatest endeavor as tribute to the fallen: ...And Justice For All. In the absence of Cliff, Jason Newstead of the band Flotsam and Jetsam was recruited to carry the torch on bass. Cliff Burton is obviously an irreplaceable act to follow, but Newstead did everything he could given the circumstances. Controversially, the rest of Metallica was reported to have been unhappy with Newstead's performance, intentionally sabotaging his audio track to be nearly inaudible within the mix. ...And Justice For All in turn received plenty of criticism for this decision, but modern remixes of the album have mostly rectified this problem. It's a good thing they did, too - every piece of the band is integral towards the composition of the album. While Newstead may not be the most notable presence, it's tough to compare when you're in the same band as three of the most famous musicians in their respective categories. James Hetfield's gruff and gritty vocal style is instantly recognizable, and his rhythm guitar support is the perfect complement to the furious fretwork of Kirk Hammett. It's not unheard of for Kirk's name to be thrown into the discussion of greatest guitar players of all-time. His symphonic solos weave intricate tales that let the music do all the talking, shredding his fingers with an absolute blitzkrieg of notes that still exhibit remarkable levels of control. Finally, Metallica would be woefully incomplete without the eclectic and exhausting drum work of the mighty Lars Ulrich. Characterized by his manic double-bass blast beats and use of drum mallets over sticks, Lars has the wild personality to match his chaotic and unorthodox method of drumming. Realistically, this description of Metallica is applicable to nearly every album they've ever released. If you listen to a Metallica record, it's pretty certain what you're going to get. What sets ...And Justice For All apart from other entries in their catalog is the sheer sense of urgency every track seems to have in its frantic tempos. Furthermore, the songwriting featured in this album contains an aura of subtle social consciousness, alluding to issues such as pollution in Blackened, war in One, and mental illness in The Frayed Ends of Sanity. Ultimately, you have to listen to it for yourself in order to truly understand what the fuss is all about. Metallica is required listening for anyone looking to break into the genre of metal. They may not have done it first, but they've possibly done it best.

When a man lies, he murders some part of the world
These are the pale deaths which men miscall their lives
All this I cannot bear to witness any longer
Cannot the kingdom of salvation take me home?
~ To Live Is to Die 

Why it's my favorite: 

Heavy metal has been one of my favorite genres since as far back as middle school. Although I've never considered myself a violent or aggressive individual, metal music provides me an emotional release for the stress in my life. The noisy, energetic nature of the music paired with its epic climaxes pump me up enough to run through a brick wall. There's no shortage of excitement and dramatics, as the lengthy runtimes allow plenty of time for the momentum of the music to develop as necessary. ...And Justice for All lays its foundation upon these precious moments, compiling an astounding resume of toe-tapping guitar riffs that have stood the test of time. It's difficult to crown any one moment in the album as the clear showstopper, simply because there are so many viable selections to choose from. There's the drum fill that leads into the bridge and solo of The Frayed Ends of Sanity. There's the fade-in to the steady marching riff that opens up Eye of the Beholder. The entire middle section of Blackened which dials back the tempo to unveil a sludgy, doomy riff might be one of my favorite moments in any Metallica song. That's saying a lot, given how much consideration I gave towards which album of theirs to feature for today's entry. Metallica undoubtedly would have ended up in my top 100, but there's a wealth of incredible material to choose from. My decision on ...And Justice For All boiled down to its all gas, no brakes approach to songwriting. This album features what I believe to be the band's most complex composition from a theory standpoint, and they're playing faster then they ever had before this point. Even calmer moments in tracks like To Live Is to Die and One refuse to relent their vicious delivery. The consistency in their traditional sound paired with these few tweaks shows the growth of Metallica as musicians, further establishing their status as titans of metal. ...And Justice for All is as refined of metal as you can find, showing polish and luster that still retains its beauty after decades of wear.

Number 22 - MTV Unplugged in New York by Nirvana

 Number 22: MTV Unplugged in New York by Nirvana

Acoustic artwork

Release: November 1st, 1994
Genre: Acoustic
Favorite Tracks: Where Did You Sleep Last Night, All Apologies, The Man Who Sold the World

 

Where I heard it: 

Nirvana is another one of those bands that feels like I've always been listening to their music. They're such an integral part of 90's culture that it's impossible to tell the tale of the decade without them. I believe my fixation toward Nirvana coincided oddly enough with my obsession with "Weird Al" Yankovic around 2008. His album Off the Deep End parodies not only the iconic album cover of Nirvana's Nevermind, but also leads with the hit single Smells Like Nirvana which pokes fun at Kurt Cobain's unintelligible vocals. Al and his band are such talented musicians that the parodies they write sound nearly identical to the source material, so Smells Like Nirvana ended up as my first example of grunge music. Once I started looking into Nirvana's repertoire, I plunged down the YouTube rabbit hole and watched several crudely made lyric videos of songs like Smells Like Teen Spirit, In Bloom, Heart-Shaped Box, and Rape Me. Nirvana's music was dismal and depressing in ways that I had difficulty processing at the ripe age of 10, but would revisit again in my teens as those feelings of angst became applicable to my life. By the end of high school in 2014, I was well familiar with what Nirvana had to offer - or so I thought. I heard primarily through recommendations on Reddit that the band's performance on the MTV Unplugged series was perhaps the greatest project Nirvana had ever worked on. Intrigued, I spent an evening watching through the entire concert, and must agree with the sentiment I read online. In fact, I'd take it a step further and say MTV Unplugged in New York is one of the greatest live performances in the history of music.

 

People cry and people moan

Look for a dry place to call their home

Try to find some place to rest their bones

While the angels and the devils try to make them their own

Where do bad folks go when they die?

They don't go to Heaven where the angels fly

They go down to the lake of fire and fry

See 'em again 'til the fourth of July

~ Lake of Fire

What to expect:

As poster children of the Seattle grunge movement, Nirvana established their gritty and noisy sound across the two remarkable studio albums Nevermind and In Utero. Their brief run that suddenly concluded after the death of Kurt Cobain in 1994 adds to the mystique of this legendary band, leaving fans only to wonder what could have been of these prolific talents. Kurt Cobain, Krist Novoselic, and Dave Grohl made for a terrific trio that revolutionized the direction of music in the 90's and beyond. It's no surprise Nirvana caught the eye of musical authorities MTV, who invited the band to perform on the show MTV Unplugged, which focused on acoustic variations by popular artists. Both Nirvana and MTV were at the height of their popularity, setting the stage for an all-time performance that merged these two superpowers into one. The show took place at Sony Studios in New York City in late November 1993, as fans of Nirvana packed the venue to capacity for a chance to hear a once-in-a-lifetime concert by the band. As opposed to other groups in this forum, MTV Unplugged in New York remarkably was recorded in a single, immaculate take. The setlist consisted largely of Nirvana deep cuts and cover songs, including stellar renditions of David Bowie's The Man Who Sold the World and Lead Belly's Where Did You Sleep Last Night. Kurt was especially eager to share his diverse music tastes to the audience, while simultaneously challenging the band's abilities to play well in a stripped-down environment. Each song employs a minimalist approach that contrasts the grungy distortion effects of recognizable tunes like Come As You Are and All Apologies, reinventing these tracks into profound showcases that emphasize the emotional weight embedded in Kurt's songwriting. The garage rock-inspired heaviness Nirvana is known for is replaced with deliberate strokes of the acoustic guitar that pierce through the amps with exceptional impact, delivering the heaviest sound you'll find on the album. These conditions highlight the tenderness of Kurt's vocals during tracks like Dumb and Jesus Doesn't Want Me For a Sunbeam, juxtaposed with the strained tones of songs like Lake of Fire and About A Girl. Kurt absolutely steals the spotlight on this album, as his bandmates are content with playing a more contemporary role within the music that works in conjunction with Kurt's desired musical direction. His vision is flawlessly executed on the album, much to the delight of the studio audience that squeal with glee between songs (and even before on a few). MTV Unplugged in New York would end up being Nirvana's final recording as a group, as the album was released seven months posthumously to Kurt's death. While far from a traditional Nirvana album, MTV Unplugged in New York offers a beautiful and elegant take on the revolutionary music that sculpted the sound of the 90's.

We passed upon the stair

We spoke of was and when

Although I wasn't there

He said I was his friend

Which came as a surprise

I spoke into his eyes

I thought you died alone

A long, long time ago

~ The Man Who Sold The World

Why it's my favorite: 

I'm not particularly fond of live recordings as replacements for their studio companions. There's too many variables involved in live performances with potential to throw off the vibe. Generally, a studio recording is tediously engineered to bring the highest quality audio through the speakers. However, MTV Unplugged in New York possesses a conservative modesty that unashamedly embraces its flaws as features that result from the quirkiness of the band and unpredictability of stage equipment. Discussions between the band during song interludes are left intact to recreate the intimate atmosphere of the album. Sharp microphone feedback in The Man Who Sold the World and All Apologies add character to songs already full of personality. Kurt's audio spikes in Lake of Fire and Where Did You Sleep Last Night add breathtaking moments of drama that resonate with cutting fury. In fact, Kurt's unhinged final verse within the album's thrilling conclusion is perhaps the most poignant point of the performance. You can hear every ounce of devotion to the material in the absolute passion the lyrics are uttered with. There's palpable energy in the chilling silence of Kurt's final words as he takes a heavy sigh before his last note, almost contemplative in nature to the gravity of the situation. Here was Nirvana, one of music's most iconic groups ever, and they absolutely brought the house down with one of the most memorable performances in the history of live music. Do you think Kurt was aware of the genius that had just occurred on that stage? I'd say given his reserved and critical nature, Kurt was simply too humble to acknowledge the totality of what he'd just done. Instead, Kurt was completely immersed within the music, losing all sense of perception and allowing the art to take control in something akin to an out-of-body experience. From beginning to end, MTV Unplugged in New York is an undeniable masterpiece that is sure to delight grunge fans of all kinds.

Number 23 - Licensed to Ill by Beastie Boys

 Number 23: Licensed to Ill by Beastie Boys

The whitest kids you know

Release: November 15th, 1986
Genre: Hip-Hop
Favorite Tracks: The New Style, Rhymin & Stealin, Brass Monkey

 

Where I heard it: 

Today's entry is especially notable because it concludes the ongoing saga of the mythical stack of CDs I got at a yard sale in the summer of 2009. I lived in a pretty nice suburb at the time, so I was often found riding my bike around the neighborhood. One particular afternoon, I stumbled upon a sizeable assortment of items for sale at a house only a couple blocks from mine. The wares were typical of a yard sale: clothes, artwork, toys, movies, old junk. While curiously perusing, I found a cardboard box that was loaded with CDs priced at $1 each. As I rummaged through the albums, every discovery blew me away more and more: Judas Priest's Screaming for Vengeance, Ozzy Osbourne's Diary of a Madman, Metallica's Kill 'Em All, Pearl Jam's Ten, Van Halen's debut, and of course Licensed to Ill. It dawned on me that I could own these amazing works. I hauled ass back to my house, begged my grandpa to walk down to the yard sale with me, and we picked out about eight or nine albums for ten bucks. . Out of all the CDs I'd acquired, Licensed to Ill was the one that resonated with me the strongest. I was already familiar with the rock crossover tracks Fight For Your Right and No Sleep Till Brooklyn, so my expectations were trending towards more of this guitar-oriented music. Imagine my surprise upon hearing the album's opener Rhymin & Stealin for the first time. I recall sitting in my living room, slack-jawed in complete awe of what I was listening to. I hardly had any experience with hip-hop at this point of my life, so it was a shock to find that the Beastie Boys were not actually rock stars, but instead pioneers of hip-hop that inspired many of the greatest MCs to ever front the mic. The massive appeal of the Beastie Boys cannot be understated, and Licensed to Ill is the genesis of that popularity.

Now here's a little story I've got to tell

About three bad brothers you know so well

It started way back in history
With Ad-Rock, MCA, and me, Mike D

~ Paul Revere

What to expect:

The origins of the sensational trio of Mike D, Ad-Rock, and MCA begin in one of the most unlikely of places. Before they were the Beastie Boys, Michael Diamond and Adam Yauch played in a hardcore punk band named The Young Aborigines. During their run in the early 80's, Diamond and Yauch befriended vocalist Adam Horovitz of the Young and the Useless, who ended up joining the Beastie Boys after the dissolution of The Young Aborigines. Their transition into a hip-hop group was inspired by the release of a satirical song called Cooky Puss, which featured primitive hip-hop beats mixed over a comical skit of a prank call by the boys that quickly found the attention of the New York underground scene. The Beastie Boys would continue experimenting with rap music, which led to their collaboration with then-university student and DJ Rick Rubin. Soon enough, the group went from opening for acts like the Dead Kennedys and the Misfits in 1982 to Run-DMC and Madonna in 1986. Later that same year, the Beastie Boys would drop their bombshell debut Licensed to Ill, completely reinventing their sound and genre while maintaining the gruff and tough image of punk culture.  This album introduced the world to the Beastie Boys' bombastic vocal delivery that prominently showcases each member with rapid flow swaps and emphasized unison sections. The band's cast of characters are aggressively charismatic, best exemplified by the explicit and raunchy material in their lyrics that at times come off scummy and crass, but ultimately are just a product of the boys' whimsical immaturity. Licensed to Ill has plenty of musical integrity that is clearly displayed on tracks like Hold It Now, Hit It and The New Style, but aren't afraid to take their act less seriously with songs like Girls and Brass Monkey. In fact, two of their most famous hits Fight For Your Right and No Sleep Till Brooklyn intentionally lampoon the over-the-top nature of more radio-friendly rock subgenres like glam rock and hair metal. Their diversity on the musical spectrum throughout their careers allow Licensed to Ill to cover multiple genre styles with faithful renditions, largely established by its outstanding sample work. Songs like Posse In Effect and Paul Revere pull from traditional hip-hop influences like funk and R&B, while Rhymin & Stealin and Time To Get Ill include iconic riffs from rock royalty like Creedence Clearwater Revival, Black Sabbath, and Led Zeppelin. It's apparent the Beastie Boys are well-versed in their musical knowledge from the multiple references that are hidden like easter eggs for the listener to discover and enjoy. Licensed to Ill may not have invented hip-hop as we know it, but it certainly changed the landscape of rap music at a pivotal time in its history. 

Your pops caught you smoking and he says, "No way!"
That hypocrite smokes two packs a day
Man, livin' at home is such a drag
Now your mom threw away your best porno mag
Don't step out of this house if that's the clothes you're gonna wear
I'll kick you out of my home if you don't cut that hair
Your mom busted in and said, "What's that noise?"
Oh mom, you're just jealous it's the Beastie Boys
~ Fight For Your Right

 

Why it's my favorite:

The polarization and controversy of the Beastie Boys make them tough to love, but their infectious personalities and catchy beats make them impossible to hate. The reverence for the Beastie Boys among the hip-hop community expands much further than a passionate fanbase, as sections of Licensed to Ill have been featured in tracks by countless legendary artists like N.W.A., Public Enemy, and Eminem. I've thoroughly enjoyed picking up these subtle references as my musical taste has expanded; it's always amazing to see how wide of a net Licensed to Ill has cast upon music as a whole. Sampling is an artistic homage that happens less frequently these days, but it's status as a legal grey area in the 80's and 90's opened the floodgates for sampling in hip-hop. Licensed to Ill makes the absolute most of that creative freedom, utilizing as many outsourced beats as possible to assemble their own reimagined interpolation. It's quite likely that this album wouldn't have been possible to produce today in the age of music licensing and royalties. It's definitely a product of its time from both a production and lyrical standpoint, yet remains ageless in its youthful spirit. On a personal note, Licensed to Ill assisted in building a foundation for hip-hop that would soon emerge in my later teens. Its rudimentary prolusion of the genre was perfect for a first-time listener, at it came at just the right time in my life. I remember how overjoyed and appreciative I was towards my grandpa for buying me that stack of CDs, and I'm still just as thankful for that purchase to this day. Music was so imperative to me during this period, as I was preparing to move across the state with my mom while simultaneously transitioning into high school. Licensed to Ill was comforting to me because I knew what to expect from it every single playthrough. I'd blast it over my stepdad's home sound system when I was alone; I can recall one instance where he was actually home and scolded me for playing it too loud. Admittedly, I may have on the rose-tinted glasses in my retrospective of Licensed to Ill, but I know I'm not alone in these experiences. You've got incredible athletes like Novak Djokovic and Travis Kelce singing Fight For Your Right over stadium PAs. At this point, they're entrenched so deep into popular culture, everybody is bound to know at least one song from their catalog. Licensed to Ill is more than just a rap album; it's an institution of the American lifestyle.

Number 24 - Newborn Sun by CHON

 Number 24: Newborn Sun by CHON

A brighter take on math metal

Release: June 11th, 2013
Genre: Prog Rock
Favorite Tracks: Puddle, Fluffy, Bubble Dream

 

Where I heard it: 

In the summer of 2016, I went to a concert with a group of friends to see the band Periphery. For the uninitiated, Periphery is a progressive metal band that specializes in the subcategory of djent, known for its metalcore influences and complicated time signatures. The show promised a night of heavy moshing and headbanging, as foretold by their opening acts Sikth and Toothgrinder. Sandwiched in between these two extreme groups were a band called CHON, a group that seemed unknown by the majority of the crowd. It was a bit of a shock when CHON started their set, as the contrast in both style and volume suddenly shifted to something much less abrasive. Unlike the uproarious and chaotic mob of the preceding Toothgrinder set, the audience for CHON was silent and frozen still, watching in awe of the captivating product these guys put out on stage. I wouldn't say the crowd was unreceptive to CHON, but the vibe was much different as opposed to the other acts I saw that night. Everybody in the venue paid close attention to the music because we wanted to hear what they'd conjure up next. Once the song ended, massive applause. Then, without missing a beat, CHON would introduce the next song and get right back into the groove. Even though they weren't the headliner, I came away from that concert fully knowing that CHON delivered the best performance of the night. Very rarely do I see opening acts at concerts that resonate with me so strongly, but there was something so light-hearted and endearing about CHON that wouldn't let me forget about them anytime soon. I headed to Spotify for a deep dive, starting from their debut EP Newborn Sun. While I thoroughly enjoy the entirety of CHON's catalog, I will always be partial to the album that gave me my first formal introduction.

"The trick to enjoying Newborn Sun is to let go of your expectations. CHON were babies when they released their demos in 2008. They have matured and their influences have grown, which have resulted in a different - though not completely foreign - direction and sound."
~ Sputnik Music

 

What to expect:

Progressive rock has expanded prolifically since its heyday in the 70's and 80's, built upon the ideas laid out by its predecessors. Gone are the days of psychedelic synthesizers mastered by prog Gods like Rush and Yes, replaced by greater knowledge of musical theory and meticulous note arrangement. Most of these progressive elements are seen in genres that encourage more advanced instrumentation, such as metal. CHON's particular brand falls somewhere in between the spectrum of metal and rock, demonstrating their heaviest sound right out the gate with their self-released EP Newborn Sun. Comprised mainly by the brotherly trio of Mario, Esiah, and Nathan Camarena, Eric Hansel's additional backing guitar is the glue that holds everything together within this unique group. While CHON boasts all the necessary characteristics for metal classification, their approach to the genre is much more palatable to a general audience than the hardcore sounds that traditionally accompany the genre. For one, Newborn Sun is entirely instrumental, removing the intimidation of coarse vocals in favor of a purer experience that puts the grooves front and center. CHON's synchronicity is essential to the success of their final product, which features tight unison sections and creative polyrhythms split between instruments. This musical emphasis allows for remarkable creativity in tracks like Puddle and Dew that exhibit the well-developed chemistry among the group's members. The bubbly tones of Mario and Eric's guitars unleash a swift flurry of notes that perfectly pair with the frantic blast beats of Esiah's drum kit. Newborn Sun is undoubtedly complex in its structure, but not to the extent where its songs are too abstract or undiscernible. Instead, each song from the album focuses on executing a concept to its fullest before dissipating into the next track. Newborn Sun is straightforward with its delivery, wasting no time with elaborate diatribes that muddle their progression throughout the album. In fact, its bite-size runtime of just over seventeen minutes is a large part of the draw for me. During that short period, CHON are able to bring the house down with impressive licks and fills that leave you salivating for more. This may initially seem like a cop-out for lack of material, but I'd argue that Newborn Sun's artistic briefness strengthens the sum of its parts, choosing not to overstay its welcome and go out on top. Its clear direction is a bold proclamation that if your material is good enough, there's no need to justify it with extra bells and whistles. CHON's talent stands on its own as the only reason you'd ever need to fall in love with them. 

"[CHON] managed to attract a devoted cult audience for their modest yet elegant math rock algorithms: nimble twin-guitar filigrees arranged with pinpoint dexterity and precision. CHON play fast and they play hard, but at the same time are incredibly light on their collective toes, dancing around each note with an easy grace that bellies the intricacy of the musical architecture."
~ Prog Archives

Why it's my favorite: 

It's entirely true that challenging material doesn't necessarily make it good by default. Every song isn't meant to be dissected down to the molecule to derive its meaning. However, growing up as a percussionist, it can be a lot of fun breaking down the anatomy of a track in order to appreciate its musicality. Newborn Sun offers a feast for starved musicians that craves both substance and technicality. Its lack of lyrics forces the audience to discover the intricacies of every song that lie hidden in plain sight. Its segmented composition takes advantage of dramatic pauses to seamlessly transition between different modes of time. Even for a novice listener, the album's modulated beat patterns are easy to follow along with. For instance, Fluffy's intro is written in 9/8, a relatively unused time signature that ends up flowing remarkably well. Puddle starts out in a 5/4 jam before gradually removing beats from the measure down to 4/4 and eventually 3/4. The beats are then added back, concluding with an epic 5/4 outro that puts CHON's full range of talent on display. It doesn't matter what obstacles you throw at these guys; CHON will inevitably weather through the storm thanks to the skills of its faithful crew. Mario and Eric make for a terrific string tandem that sweep every inch of the guitar neck, providing riveting tales with their harmonic riffs that leave no need for lyrics. Although CHON would experiment with vocals in later installments, I much prefer the instrumental takes for the insane production value they put out. Most notably, I can't help but be impartial in my preference to the percussive performance of Esiah on Newborn Sun. The sheer impact behind his entire kit adds decorated texture to any moment, whether it's a resonant crash cymbal or the pop of his snare drum. CHON are a special group that has the potential to make it big one of these days, but I have a feeling these guys are in it for the music over the fame. Their humble attitudes allow their talent to do all the talking, and Newborn Sun speaks volumes in an extremely limited amount of time.

Number 25 - Appetite for Destruction by Guns 'n' Roses

 Number 25: Appetite for Destruction by Guns 'n' Roses

You're in the jungle, baby

Release: July 21st, 1987
Genre: Hard Rock
Favorite Tracks: Paradise City, Mr. Brownstone, Nightrain

 

Where I heard it: 

I'm not exaggerating when I say that Appetite for Destruction defined my identity throughout middle school. This more or less was an extension of my obsession with Guitar Hero III: Legends of Rock, which prominently features rock icon Slash of Guns 'n' Roses as a playable character. This would also be the first instance I ever heard Welcome to the Jungle, a song that's become so closely synonymous with Guns 'n' Roses that it feels foreign to imagine a time where I was none the wiser. Seemingly overnight, I was transformed into a child of the late 80's rock and roll scene. Everything from my music taste to my fashion sense revolved around this band. I viewed myself as the foremost authority on anything and everything classic rock. I bought the 20th Anniversary collector's edition vinyl of Appetite for Destruction from a Hot Topic, despite never having even seen a phonograph in my life. I wore my graphic T-shirt that displayed the album's art proudly until it was completely tattered and torn, maybe even longer. I grew my hair out all the way down to my shoulders (not sure how I got my mom to let me see that one through). In hindsight, it must have been insufferable as an adult to listen to a tween's ramblings over a band and era that they themselves were likely well-versed on already, because they lived through it. Regardless, that didn't stop me from spreading the Guns 'n' Roses gospel just about everywhere I went. Somewhere in the year 2008, I remember perusing the electronics section of Wal-Mart and discovering a copy of Appetite for Destruction on CD. Even though I already loved this album so much, I admittedly hadn't given their most notable work a proper listen yet. I was set on correcting that mistake immediately, extracting the mp3s onto my iPod so I could play these new songs over and over again. Hell, I'm still jonesing for my Guns 'n' Roses fix all these years later.

 Well I'm a west coast struttin', one bad mother
Got a rattlesnake suitcase under my arm
Say I'm a mean machine, been drinking gasoline
And honey, you can make my motor hum
I got one chance left in a nine live cat
I've got a dog eat dog sly smile
I got a Molotov cocktail with a match to go
I smoke my cigarette with style
And I can tell you honey, you can make my money tonight
~ Nightrain

What to expect:

Throughout the tenure of the 80's, the state of rock music adhered to one almighty mantra: sex, drugs, and rock and roll. There are several bands like Mötley Crüe and Van Halen that embody that phrase to a tee, but pale in comparison to the outrageous antics that Guns 'n' Roses became infamous for during the height of their storied careers. Although each of the band's five members participated in this frivolous lifestyle, the two main conspirators in these nefarious activities were lead guitarist Saul "Slash" Hudson and frontman Axl Rose. These two exuberant rockstar idols are the heart and soul of Guns 'n' Roses, flaunting their glamorous habits with illustrious tales of sexual escapades and late-night debauchery. Appetite for Destruction is the culmination of these events into a living, breathing entity that showcases the band's wheeling and dealing ways. Axl is quick to establish himself as the ultimate cock of the walk, stealing the spotlight with a howling vocal register that has been revered as one of the most recognizable and respected among rock musicians. His bad-boy image and pompous attitude are on full display throughout Appetite for Destruction, whether detailing his daily drug itinerary on Mr. Brownstone or sharing braggadocious acts of promiscuity in Anything Goes. Meanwhile, Slash patiently waits in the wings between verses in anticipation of delivering a nasty riff or face-melting solo for the ages. Axl Rose is certainly a tough act to follow, but Slash's effortless fretwork makes Axl look like a sideshow to the main attraction. Like King Midas, every note from Slash's iconic 1959 Gibson Les Paul guitar rings like gold. Appetite for Destruction is lauded for the inclusion of some of rock and roll's greatest riffs ever written, from the legendary lick on Sweet Child O' Mine to the epic intro that leads off Welcome to the Jungle. Apart from these mainstays of the band, even the album's B-sides like My Michele and You're Crazy put forth remarkable effort from a musical standpoint. Truly, the unsung heroes that make Guns 'n' Roses a total success are their remaining members: Izzy Stradlin on rhythm guitar, Duff McKagan on bass, and Steve Adler on drums. Still popular in their own right, these guys hardly get the recognition they deserve for the integral accompaniment they provide on an album chock full of talent. These three are the workhorses that lay down the solid foundation for their two superstars to shine through the brightest, and do they ever. Appetite for Destruction is the pinnacle of rock and roll in the 80's, and I don't think the competition is even close.

 She's got eyes of the bluest skies
As if they thought of rain
I'd hate to look into those eyes
And see an ounce of pain
Her hair reminds me of a warm, safe place
Where as a child I'd hide
And pray for the thunder and the rain
To quietly pass me by
~ Sweet Child O' Mine

Why it's my favorite: 

During my early childhood, my appeal to music was pretty much whatever was popular at the time for one reason or another. There'd be a song featured in a children's movie that'd make a surge on the charts, and of course I always had top 40 radio to fall back on. The emergence of Guitar Hero would then set the trajectory of my music taste for the next decade, and Appetite for Destruction would be my primary takeaway from the experience. It's quite clear this album left a lasting impression on me as a kid with its electrifying performance and explicit platform. I recall this album being my first instance hearing the word 'fuck' uncensored in a song, specifically the F-bomb in Out Ta Get Me. The ferocity of Axl's annunciation with the long 'f' in the line, "for so fucking long"...gets me pumped every time. This characteristic appears quite frequently in Axl's singing, abusing his vocal chords beyond their limits to create shrieks and growls that few can emulate. However, Axl's history of violent outbursts and unwavering ego have since overshadowed his remarkable abilities. Constant in-fighting and unpredictable behavior at live shows would ultimately be the downfall of Guns 'n' Roses in the 90's, but the band continued on with Axl as the frontman. Predictably, these releases weren't received anywhere near as warmly as entries like Appetite for Destruction. The absence of Slash completely ruined the flow of the band. Unlike Axl, Slash never lost a step in his musical career, forming superbands with acts like Buckethead and Stone Temple Pilots' Scott Weiland. Slash's on-stage persona has transcended rock and roll, making him a pop culture celebrity throughout the 2000's. This man was my role model throughout my early teens. While I never learned guitar proper, Slash made it a childhood dream of mine to be a rockstar. My relationship with music would have never taken such a serious turn had it not been for Appetite for Destruction. I'm honestly not sure of the person I'd be today without it.

Number 26 - Black Sunday by Cypress Hill

 Number 26: Black Sunday by Cypress Hill

Hip-hop's Cheech & Chong

Release: July 20th, 1993
Genre: Hip-Hop
Favorite Tracks: When the Shit Goes Down, Insane in the Brain, Hits from the Bong

 

Where I heard it: 

If you've been following along my top 100 journey, it should be no secret by now of my relationship with the devil's lettuce. While the ganja nearly prevented me from graduating high school, it also opened the door for several new genres of music that were suddenly much more palatable. Like any trendy teen who just discovered the wacky tobaccy, I wasted no time embodying the stoner lifestyle, complete with a self-curated playlist full of songs all about smoking jazz cigarettes. For years, Cypress Hill's Hits from the Bong was our household call-to-action, herding us boys out to the back porch for a long toke before returning to whatever it was that kept us occupied. My sentimentality with Hits from the Bong eventually influenced me to catch Cypress Hill's set at the music festival Riot Fest in 2015 on a whim, figuring they couldn't be too bad of a live act. I'll remember that show for years to come; I don't think I've ever seen more smoke in an open area than during their performance of I Wanna Get High. Still content with Cypress Hill as a novelty act, I wouldn't be turned on to Black Sunday until months later when I stumbled upon this thread on Reddit's r/HipHopHeads (which I'm surprised I was still able to find). In this post, a user unfamiliar with hip-hop combed through nearly 150 different albums that the Hip Hop Heads community deemed as must-listens. Surprisingly, the only album to achieve a perfect 10 was Cypress Hill's Black Sunday. That post was the catalyst that encouraged me to finally crack open this classic album in 2015. In turn, Black Sunday transformed from supplemental smoking material to one of my favorite hip-hop albums.

Like Louis Armstrong played the trumpet
I'll hit that bong and break ya off somethin' soon
I gotta get my props
Cops come and try to snatch my crops
These pigs wanna blow my house down
Head underground to the next town
They get mad when they come to raid my pad
And I'm out in the nine deuce Cad
~ Insane in the Brain

 

What to expect:

When discussing the immense talent base among west coast rappers throughout history, the subject tends to steer toward the obvious choices such as 2Pac and Dr. Dre. Oft omitted from this conversation, Cypress Hill hails from the hip-hop hotbed of the greater Los Angeles area that legends like N.W.A. and Kendrick Lamar call home. Comprised of MC duo B-Real and Sen Dog along with DJ Muggs, Cypress Hill stormed onto the scene in the early 90's with a unique vocal delivery and hard hitting beats that get straight to the point. One of the first Latino-American rap groups to make it big following their eponymous debut, their sophomore effort Black Sunday reflects upon numerous experiences as minorities in the trenches of gang territory in southern California. Concurrent with the golden age of gangsta rap, Cypress Hill is forthright and unabridged in tracks like A to the K and Lick a Shot which explicitly detail the vengeful and malicious acts of violence towards police and rival gangs alike. B-Real and Sen Dog can sound downright sinister on a verse when paired with DJ Muggs' bass-heavy beats that pull from some of the most obscure and surprising sources. In fact, there's a few different tracks on Black Sunday that sample sections of other tracks from the very same album. It's as if Cypress Hill knew that some of the bars they dropped were instant classics the moment they wrote them. When taking a break from the action, the band pays tribute to the sweet leaf in loving fashion with the ent anthems Hits From the Bong and I Wanna Get High. Additionally, several drug references are peppered throughout the album that emphasize the necessity for a healthy green diet when leading a life of criminality. Besides fellow LA rapper Snoop Dogg, no other group in hip-hop eclipses the passion for cannabis that Cypress Hill possesses. Despite objection from their record label, Black Sunday managed to cross over into the mainstream with the mega-hit Insane In The Brain, proving the marketability of their music. This album's funky beats and clever wordplay make it a staple among any respectable hip-hop collection.

She never complains when I hit Mary
With that flame I light up the cherry
She's so good to me
When I pack a fresh bowl I clean the screen
Don't get me stirred up
The smoke through the bubbling water is makin' it pure
So I gotta take my hit and hold it
Just like Chong, I get the bowl and I reload it
Get my four footer and bring it on
~ Hits from the Bong

Why it's my favorite: 

My love for Cypress Hill's style derives from a different kind of appreciation apart from other favorites such as Aesop Rock and MF DOOM. Black Sunday demonstrates that hip-hop isn't necessarily all about wordsmithing scholarly masterpieces; all you need is a fat beat and a funky flow. Incredibly underrated in this regard, DJ Muggs is an absolute savant with his sample selection and production methods. Typical of old-school hip-hop, DJ Muggs mainly deals in the rap roots of 60's and 70's funk and soul, but is plenty privy to rarely used rock and roll songs, namely the Sabbath-inspired We Ain't Goin' Out Like That. It's subtle nods like these that helped Cypress Hill reach a broader audience in their later careers, often credited by nu-metal bands as close influences. DJ Muggs' ability to conjure the catchiest beats with the most broken of parts ranks him in my book as one of the best rap DJs to ever man the turntables. Not to be overshadowed, B-Real and Sen Dog know exactly how to rock a rhyme to get the place bumping. The duo integrates a tandem slam of punctuated raps and playful verbiage in every bar, assuring every line and reference is clearly understood. There's a delightful cheekiness embedded into their rhymes that converts harrowing tales of homicide into casual escapades that are simply inevitabilities of the gangster lifestyle. Between the half-baked wordplay and bouncy rhythms, Black Sunday embraces the idea that hip-hop isn't all serious and profound; it's meant to be a little fun, too. This concept would soon become a hallmark of west-coast gansta rap, especially upon the release of Snoop Dogg's debut album Doggystyle, which helped bolster the ammunition within the east-coast versus west-coast conflict. Cypress Hill are certified pioneers of their genre, and Black Sunday is really all you need to back up that argument.

Number 27 - OK Computer by Radiohead

 Number 27: OK Computer by Radiohead

The voice of a generation

Release: May 21st, 1997
Genre: Alternative
Favorite Tracks: No Surprises, Airbag, Let Down

 

Where I heard it: 

In an effort to broaden my musical taste, I checked out the book 1001 Albums You Must Hear Before You Die from my library off a recommendation from the internet. Designed as a coffee table book to flip through at leisure, I read this thing religiously for weeks over the summer of 2011. However, contrary to the spirit of the book, I found myself simply thumbing through entries from bands that I was only vaguely familiar with through repeated suggestions. The only album from this book I really remember having any significant resonance to me was Radiohead's OK Computer. While I'd never listened to the album, I knew about the reverence behind OK Computer since I was a child. My internet browsing habits often led me to a niche gaming discussion forum called VGF, which developed a small but close user base over the couple years I frequented the page. As such, many additional forum subjects were added apart from video games like sports, television, and music. Radiohead were infamous among VGF for their decidedly high amount of favorability, which made sense because the average age of each user at the time was early to mid 20's. I had only just started to acquire my taste in music, so I never gleamed much from Radiohead's notoriety until my high school years. I quickly rented a CD of OK Computer from my library (support your local libraries, man!) to see for myself what all the fuss was about after all these years. Turns out the opinions I encountered in my adolescence were entirely fact: OK Computer is one of the greatest albums of the 90's, dare I say of all time.

I wish they'd swoop down in a country lane
Late at night while I'm driving
Take me on board of their beautiful ship
Show me the world as I'd love to see it
I'd tell all my friends but they'd never believe me
They'd think that I'd finally lost it completely
I'd show them the stars and the meaning of life
They'd shut me away
But I'd be alright
~ Subterranean Homesick Alien

 

What to expect:

When it comes to the Radiohead discography, there's hardly a bad choice to the question of which album is their best work (except Pablo Honey, that's definitely the wrong answer). Radiohead are unique in that their musical evolution goes through several different iterations to reach the ethereal and industrial style they're known for today. OK Computer marks a pivotal turning point in the career of Radiohead, reaching what I believe is the apex of their sound that merges the sappy alt rock ballads of The Bends with the experimental tones of Kid A and the majority of their following installments. This duality is split evenly between the track listing of OK Computer, each half embodying its own style to curate a more cinematic experience compared to previous entries. The album's first six tracks mirror the solemn and lovesick aura of The Bends before a tonal shift occurs with the eerie Fitter Happier that shatters all expectations with more exploratory elements than the band is used to. Layered between the deep impact of Philip Selway's drums and echoing strums of Jonny Greenwood, Thom Yorke's haunting vocals paint abstract imagery of a dystopian digital age, penning lyrics from the perspective of its inhabitants who are useless to resist its stranglehold on the modern world. While the overall narrative of OK Computer is a bit disjointed, its themes tend to revolve around the motifs of an anti-capitalist uprising that contrasts the societal acceptance of rapidly advancing technology. Yorke's songwriting was heavily inspired by political literature from authors like Noam Chomsky, while the music shrouds itself in a mysterious atmosphere full of tension and terror. This dissonance from OK Computer wreaks havoc upon the listener, toeing the edge of sanity with poetic ramblings that border intellectual dribble to those attempting to contrive brevity from them. Despite its occasional nonsensical nature, Radiohead relies on gradual pacing throughout OK Computer to create moments of emotional affect that blossom into beautifully tragic melodies. This composition method would become the primary model for future Radiohead albums as the band began to find their niche, but none of it would have been possible without the gamble of OK Computer that paid off in massive dividends for music as a whole.

A heart that's full up like a landfill
A job that slowly kills you
Bruises that won't heal
You look so tired, unhappy
Bring down the government
They don't speak for us
I'll take a quiet life
A handshake of carbon monoxide
No alarms and no surprises
Silent
~ No Surprises

Why it's my favorite: 

There's a wealth of 90's alternative bands that simply pale in comparison to the monumental strides that Radiohead took during this period. Given the direction of Pablo Honey and The Bends, Radiohead very well could have found themselves among this massive heap of content with nothing to differentiate them from their contemporaries. Instead, OK Computer took a bold chance integrating cybernetic components to their subtle melancholy with the hopes of spurring something entirely new into the music sphere. Radiohead has since solidified their brand as mainstays of innovation with every release, from In Rainbows to their most recent installment A Moon Shaped Pool. Just when you might feel acclimated to the sound of Radiohead, each record slightly reinvents the formula in order to achieve a uniqueness among the discography. Yet, they all seem to fall just short of the metamorphosis that OK Computer embarked upon so many years ago. To call this album a revolution is a massive understatement. OK Computer set the standard for the alternative genre, and certainly helped guide the trajectory of my own personal music taste. Throughout high school, I yearned for music with the same bittersweet flavor as OK Computer. I felt late to the party first listening to OK Computer fifteen years after its release, but now allow myself to celebrate in all the wonderful qualities that make this album such a favorite of mine. There are few examples of albums that I can listen to in times of both joy and sorrow. Like many others, I wasn't privy to a good cry while Let Down or No Surprises softly played over my speakers. Meanwhile, songs like Airbag and Paranoid Android regularly appeared in playlists I made to listen to while at work. OK Computer's versatility assures a listening experience unlike any other, earning its status as one of the best albums ever recorded.

Number 28 - Hybrid Theory by Linkin Park

 Number 28: Hybrid Theory by Linkin Park

An angsty teen's best friend

Release: October 24th, 2000
Genre: Nu Metal
Favorite Tracks: Points of Authority, Papercut, A Place for My Head

 

Where I heard it: 

As far back as I can remember, I can't seem to recall any significant moment that brought me on to Linkin Park. Honestly, I feel as though I was listening to them my entire life. In reality, Linkin Park was among one of two bands (the second to be featured later on!) that I would consider my favorite as a kid. Uncoincidentally, my fixation towards these to groups was due largely in part to seeing them live for one of my first concerts. I attended Linkin Park's Projekt Revolution festival in 2007 at the ripe age of 11, and proceeded to spend the entire time screaming until my voice gave out and headbanging my way into mild whiplash. I was already listening to the band at that point, but my status as a super fan was undoubtedly solidified that night. I combed through every corner of their catalog, I asked for their latest album Minutes to Midnight for Christmas, I watched all their concert documentaries on YouTube...I simply couldn't get enough of these guys. What I wouldn't give to have the experience of listening to their albums for the first time again. Listening to a new Linkin Park song was like an instant rush of adrenaline to my juvenile system, which gradually led up to my discovery of their debut Hybrid Theory. Not having consumed any true metal music at this point, this album was by far some of the heaviest content I'd ever heard, maybe apart from Rage Against the Machine. Both groups have the same scheme of balancing rap and rock in common, but the dual dynamic Linkin Park possessed took the idea so much further than Rage ever did.

I kept everything inside
And even though I tried, it all fell apart
What it meant to me will eventually be a memory
Of a time when I tried so hard and got so far
But in the end, it doesn't even matter
~ In The End

What to expect:

By the turn of the millennium, there was plenty of excitement towards the direction music was headed. New ideas were popping up left and right, which demanded many groups have a caveat that could make them more marketable. This coincides perfectly with the timeline of the Nu Metal explosion that brought us groups like Disturbed, Staind, and of course Linkin Park. Paved by predecessors such as KoRn and Limp Bizkit, Nu Metal is characterized by the industrial basis of metal music that then integrates elements of other genres, such as hip-hop or electronica. Linkin Park is a hodgepodge of several artists that offer their own individual contributions to produce unique tracks that are one-of-a-kind. Most notoriously, Chester Bennington brings the sharpness to Linkin Park's vicious edge, famously belting out his emotionally intimate lyrics with a duality of tender passion and extreme fury. Most of the choruses will feature the grittier, unfiltered vocals of Bennington, while verses switch back to a gentler purr that will make you question whether these two voices are coming from the same person. Otherwise, Mike Shinoda takes the responsibility of stringing together songs with catchy raps that demonstrate impressive flow for a band that transcends multiple genres. In addition, Linkin Park's in-house DJ Mr. Hahn helps deliver those hip-hop flavors that are equally as prominent as the blasting instrumentation of Brad Delson on strings and Rob Bourdon on drums. The symbiotic relationship of these two clashing styles is put on full display throughout Hybrid Theory, constantly fighting for supremacy between tracks like One Step Closer and In The End. Linkin Park's success hinges upon its careful execution that juxtaposes two opposite forms of music into one brilliant combination. One of its few common denominators is the depth of songwriting, provided by Bennington's struggles with depression that ensnares him along with countless others. Songs like Crawling and By Myself are prime examples of the pessimistic outlook Chester has on life, despite achieving fame through his accomplishments. Hybrid Theory's candid approach is a large part of what helped Linkin Park achieve notoriety; their audience truly relates to the music on a deeper emotional scale. Perhaps at the expense of Bennington, the staying power of the band relies on the darkest recesses of Chester's mind. Hybrid Theory is brave enough to confront its demons eye-to-eye for all to see, reminding us all that we're not alone in the battles we fight internally.

Forfeit the game
Before somebody takes you out of the frame
And puts your name to shame
Cover up your face
You can't run the race
The pace is too fast
You just won't last
~ Points of Authority

 

Why it's my favorite: 

On the morning of my daughter's birth, only a handful of hours after delivery in fact, I woke up to immediately see a news headline on my phone: Chester Bennington dead at 41. I rubbed my eyes a bit and read the headline again. I thought this was some sort of sick joke. I didn't want to believe it. There I was, laying in the uncomfortable pull-out chair the hospital provides, absolutely stunned in silence. Admittedly, I drifted away from Linkin Park in later years, but I still felt such a potent connection between Chester and the part he played in the healing process of countless personal tragedies during my teens. I remembered all the times their songs were the soundtrack to my late-night sobs in the darkness of my bedroom. I thought about the incredible memories I had of seeing the duet of Cris Cornell and Chester sing duets at Projekt Revolution years ago. Now, both of these wonderful humans were gone. I didn't know what else to do but cry. To this day, I still get emotional thinking about the pain and torment Chester must have endured to resort to taking his own life. He poured his heart and soul out on every record for all to see, whether those songs were about triumphs or tribulations. Linkin Park was a band that seemed to grow with me in my age, with their later entries speaking a message of hope and redemption. Suddenly, all of that seemed so hollow. In the wake of this tragedy, the fan community has banded together stronger than ever with the help of Linkin Park's remaining members. Mike Shinoda even took it upon himself to post several blogs to preserve the memory of Chester Bennington. Whether or not we will ever see new material from Linkin Park will have to remain a question for now, but the group will certainly never be the same without Chester's presence. Albums like Hybrid Theory are all we have now to reminisce upon, showcasing the remarkable talent of a tortured soul that has now found peace. Rest easy, Chester. We all miss you so much.

Number 29 - Band of Gypsys by Jimi Hendrix

 Number 29: Band of Gypsies by Jimi Hendrix

The show must go on

Release: March 25th, 1970
Genre: Rock
Favorite Tracks: Machine Gun, Power to Love, Who Knows

 

Where I heard it: 

As a kid with a developing taste in classic rock, it was quickly understood that nobody in the business ever strummed the strings with as much raw emotion and remarkable innovation in the genre than Jimi Hendrix. There was a long portion of time where I completely idolized this man and the legacy he left behind in his short time here on Earth. The sheer mystique behind Jimi's legendary presence was well intriguing enough for me to completely get behind the ideology of his music as a budding teenager. Starting with his trilogy of albums released by the Jimi Hendrix Experience, I regularly consumed just about as much Hendrix content as I could throughout high school and beyond. It was a new revelation every time I heard a lesser known Jimi track, like his interpretation of Catfish Blues from his Blues EP or the live recording of Hear My Train A Comin' released as a B-Side on Valleys of Neptune that I only uncovered a couple years ago. Jimi Hendrix is truly the musical gift that keeps on giving long after his passing. One of my personal favorite projects of his came in the form of his spinoff group Band of Gypsys, Jimi's first album release following his departure from the Experience. One of my best friends in high school was an absolute savant at guitar, spanning multiple genres that included folk and metal. During the summer between my junior and senior year, this friend introduced me to a song by Hendrix he was currently jamming to with his band, an all-out rock banger called Power to Love. Even as an avid Hendrix fan, Power to Love blew me away with its powerful riffs and overall thrilling performance. It didn't take me long to order a vinyl record of Band of Gypsys only record which documented their historic multi-night performance at the prestigious Fillmore East theater in New York City. If you're not familiar with this record, it's easily one of the greatest works among the Hendrix catalog.

Evil man make you kill me
Evil man make me kill you
Even though we're only families apart
I pick up my axe and fight like a farmer
And your bullets keep knocking me down
But you still blast me down to the ground
The same way you shoot me down
You'll be going just the same
Three times the pain
And your own self to blame
~ Machine Gun

What to expect:

Especially during the early days of recording technology, live albums often force its listening audience to embrace the inherently flawed nature of real-time performances. Live shows can tend to be unpredictable between lackluster crowd reaction and production mistakes. However, there do exist rare examples of live recordings that manage to harness the atmosphere of an immersive, once-in-a-lifetime experience replicated right at home. Band of Gypsys provides all of this and more over its 45 minute runtime, capturing every bit of resonance and expression that Jimi is notorious for providing during his time on stage. Jimi delivers some of his most iconic work within this album, including the twelve minute epic Machine Gun that addresses the senseless violence of the Vietnam War, complete with guitar effects that mimic automatic gunfire and screaming creaming carpet bombs. The recording quality is brilliant for equipment that is over half a century old, extracting the purest tones out of Hendirx's fabled fretwork. Not to be overshadowed by their illustrious compatriot, Band of Gypsys is rounded out by two additional decorated musicians in their own right: Billy Cox on bass, and Buddy Miles on drums and shared vocals. Famous for their stand-in roles in Jimi's storied Woodstock performance in 1969, Cox and Miles would continue to hold jam sessions with Hendrix until they had enough material to take on the road. For Jimi, Band of Gypsys was an opportunity to spread his wings a bit more creatively, composing more thoughtful and down-to-Earth songs in comparison to the psychedelic musings of his time in the Experience. These tracks also explore different musical stylings such as funk, blues, and R&B that open the door for some impressive improvised jams right in the middle of a song. Clearly, the enthusiasm of the crowd reflects the successful execution of Band of Gypsys' intimate yet electric showcase. The trio actively inspires crowd participation with clapping sections and prefacing dialog to introduce each song, further empowering the performance of the band. It's incredible as a listener acting as a proverbial fly on the wall to feel the music reach out to you in such a direct manner, but Band of Gypsys brandishes the immense talent necessary to recreate that feeling with relative ease.

Free is feee
You ain't supposed to be
Now don't rely on no man
Try to argue instead
Find yourself first
And then your talent
Work hard in your mind
Go come alive
And prove to the man
You're as strong as him
In the eyes of God
~ Message To Love

 

Why it's my favorite: 

What more is there to say about Jimi Hendrix that hasn't already been reinforced throughout decades of history? This man single handedly reinvented guitar music by relentlessly abusing his frets night after night, pushing the boundaries of the instrument to reach capabilities that artists are still attempting to emulate to this day. There's no hyperbole to the rhetoric of Hendrix's gravitational influence of music as a whole, he was just that dude. Jimi accomplished staggering levels of output given his highly concentrated period of activity before turning in at the young age of 27. Frankly, it's baffling that this record is considered a hidden gem among the Hendrix discography, because it deserves just as much recognition as his first three studio albums with the experience. Even for his monolithic track record, Band of Gypsys displays an aura of poise and maturity in Hendrix's playing style that wouldn't be seen again, as this album marks his last release before his death in 1970. Like many others, I'm left only with my imagination of the heights that Jimi could have reached had he continued his storied career past his twenties. Instead, Band of Gypsys serves as one last hurrah to celebrate the extraordinary life of one of music's greatest acts. This particular entry is close to my heart for the memories of summertime on the back deck, smoking the night away while jamming to some Jimi with good company. Life is just better with a little Jimi Hendrix mixed in.