Number 11 - American Idiot by Green Day

 Number 11: American Idiot by Green Day

A pop-punk revolution

Release: September 24th, 2004
Genre: Pop-Punk
Favorite Tracks: Jesus of Suburbia, Homecoming, Holiday/Boulevard of Broken Dreams

 

Where I heard it: 

My first concert ever was on September 24th, 2005 at Oracle Park in San Francisco. I was nine years old with my mom and thirteen year old cousin, pressed against the front rail watching Green Day set the place ablaze with remarkable showmanship for their American Idiot tour. This day might be one of the most momentous points of my life, setting in motion my addiction for live music, and really music in general. Green Day became the first band I ever obsessed over, revolving my entire personality based off the rebellious and charismatic image of the band. I downloaded the CD for American Idiot to every device I possibly could. I'd turn on MTV while eating breakfast before school to watch music videos for American Idiot and Wake Me up When September Ends. My poor friends had to hear the same spiel day after day about how great these guys were, to which they were thankfully quite receptive to. In fact, a few friends and I even shambled together a four piece band, holding one or two rehearsals before playing a sloppy run through of Basket Case at one of my classmates' graduation parties. Ah, childhood memories...those were the good times. I had mostly grown out of my Green Day phase by the time I hit high school, orienting my tastes toward more intense and extreme genres. The lackluster commercial success of Green Day's discography around this time contributed a bit to this transition, framing the band in my mind as a thing of the past. I have no idea what caused it over time, but I guess I just...forgot how good American Idiot was? Look, I've listened to a lot of incredible music since my youth, some of the nostalgic masterpieces are bound to slip through the cracks. As I start to get older and look retrospectively on my life, I'm remembering and growing fonder of the music that shaped the course of my life to this point. There's just no way you can tell my story without the inclusion of American Idiot in there somewhere.

Left me here alone
And I should've stayed home
After ten cups of coffee I'm thinking
Nobody likes you
Everyone left you
They're all out without you
Having fun
~ Homecoming

What to expect:

Champions of the 90's punk scene, Green Day were starting to look like relics of the decade by the turn of the millennium. Their 2000 album Warning was met with lukewarm reception, and the release soon after of a greatest hits compilation International Superhits! all but sealed the group's posthumous fate. The band held several meetings to discuss the direction of the group before deciding to give it another go. Nearly 20 songs for their next album entitled Cigarettes and Valentines were recorded, until the demo tapes were stolen in a disastrous turn of events. This was a pivotal moment for Green Day, who could have very easily elected to rerecord the material. Instead, frontman Billie Joe Armstrong admitted to himself that these songs weren't representative of Green Day's best work, and returned to the drawing board with an attitude of rejuvenation. Along with Armstrong, bassist Mike Dirnt and drummer Tre Cool ambitiously crafted individual snippets that were initially disjointed, but gradually took form as the songwriting process unfolded. These series of songs would eventually become the five-part epic Homecoming, inspiring Green Day to develop an episodic format with the majority of the album. It wasn't until the title track American Idiot was written that Green Day began to establish a concept for the album: a rock opera that highlighted the fear and hysteria of the younger generation in an age dominated by politics, war, and greed. American Idiot focuses on the internal conflict of rage versus love with theatrical bravado inspired by plays like West Side Story and The Rocky Horror Show. The tracklist follows the anti-hero Jesus of Suburbia, a disparaged teenager looking to find a greater purpose by moving to the metropolis of San Francisco. There, he meets Saint Jimmy, who embarks our character on a journey of disobedient debauchery against the oppressive society that constricts them. In his plight, Jesus of Suburbia fosters a relationship with Whatshername, a bastion of revolution that contrasts the ethics of Saint Jimmy with her belief in a brighter future. Jesus of Suburbia chooses to follow Saint Jimmy, ultimately self-destructing and returning home to reflect upon the wreckage. The careful balance between music and lyrics is perfectly calibrated on American Idiot, embodying the band's usual eclectic energy with an overarching commentary on the world at large. Billie Joe's amazing lyrical arrangement keeps the flow of the story intact while simultaneously maintaining each song's integrity as a standalone hit. The narrative is there for the audience to follow; it's a choice whether or not the listener pays attention. Otherwise, you'll still be treated to over-the-top power chord riffs that seamlessly progress into passionate ballads dripping in poignancy. American Idiot was an undertaking Green Day had never seen the likes of, but paid off in massive dividends. They absolutely dominated the airwaves with a handful of charting singles like Holiday and Boulevard of Broken Dreams that spread like wildfire, but just don't attest to the wholistic experience the entire album brings. American Idiot is an album best ingested from start to finish, as the band intended.

Welcome to a new kind of tension

All across the alien nation

Where everything isn't meant to be okay

In television dreams of tomorrow

We're not the ones who're meant to follow

For that's enough to argue

Don't wanna be an American idiot

One nation controlled by the media

Information age of hysteria

It's calling out to idiot America 

~ American Idiot

Why it's my favorite: 

It's a strange sensation when the band you once considered to be your favorite is no longer that. I don't necessarily like Green Day any less; my tastes have just broadened considerably since I was nine years old. I think that's true of pretty much everybody. There's a fair amount of albums that aren't on my top 100 list because of the rose-tinted lenses I had previously viewed them through. These albums were merely a product of my own nostalgia exaggerating the reverence I had for them, and at first I thought American Idiot might have suffered that same impression. I listened to it for the first time in years in preparation for this list, and it just...put me right back. From a sentimental standpoint, it reminds me of the times where Green Day was my entire world. From a conceptual angle, American Idiot's criticisms of the Bush administration and resulting trauma of an entire generation from events during his tenure spoke to me personally. I experienced that same confusion and angst American Idiot encapsulates so concisely, even down to the detail of living in San Francisco. The dramatic twists and turns the album's plot takes are tangible and relatable instances that carry enough emotional weight to resonate personally with the listener. It's so easy for me to insert myself into the spot of the fictional protagonist in American Idiot's story, and I'm willing to bet it's the same for anybody else around my age. We've progressed so far as a society since W was in office, but Green Day had enough foresight to document the public demeanor of this time as a sort of time capsule for the future. My my, how quickly we forget. American Idiot's themes in turn have been rendered a timeless classic that boldly proclaims its statements against tyranny and oppression. It's tough to come up with anything else that even touches this monolithic work of art. Well...I can think of maybe ten.

Number 12 - The Number of the Beast by Iron Maiden

 Number 12: The Number of the Beast by Iron Maiden

One hell of an album

Release: March 22nd, 1982
Genre: Metal
Favorite Tracks: Children of the Damned, The Number of the Beast, 22 Acacia Avenue

 

Where I heard it: 

Iron Maiden...the name conjures imagery of gothic fantasy and torturous agony, all encased within a heavy metal frame. What a fitting name for one of metal music's most prolific and successful bands throughout the 80's and 90's. Like many classic rock bands, I have Guitar Hero III: Legends of Rock to thank for my exposure to Iron Maiden. The Number of the Beast was one of the hardest songs to play on the setlist, and I attempted run after run for a chance to make it past the solos and complete the song. Not long after the sudden rise in popularity of rhythm games came developer Harmonix to challenge the Guitar Hero franchise with their own entry Rock Band, which drew appeal for its full-band model that included drums and vocals. Even as a devoted Guitar Hero fanboy, I looked on in jealous rage at those who had the entire Rock Band setup. Even when Guitar Hero: World Tour introduced their own version of drum and microphone peripherals, I looked on in jealousy toward the overall user experience of Rock Band. It just looked so fun to get everybody involved and feel like a true rock star. One of my better friends in middle school had the whole Rock Band getup that I played at a Halloween party he hosted, and I couldn't put the sticks down after trying my hand at drums. With the blind confidence of a teenager, I figured that if I was already an expert at Guitar Hero, it should be a natural skill transition onto any instrument. I demanded that we try the hardest track on the setlist, Run to the Hills, and promptly got my ass handed to me by the steady hi-hat that proved too quick for my abilities. Humbled but undeterred, I returned to my friend's house on a near weekly basis to stay the night and play Rock Band some more, honing in my drumming in hopes of capturing my white whale. Both Run to the Hills and The Number of the Beast were titanic goals of mine to conquer in middle school, but I didn't really hear the album they reside on until the start of high school. I was prompted to take a listen to The Number of the Beast with encouragement from my stepdad at the time, who played Piece of Mind in his van on a random drive around town that caught my attention. I didn't know very much of the Iron Maiden catalog; I was more interested in thrash metal like Metallica and Slayer. However, one listen to The Number of the Beast showed me that there's more to metal than just playing fast.

Woe to you, oh Earth and sea
For the Devil sends the beast with wrath
Because he knows that time is short
Let him who hath understanding
Reckon the number of the beast
For it is a human number
Its number is six hundred and sixty-six
~ The Number of the Beast

What to expect:

Since their inception in 1980, Iron Maiden have released a whopping seventeen studio albums, and are still going strong. An immense discography like this can be pretty intimidating, so what better place to start than the beginning? The Iron Maiden lineup of today looked a whole lot different upon the release of their first two albums Iron Maiden and Killers. Only bassist Steve Harris and guitarist Dave Murray have maintained consistency within the revolving cast of the band, acquiring their permanent pieces later in the process. Their first acquisition came in between Iron Maiden and Killers with the addition of secondary guitarist Adrian Smith, increasing the firepower of their arsenal with trade-off solos. Their next and perhaps most important change came after the departure of vocalist Paul Di'Anno. In his place, Bruce Dickenson was recruited on the spot after a stellar audition. Dickenson impressed both Harris and Murray with his high-flying vocal range, and the duo intrigued Dickenson with their professionalism in comparison to his previous operation. The new era of Iron Maiden had officially begun, launching into the stratosphere with the epic installation The Number of the Beast. The band's recent alterations are immediately apparent, as Dickenson's theatrical timbre injects a powerful energy to the production that compels every member to deliver a performance worthy of Dickenson's efforts. Iron Maiden rises to that occasion on every single track from this album, composing masterpiece after masterpiece with remarkable group synergy. Dickenson's sheer vocal intensity opens up the door for Harris' songwriting to take full form, weaving extraordinary tales involving mythical lore and triumphant battles. Steve Harris is one of the most involved bass players across all musical genres, shattering the stereotype of useless bassists in bands with subtle yet intricate interludes in 22 Acacia Avenue and Run to the Hills. The partnership between Adrian Smith and Dave Murray collectively double the length of solos in songs like The Prisoner and Invaders, each looking to outdo the other with a friendly competitiveness that pushes the duo to greater and greater heights. Although he would be replaced by the band's current drummer Nicko McBrian, Clive Burr deserves a nod for his excellence on the drums. Even in the quickest of tempos during Children of the Damned and Run to the Hills, Burr shows unwavering precision in keeping this careening ship on course. Iron Maiden is a spectacle to behold when the motor is churning, but I think some of the most gripping moments from The Number of the Beast are their sinister ballad-style intros from Children of the Damned and Hallowed Be Thy Name. These sections build enormous amounts of tension and anticipation before exploding into the electric riffs the group is known for. There's so much versatility among the members of Iron Maiden, and The Number of the Beast is a playground for such exploration. This album represents a rebirth for the group, and it's spawned from the very depths of hell. There's no other explanation for these otherworldly talents. 

As I walk, my life drifts before me

Though the end is near, I'm not sorry
Catch my soul, it's willing to fly away
Mark my words, believe my soul lives on
Don't worry now that I have gone
I've gone beyond to seek the truth
When you know that your time is close at hand
Maybe then you'll begin to understand
Life down here is just a strange illusion
~ Hallowed Be Thy Name
 

Why it's my favorite: 

I'm always surprised by how long it took me to become hooked on such a staple like Iron Maiden. I always knew they were good, but certainly never considered them among my favorites of all-time until I was well out of high school. Sometimes it takes listening to everything else that's out there to realize and appreciate what's always been there. Most of the time, all I have to do is attend a concert to understand the potency behind a band's legacy. This was the case for Iron Maiden in 2016, when I attended a stop on their Book of Souls tour as a birthday gift from my mom. I had tickets for the lower bowl, but I desperately wanted to be in the pit for this show. I bided my time before the show started until I successfully snuck my way through security onto the floor, where I got to experience one of the best concerts of my life. They played all the hits and didn't miss a single beat, even at their growing age. Every person on that stage was integral to the performance, and I think that's when the draw of Iron Maiden kinda clicked for me. With the omission of any of the band's members from 1982 onward, there's a significant loss within the creative vision of the band. Bruce Dickenson's voice has since become synonymous with the iconic Iron Maiden brand. Without Dave Murray and Adrian Smith (as well as Janick Gers later on), we wouldn't have some of the cleanest and most sensational licks known to man. Steve Harris is an unsung hero that provides enthralling narratives with a caliber of songwriting is second to none. Nicko McBrian might be the most expendable of the bunch, but there's years of chemistry with the band that go to waste without him. The Number of the Beast laid the foundation for the quintessential Iron Maiden album, and the band has tirelessly worked for decades to preserve it. Hell, they may have set the precedent for heavy metal as a whole. It's not shocking to me at all seeing them recording albums and selling out arenas after all this time. It's clear that Iron Maiden's love of the music drives them to continue their passion. That's the kind of genuine attitude that makes an album like The Number of the Beast so admirable: you can tell the musicians enjoy making the music almost as much as their audience enjoys hearing it. With how seriously metal acts can be perceived these days, maybe the genre could take a page out of Iron Maiden's book and just have a little fun for once.

Number 13 - Toxicity by System of a Down

 Number 13: Toxicity by System of a Down

Why'd you leave the keys upon the table?

Release: September 4th, 2001
Genre: Alternative Metal
Favorite Tracks: Prison Song, Toxicity, Deer Dance

 

Where I heard it: 

Now that we're getting into some of my favorite bands of all-time, it's becoming increasingly difficult to pinpoint a singular instance in my life that led me to my fandom. Some groups I knew about long before I heard any of their content. Such is the case for System of a Down, who I first heard around 2004 or 2005 after looking up the music video for Chop Suey!. There's a portion of the video where the camera rotates on a fixed point, which one of my cousins' friends had made an animated GIF of for her DeviantArt profile picture. Man, I really dated myself with that sentence. Anyways, the band's freakish and somewhat demented appearance in the video really made an impression on me as a child. These scary guys were yelling about makeup and tables or something; it's not easy to forget when you're a fairly sheltered kid. It wouldn't be but a few months later when I sat down one morning for breakfast, turned on MTV, and saw the music video for System of a Down's latest single B.Y.O.B.. If I wasn't intimidated by them yet, this is the point I was truly frightened by the band's work. The eerie imagery of the footage paired with the satanic screams of the song's breakdown left a permanent scar on my susceptible young mind. However, I was strangely drawn to my fear like a moth to a flame, and sought out to learn more about this crazy band through my own research. I discovered such classics as Sugar and Toxicity that received regular radio airplay before downloading deeper cuts like Chic 'N' Stu and Violent Pornography to my iPod in middle school. 2013 would be a pivotal year in my SOAD fandom, as my friend group started to discuss music more regularly, which led to a discussion on System of a Down. I took a closer listen to each of their five albums during this time, and attempted to narrow down which was my favorite. For a long time, their eponymous debut album took that crown, but I've found Toxicity to be the most enjoyable experience in recent years. There's a noticeable evolution from the first album to the second that really cemented the creative direction of such a unique band as System of a Down.

All research and successful drug policies
Show that treatment should be increased
And law enforcement decreased
While abolishing mandatory minimum sentences
Utilizing drugs to pay
For secret wars around the world
Drugs are now your global policy
Now you police the globe
I buy my crack, my smack, my bitch
Right here in Hollywood
Drug money is used to rig elections 
And train brutal corporate-sponsored dictators
 Around the world
~ Prison Song
 

What to expect:

In the realm of alternative metal, System of a Down is about as 'alternative' of a sound as you can find. When you imagine the traditional qualities of a metal song, normally traits like heavily distorted guitar chords and blast beat drums come to mind. You'll find all of that in System of a Down, but it's very clear right off the bat that these guys carry themselves much differently than other rock groups. Especially toward the latter half of their discography, System of a Down's albums have a sophisticated and theatrical feel to their production. Toxicity was a launching point for this mentality, as it introduced the clean harmonies and sporadic outbursts of guitarist Daron Malakian, who worked diligently to align his vocal caliber to that of vocalist Serj Tankian. The combination of Daron and Serj's vocals elevates Toxicity from a squabbling shouting match to a thoughtful musical masterpiece, adding a layer of depth to impactful tandem segments in ATWA and Aerials. This duo is aided by the rhythm section of bassist Shavo Odadjian and drummer John Dolmayan, who exhibit impressive amounts of range in their arsenal. The majority of Toxicity embraces an intense, high-volume approach to its choruses that double the string parts to emphasize its frenzied riffs. In contrast, verses will display an astounding amount of control and independence among its members, each accountable for establishing the appropriate mood in the moment. One contributing factor that plays into their distinct compositional style lies in the band's Armenian heritage, which brings middle-eastern inspired musical scaling that's most evident in songs like Science and Arto. An unintended side effect of System of a Down's Armenian-American descent is a heightened political consciousness in their music, as Armenia has endured generational conflict and atrocity by surrounding nations in the middle-east. The fury behind the screams of Serj and Daron have weight and purpose to them, exposing societal failures in the prison and military industrial complexes with Prison Song and Deer Dance respectively. While the importance of the message in these songs is explicitly conveyed, some commentaries are better disguised through abstract convolution like Bounce's views on promiscuous sex or Jet Pilot's take on the devastation caused by weapons of mass destruction. No matter the occasion, Toxicity utilizes its variety of tactics to evoke an emotional response from the listener towards its shocking material. System of a Down takes the concept of social justice that groups like Rage Against the Machine helped foster, and reinvents itself to appeal to the new-age sound of the time. I've noticed alternative metal making a revival in popular culture lately, and Toxicity is still considered paramount in its era.

 Making two possibilities a reality
Predicting the future of things we all know
Fighting off the diseased programming of centuries
Science fails to recognize
The single most potent element of human existence
Letting the reigns go to the unfolding is faith
Science has failed our world
Science has failed our Mother Earth
~ Science

Why it's my favorite: 

It's story time once again! I had the pleasure of attending the Riot Fest music festival in August of 2015, which featured System of a Down as the headlining band. I saw a ton of fantastic groups that day I never would have bought tickets to see otherwise, but System of a Down was at the top of the list of bands I wanted to see live for a while. Long time fans understand the exasperating patience of waiting for a new album that seems less likely by the day, so I knew seeing the band in concert would be the next best thing. When the group opened up with Deer Dance, the audience rushed forward about 100 feet and chaotically jumped in unison, allowing me to mosey my way through the crowd until I suddenly found myself about ten feet from the stage. The density of the mob was crushing, recklessly flowing at the will of gravity's momentum. System of a Down was relentless in their pursuit to play as many songs as possible, rolling on promptly from one track to the next in a medley marathon. I made it about halfway through the setlist before I found myself missing both my shoes and one sock in the dirt lot of the festival grounds, and I knew I had to bail out before things got any more dangerous. I proceeded upon my exodus through the masses of people toward the back, stumbling for what felt like hours before posting up at a merch tent and watching the rest of the show from a distance. Simply put, System of a Down is my favorite concert experience to this day. I regret not proportioning my energy to stay involved throughout the show, but I felt compelled to give it everything I had in that mosh pit while in the presence of some of my musical idols. System of a Down's music infiltrated my soul that night, and the personal significance of the songs on the setlist hold irreplaceable sentiment to me. There was a point where Daron paused the show to lead the crowd in a circle mosh before the breakdown of Toxicity, playfully singing along to the guitar riff before unleashing an explosion of sound on the crowd, inciting a massive riot congregated within the center. Out of the dozens of shows I've attended, I've yet to replicate the feeling I experienced that night years ago. What does that have to do with my love for Toxicity? Well, it just kinda comes with the territory. Realistically, I could put any album from System of a Down onto this list, and I'd still have the same reverence for this band. There's just a certain affinity I have for Toxicity that I can't necessarily explain. Hopefully I did well enough with this entry.

Number 14 - Return of the Boom Bap by KRS-One

 Number 14: Return of the Boom Bap by KRS-One

Knowledge reigns supreme

Release: September 28th, 1993
Genre: Hip-Hop
Favorite Tracks: Mortal Thought, I Can't Wake Up, Sound of da Police

 

Where I heard it: 

I can't thank Nelson Bae and Lori Lahman enough for how deeply they influenced my diverse music taste at an early age. Who are these two, you might ask? None other than the music supervisors for the Tony Hawk Pro Skater franchise. The soundtracks for each installment are notorious for introducing droves of gamers to music popular among the skate community, from punk to rock to hip-hop. I played THPS3 and 4 to death on my Gamecube as a child, fully embracing the culture of skating without encountering any of the risk of harm that would normally come with the territory. I would occasionally revisit each collection of songs from the games out of nostalgia, surprised at some of the appearances I recognized as my music taste began to branch out and mature. In many ways, Tony Hawk's Pro Skater planted the seeds within the recesses of my mind that would later fatefully attract me to the delightful allure of these artists' full discographies. Along with acts like Aesop Rock, I first discovered KRS-One through the bouncy deep cut Hush, which was featured in the game's third entry. For reasons I'm still unsure of, something about this song's emphatic beats and repetitive chorus really resonated with me as a kid. It wouldn't be until over a decade later in early 2017 that I'd be reacquainted with the legendary MC from a different song, I Can't Wake Up. This song humorously recounts the details of a dream where KRS is a blunt being smoked by a cast of characters in the rap game and popular culture, which made it prime material for my friends and I to smoke along to and giggle at the whimsical nature of the song. It took me several smoke sessions to realize that this was the same guy who made Hush, and I believe that initial connotation was what pushed me to look further into KRS-One's library. I figured KRS-One's debut record Return of the Boom Bap was a fine place to start, as it included two tracks I was already familiar with: the aforementioned I Can't Wake Up and the smash hit Sound of da Police that put KRS on the radar. I later found out that Return of the Boom Bap was only the solo debut of KRS-One, as his hip-hop collective Boogie Down Productions with Scott la Rock and D-Nice had been laying down tracks since the mid 80's. Due to this backwards presentation, I've never quite overcome my bias toward Return of the Boom Bap as my first true KRS-One experience. This album is an enlightening lecture that does nothing but spit fat bars and hard facts, educating its listeners with an old-school curriculum by the professor of rhyme himself.  

 

Lyrics? Somebody want lyrics?
From the lyrical terrorist?
Here's a little something for you all to remember KRS
And remember this: I am no pessimist
More of an optimist, activist, revolutionist
Yes, the hardest artist, and the smartest
Premier, spark this
~ Mortal Thought

What to expect:

Although they're far from a household name, Boogie Down Productions were on the front lines of the rap revolution, representing the hip-hop homeland of Brooklyn, New York. BDP helped launch the genre into its golden age with their 1987 debut Criminal Minded, a groundbreaking album that integrated electronically-inspired beats and shockingly violent lyrics in one of the first instances of gangsta rap. Right when the trio started to gain traction, Scott la Rock was murdered in a gang-related shooting only five months after the release of  Criminal Minded. The loss of Scott la Rock shook KRS-One to his core, leaving the status of BDP in jeopardy. Ultimately, KRS-One carried on the memory of Scott through the BDP label, shifting the musical focus towards a greater emphasis on political and social consciousness.  In the absence of Scott la Rock, KRS-One outsourced a handful of notable production figures to preserve the funky freshness BDP was known for. The group produced four albums after Criminal Minded before KRS made the decision to shake the name and market himself as a solo artist. Effectively, there was little change among the team's brass, as KRS had long since established himself as the driving force behind the rhymes of BDP. Return of the Boom Bap serves as a sort of retrospective anthology on his time in the band, extensively sampling BDP staples like South Bronx, My Philosophy, and Remix for P Is Free throughout its tracks. Overseen by DJ Premier of Gang Starr fame, Return of the Boom Bap lives up to its name by boosting the bass of the otherwise rudimentary beat patterns influenced by old-school rap and reggae. This minimalist favoritism isn't due to any lack of incompetence on the part of DJ Premier, but rather to subtly accompany the prolific rap flow of KRS that takes front and center. Throughout his years in BDP, KRS-One had plenty of practice developing his impeccable rhyme delivery and commandeering his prophetic stage presence. Return of the Boom Bap is merely a continuance of his previous teachings, expanding upon the usual themes of Afrocentrism and inter-genre rivalry with an autobiographical narrative. KRS takes immense pride in his Brooklyn roots and his association with BDP, which are reflected in the song Outta Here that speaks to his longevity in the industry. Songs like Mortal Thought and Mad Crew flex the incredible capabilities of KRS, blazing through tongue-twisting verses with ease and poise. His remarkable songwriting is the product of intense meditation on the world at large, showing his intelligence is just as rich as his talents. Most notably, Sound of da Police administers a scathing message about the ineptitude of policing throughout history, having since become an anthem for protestors of police brutality. It's difficult to merge quality rap music and sensitive topics without sounding like a soapbox preacher, but Return of the Boom Bap completely refines this technique, breaking through to even the most dense of hip-hop heads.

 Black people still slaves up 'til today
But the black police officer don't see it that way
Him want a salary, him want it
So he put on a badge and kill people for it
My grandfather had to deal with the cops
My great-grandfather dealt with cops
My great-grandfather had to deal with the cops
And then my great-great-great-great...
When this gonna stop?
~ Sound of da Police

Why it's my favorite: 

It's a shame that KRS-One doesn't receive the recognition he deserves in comparison to his peers. His articulate and imaginative wordplay set him apart from any MC you can find in the game. I had the pleasure of watching the Teacha at work in the spring of 2019 and came away with one of the most fulfilling concert experiences I've ever had. One of the best parts of the show was when KRS cut the music and began a twenty-minute freestyle diatribe about how technology like social media has ruined our perception of togetherness and the responsibility of the younger generations to rectify this issue. The crowd stood in awe towards KRS's impromptu monologue that gripped every person in the room, emulating the aura of a Black Panther rally with KRS as Malcom X. I have a recording of this speech saved on my phone, and it still gives me goosebumps to listen back on it. His knowledge and wisdom accrued over the years is for the masses, shared through a chronicled history of music that exposes the hidden truths of a corrupted society. After all, his stage name is an acronym for Knowledge Reigns Supreme Over Nearly Everybody. Return of the Boom Bap pulls back the curtain on the man behind the magic while paying homage to the shoulders of giants he stands upon. Who knows what BDP could have accomplished with Scott la Rock at the helm, but KRS-One has prolonged his legacy with unforgettable tunes that are still unfortunately relevant from a content standpoint in the modern day. Until these problems are eradicated, you can bet KRS-One will be on the mic speaking out against them. He's not the first to bring consciousness to rap, but albums like Return of the Boom Bap prove he's the most fluent at it. His ability to rock a rhyme with purpose makes KRS one of my favorite hip-hop artists of all-time.

Number 15 - Rust in Peace by Megadeth

 Number 15: Rust in Peace by Megadeth

We have Metallica at home

Release: September 24th, 1990
Genre: Thrash Metal 
Favorite Tracks: Holy Wars...The Punishment Due, Tornado of Souls, Rust In Peace...Polaris

 

          Where I heard it: 

As early as nine years old, I was afforded the luxury of seeing my favorite bands live in concert, thanks to the dedication and prior experience my mom had from her decades of attendance at previous gigs. There were plenty of times I willingly went along with no prior knowledge of the band that was playing. My mom must have had a sixth sense with her music taste, as I enjoyed nearly every show we went to together. That said, there were plenty of times that I was invited knowing full-well that I would be rocking out right with my mom. Most of those bands have selections coming up in this countdown! In 2010, I had the opportunity to see Slayer, Megadeth, and Testament play in Denver for the American Carnage tour, only a week after I saw Rush play at Red Rocks for their Time Machine tour. That seven day stretch was one of the greatest coming-of-age moments in my teens, full of potent memories that still bring me joy to this day. While Slayer was the headliner for that evening, I thought the best band on stage that night was the strong quartet of Megadeth, who appeared and sounded like they hadn't lost a step since their initial run began in the early 80's. My memories of Slayer's set are mostly that of a fight for survival in the pit, with the band providing the background noise to the ensuing chaos. However, I paid very close attention to the performance that Megadeth put on, as did the rest of the audience. We didn't want to miss a second of the unrelenting onslaught escaping from the amplifiers. The crowd was still understandably rowdy for a metal show, but the aura was much more transfixed toward the product before our eyes compared to Slayer's debilitating doom metal. Unbeknownst to me, I was fortunate enough to be present for a Megadeth event that many fans would kill for: an uninterrupted playthrough of their album Rust In Peace. Believe me when I say uninterrupted; Megadeth would blast through a song, a mob of cheers and applause erupted, and then the next song would play in chronological order. I'll never forget the chills down my spine when the last note of Rust In Peace...Polaris played, the stage lights were cut, and Dave Mustaine gruffly uttered, "Thank you, that was Rust in Peace." I was utterly blown away at what I witnessed, and I still get goosebumps thinking about that experience in post. Rust in Peace is a thrash rock staple that continues to amaze me with its precision accuracy and thoughtful composition.

Bomb shelters filled to the brim
Survival, such a silly whim
World leaders sell missiles cheap
Your stomach turns, your flesh creeps
I rule on land, air, and sea
Pass judgement on humanity
Winds blow from the bowels of hell
Will we give warning?
Only time will tell
~ Rust In Peace...Polaris

          

What to expect:

Although their popularity has seldom reached the mainstream, Megadeth has the pleasure of being chiseled upon metal's Mount Rushmore with the company of Slayer, Anthrax, and Metallica. Megadeth's formation is one of the more scandalous tales in the realm of metal, and it begins with the origins of fellow thrash kings Metallica. Dave Mustaine was lead guitar in Metallica's original lineup all the way up through early production stages of their debut album Kill 'Em All, before tensions with James Hetfield and Lars Ulrich along with prolonged excessive substance abuse caused Mustaine to be replaced with Kirk Hammett. Dejected but not detoured, Mustaine would return to his native Los Angeles in search of bandmates for his own group. He would find bassist Dave Ellefson, who would remain loyal to Megadeth's lineup while secondary guitar and drums would be a revolving door for the majority of the 80's. The release of Megadeth's inaugural record Killing Is My Business...And Business Is Good! would highlight the parallels between Mustaine's roots with Metallica and his transition into his own band that featured a notable boost in tempo, perhaps to gain a competitive edge to the lesser riffs on Kill 'Em All. Megadeth knew a thing or two about speed, but began to utilize it as a tool instead of a gimmick by the time Peace Sells...But Who's Buying? released in 1986. Peace Sells featured a refined and theatrical approach in comparison to the blistering pace of its predecessor, unlocking the potential for Megadeth to break through to the metalhead masses. The remainder of the 80's for Megadeth would be marked by the path to sobriety for Mustaine, as well as the addition of Marty Friedman on lead guitar and Nick Menza on drums to solidify the defacto lineup for the band for the upcoming decade. The composition of Rust In Peace is very much a reflection of that journey, allowing for deeper exposition in lyrical content and tighter synergy amongst the band's internal chemistry. Mustaine is the mother brain behind the religious and political themes of the album's concept, while Friedman takes charge of creating superb solos that are masterpieces in their own right. There's nothing more metal than divulging detailed fantasies of nuclear dismantlement in Rust In Peace...Polaris and territorial battles in Holy Wars...The Punishment Due, followed by a ripping guitar solo that conveys as much emotion as Mustaine's raspy vocals. The relationship between Mustaine's steady rhythm guitar and Friedman's lead guitar is palpable, practically conversational while trading off epic dueling solos to conclude Hangar 18. Not to be overshadowed, Ellefson is perhaps one of metal's most notable bass players, letting his talents shine in brief solos during Take No Prisoners and Poison Was The Cure. Menza has his work cut out for him as well, hauling ass on the kit to keep up with the band's galloping rhythm while still finding time for a dynamic drum fill during tracks like Tornado of Souls. Rust In Peace keeps the pedal to the metal from beginning to end, making things interesting with theatrical tonal shifts and time signature changes like in Five Magics. If you're looking for a weak point in the album, there aren't any. This group is so locked in with each other, they make melting faces look effortless.  

Brother will kill brother
Spilling blood across the land

Killing for religion

Something I don't understand

Fools like me who cross the sea

And come to foreign lands

Ask the sheep for their beliefs

Do you kill on God's command?

A country that's divided surely will not stand

My past erased, no more disgrace

No foolish naive stand

The end is near, it's crystal clear

Part of the master plan

Don't look now to Isreal

It might be your homeland

~ Holy Wars...The Punishment Due 

 

Why it's my favorite: 

It's a common topic of debate within the metal community whether Megadeth or Metallica are considered the kings of the big four. Here's my unsolicited take on the matter: I personally believe Metallica's success lies in the longevity and consistency of their library, while Peace Sells and Rust In Peace hit it out of the park before Megadeth regressed closer to the mean. That's probably the only way I can justify picking Rust In Peace over any Metallica album, including the one I chose for this list. In a vacuum of these nine diligently crafted songs, Megadeth boasts greater accolades than anything Metallica has ever released. The production quality is squeaky clean compared to the rustic, distorted qualities that defined a Metallica record. The solos and breakdowns have a bit more elegance than the furious shredding of Kirk Hammett, yet still preserve the pound-for-pound punch each impact creates. Even though I claim to like Metallica better for their saga of releases through the 80's, Rust In Peace is the Apollo 11 that reaches galactic heights to chart territory untouched by humanity. Megadeth hasn't made anything since that captures the lightning in a bottle of Rust In Peace, and it's quite unlikely they ever will. However, Megadeth still maintains a rigorous tour schedule, and Dave Mustaine persists tirelessly hammering away at his frets. It appears that Megadeth still has some steam in their engine, and I'd be lying if I said I wasn't interested in seeing if the old man's still got it years after I last saw him. That concert ranks top three among the countless that I've seen, and I'd give anything to relive the feeling that surrounded me as a kid. Rust In Peace will keep me at bay until then.

Number 16 - Electric Ladyland by the Jimi Hendrix Experience

 Number 16: Electric Ladyland by the Jimi Hendrix Experience

Are you experienced?

Release: October 16th, 1968
Genre: Psychedelic Rock
Favorite Tracks: 1983...(A Merman I Should Turn to Be), Voodoo Chile, All Along the Watchtower

 

Where I heard it: 

Ever heard of this guy Jimi Hendrix? Plays guitar in a band? Of course you have; Hendrix is almost unanimously considered one of the greatest and affluential guitar players of all time. More of a cultural icon at this point, I'd be shocked to come across anybody who isn't at least slightly aware of his monumental mythos. His reserved and articulate composure came through in every soundbite, especially with his criticism of the Vietnam War. He's recorded notable mega-hits like Purple Haze and All Along the Watchtower. His live performances included unbelievable antics such as playing solos with his teeth and behind his back, as well as casually setting his guitar ablaze on-stage, all of which occurred during the same legendary set at the 1967 Monterey Pop Festival. Speaking of legendary sets, he also played one of the most famous instrumental renditions of the Star Spangled Banner during his early morning slot at one Woodstock Music Festival in 1969. If you don't know Jimi, you don't know history. My formal introduction to this immortal figure of rock and roll began in late 2008 upon the release of the fourth installment of the Guitar Hero franchise, World Tour. During the late 2000's, my music taste exclusively gravitated around whatever songs were available on the latest Guitar Hero soundtrack. Along with being a playable character in World Tour, the track listing also included two songs from the Jimi Hendrix Experience: Purple Haze and The Wind Cries Mary. I was enamored by the furious licks and shredding frets that made me feel as if the spirit of Jimi flowed through my fingers. Even without prior knowledge, it was obvious to me that Jimi was a cut above any other guitar player I'd ever heard. While Jimi was immediately picked up on my musical radar, my outright obsession didn't begin until midway through high school. This also happens to line up chronologically with my origins in the devil's lettuce. Coincidence? I think not. I'll never forget it: it was mid-2012, my house would be unoccupied for the weekend, and I had just acquired a couple grams of green to partake in at my leisure. I set up shop with my glass piece, lighter, grinder, and bluetooth speaker out on my backyard deck in the cloudy, lukewarm afternoon air, excited for the journey I was about to embark on. The only question on my mind was what would play in the background as I slipped away into sweet sedation. I decided upon the most psychedelic and uplifting material I knew of at the time: Electric Ladyland. I remember sitting in my chair after the deed was done, laying back and closing my eyes for what felt like hours before my vision reemerged to behold the golden clouds lit by the sun's vibrant rays. I was listening to 1983...(A Merman I Should Turn to Be), and I could literally feel myself levitating gently over my seat into the hypnotic skies. Say what you want about cannabis...but that's an irreplaceable memory I'll treasure as long as I live. In many ways, I received the most authentic experience from Electric Ladyland that I possibly could. Even as I listen to the album currently, I'm still floating away from Earth just as I was that day more than a decade ago. 

So my darling and I make love in the sand
To salute the last moment ever on dry land
Our machine has done its work
Played its parts well
Without a scratch on our bodies
And we bid it farewell
Starfish and giant foams greet us with a smile
Before our heads go under, we take a last look
At the killing noise of the out of style
~ 1983...(A Merman I Should Turn to Be)

 

What to expect:

With the abundance of Hendrix tales to choose from, it's flabbergasting that his most prominent period of activity only occurred over the course of two to three years. Jimi had established a background in R&B during the early 60's, but his most highly renowned work took place when bassist Noel Redding and drummer Mitch Mitchell united to form the Jimi Hendrix Experience, a band that would revolutionize the landscape of music in the latter part of the 60's. While this decade was dominated by the success of more popular acts like Bob Dylan and the Beatles, the Jimi Hendrix Experience concurrently paved the way for more innovative and psychedelic exploration in rock and roll. The group's debut record Are You Experienced completely shattered the conventions of guitar music, embracing the natural wails of the amp while simultaneously producing abnormal conjurations that no instrument should be allowed to make. The band's follow-up Axis: Bold As Love would elect for a more contemporary approach reminiscent of traditional blues rock, although there did exist echoes of their abstract arrangements in select songs like Exp and If 6 Was 9. Their third and final release, Electric Ladyland, managed to find a happy medium between these two styles, reincorporating the kaleidoscopic ambiance of their debut with the sophisticated fretwork of their sophomore effort. Electric Ladyland is the culmination of the Jimi Hendrix Experience's genius coming to roost, combining groundbreaking guitar suites with state-of-the-art production techniques to assemble the group's finest recordings in their entire repertoire. As the first album of the band's to be recorded in stereo sound, songs like Voodoo Chile and 1983... feature audio oscillation which creates a disorienting spinning effect that heightens the feelings of psychedelia. Before we highlight the clear star of the show, I'd be remised not to acknowledge the body of work that Noel Redding and Mitch Mitchell contribute to the record. These two are the perfect accompaniment to the improvisational wizardry of Jimi Hendrix, maintaining laser focus throughout prolonged jams while throwing in their own spontaneous licks and fills as appropriate. Redding and Mitchell even share lead vocals on Little Miss Strange, an original song written solely by Redding. However, complications between he and Hendrix would lead Jimi to record bass on nearly half of Electric Ladyland. With this perspective, the album certainly possesses a larger bias toward the creative vision of Jimi rather than the Experience as a whole. This is in no way a hinderance upon the album, as Jimi is the heart and soul of the band's moxie (it is the Jimi Hendrix Experience, after all). Electric Ladyland is a playground for Jimi's prolific picking to wreak havoc upon, absolutely abusing his instrument in the solos for House Burning Down and Voodoo Child (Slight Return). He offers his own interpretation of songs like Earl King's Come On and Bob Dylan's All Along the Watchtower, the latter of which since championing the original as the most highly regarded version of the song. Jimi is like King Midas: everything he touches turns to gold. Electric Ladyland set the precedent for guitar players around the world, and people are still attempting to eclipse that sound to this day.

 Someone stepped from the crowd
He was nineteen miles high
He shouts, "We're tired and disgusted
So we paint red through the sky!"
I say, "The truth is straight ahead
So don't burn yourself, instead
Try to learn instead of burn."
~ House Burning Down

Why it's my favorite: 

I'm not entirely sure how to express my admiration for Jimi Hendrix. Honestly, I think the last two sections are proof enough that Jimi is one of my favorite groups in classic rock, a genre that I have explored nearly every nook and cranny of. Simply put, you won't find any other musician like Jimi. However, you'd be hard pressed to find an act that don't cite Hendrix as an influence regardless of the genre. Bands like Prince & the Revolution, The Cure, A Tribe Called Quest, Black Sabbath, and even Miles Davis owe credit to the inspiration Jimi's trailblazing legacy paved the way for. Beyond rock & roll, albums like Electric Ladyland introduced an ambition toward songwriting that challenged others to think outside the box and make something that has never been heard before. As a novice musician and purveyor of the arts, this mentality transcends the realm of music and extends towards the principles of life, daring me to go out on a limb in the interest of discovery and innovation. If Jimi were still here, he'd very likely deny his status as one of the greatest guitar players of all time. He's too humble to draw attention to himself as a cultural focal point so brazenly like that. Instead, Jimi lets his instrumental expertise do the talking for him, leaving it up to the listener to determine its place among the greats. Unequivocally, time has been kind to the material left in Jimi's early absence, finding a place to rest in the hearts of millions that have consumed his discography. To me, Electric Ladyland is the crowned jewel of an already decorated group, encapsulating a pivotal moment in America's timeline where the Jimi Hendrix Experience spoke for the underrepresented and disenfranchised. He's the bastion of a generation that has the staying power to remain relevant through the decades despite a lacking discography and over half a century of dormancy. While Jimi Hendrix remains one of the largest 'what-ifs' in music, his backlog of B-sides and unreleased songs continue to breathe life into an entity that has resided among the annals of music history. My unyielding love for Electric Ladyland makes this album the definition of what Jimi Hendrix was all about. We don't know how lucky we are to live on the same planet as this guy did.

Number 17 - Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan

 Number 17: Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan

Ain't nuthin' ta fuck wit

Release: November 9th, 1993
Genre: Hip-Hop
Favorite Tracks: Protect Ya Neck, Da Mystery of Chessboxin', Bring Da Ruckus

 

Where I heard it: 

I'm only just now realizing how strongly Reddit influenced my musical taste post-high school. Next year will be the ten year anniversary of my Reddit account, and while that doesn't carry much weight to me personally, it does bring to mind all the fascinating links that I've clicked over the years. As I mentioned previously in my entry for Aesop Rock's Labor Days, perhaps the most interesting article I ever came across on Reddit was a chart that measured the diverse vocabularies of several rap artists' repertoires. While this page initially gave way to an obsession with Aesop Rock, I also gleamed the fact that not only did the Wu-Tang Clan rank number five in this chart, six of their members landed in the top twenty based on their solo releases alone. While this information alone wasn't enough for me to drop everything and pick up a Wu-Tang record, the data certainly stuck with me for months as I began to consume an assortment of classic hip-hop tracks. Combined with my limited knowledge of the Wu-Tang Clan for their abundance of artists, my curiosity for the group festered throughout 2015, right around the time I seriously began investing in my vinyl record hobby. My aim was to fill my collection with a wide variety of certified essentials; albums that were practically mandated for any self-respecting audiophile to own. After amassing about 25 albums, I noticed that the hip-hop genre severely lacked representation in my rock-heavy music library. So I asked myself: what is the quintessential hip-hop album? To this point, I could barely even name an artist that I thoroughly enjoyed, let alone an entire compilation of tracks that I'd be willing to commit to. Suddenly, all the prior months of subconscious admiration dawned on me at once. I took a bit of a risk by purchasing an album I hadn't heard in its entirely but bought based off word-of-mouth alone: Wu-Tang Clan's Enter the Wu-Tang (36 Chambers). With all the high praise this album had been given, I still felt confident in my decision when I unwrapped the vinyl out of its cellophane packaging a few days later. When the needle dropped, the noise through my dinky phonograph speakers immediately dispelled any prior doubts I had about the Wu-Tang.

I be tossin', enforcin', my style is awesome
I'm causin' more family feuds than Richard Dawson
And the survey said: you're dead
Fatal flying guillotine chops off your fuckin' head
Mister, who is that?
Ayo, the Wu is back
Makin' niggas go bo bo like I'm Super Cat
Me fear no one
Oh no, here come the Wu-Tang shogun
Killer to my eardrum
~ Wu-Tang Clan Ain't Nuthing ta F' Wit

What to expect:

It's shocking to me how relatively young hip-hop is, having celebrated a half-century just this year. Throughout its history, hip-hop has hinged on the close relationship between MC and DJ. Both symbiotically rely on one another in order to successfully execute the group's creative vision, undoubtedly enhanced by the collaborative innovation of multiple minds. With that in mind, it shouldn't be surprising that some of rap's earliest breakthrough acts like the Beastie Boys and N.W.A. contained posses of MCs that brought their own flavor to a verse. Hailing from the hip-hop Mecca of New York City, the Wu-Tang Clan took this idea a bit further in their 1993 debut Enter the Wu-Tang (36 Chambers), touting a whopping double-digit total of ten personnel. In no particular order, Wu-Tang is comprised of Inspectah Deck, Ghostface Killah, Masta Killa, GZA, RZA, Method Man, Ol' Dirty Bastard, Raekwon, U-God, and 4th Disciple rounding it out on the turntables. Showing their strength in numbers, the Wu-Tang Clan were one-of-a-kind in an era of rap that was lucky to see anything more than a trio. While their roster can appear overwhelming, Enter the Wu-Tang wisely distributes the duties of its members across tracks, featuring only a portion of its workforce through bite-size samples of eight or sixteen bars each before swapping to the next artist. The exceptions to this rule are the jam-packed Protect Ya Neck and Da Mystery of Chessboxin', which manage to squeeze in verses from all nine MCs in under a five minute runtime. It's impossible to identify each artist's contributions on first listen, but once the names are associated to the respective voices, you begin to understand just how integral each member is to the flow of a song. Countless permutations within the group develop different sounds based on the qualities of a specific artist's rap style. Ghostface Killah and Inspectah Deck viciously deliver a roughneck edge to the hard-hitting Bring Da Ruckus and Wu-Tang Clan Ain't Nuthin ta F' Wit. Method Man and Ol' Dirty Bastard embrace an intimidating gangsta persona with bold bars in spots on Shame On A Nigga and Method Man. RZA and GZA are masters of rhyme engineering, penning lengthy and verbose lyrics over the jazzy beats of Clan In Da Front and Tearz. No matter the amalgamation, Enter the Wu-Tang offers a view into the rugged lifestyle on the streets of Staten Island, likening its deadly tendencies to the times of samurai and shoguns in feudal Japan. These comparisons are highlighted by excerpts from the martial art films Enter the Dragon and The 36th Chamber of Shaolin, the inspiration for the album's namesake. It's clear the Wu-Tang Clan as a whole were heavily influenced by these movies, as several allusions to ancient Japanese culture are mixed in right alongside modern pop-culture references in their raps. This loose concept is strictly adhered to throughout Enter the Wu-Tang, merging the unlikely pairing of underground hip-hop and Japanese cinema to create a theatrical and dramatic experience for the ages. Draw your blade, and test your might against the devastating Wu-Tang style.

Niggas so stingy, they got short arms and deep pockets
This goes on in some companies with majors
They're scared to death to pump these
First of all, who's your A&R?
A mountain climber who plays an electric guitar?
But he don't know the meaning of dope
When he's lookin' for a suit-and-tie-rap
That's cleaner than a bar of soap
And I'm the dirtiest thing in sight
Matter of fact, bring out the girls and let's have a mud fight
~ Protect Ya Neck
 

Why it's my favorite: 

For the longest time, I was under the assumption that the only release from the Wu-Tang Clan was Enter the Wu-Tang, since it was the only record of theirs I ever heard about. Oh, how wrong I was. As it turns out, Wu-Tang would continue churning out albums throughout the 90's and 2000's both as a group and individually, which spawned masterpieces in their own right such as GZA's Liquid Swords and Method Man's duo album with Redman, Blackout! I find it amusing that even when attempting to distance themselves from the Wu-Tang, most solo releases still feature a fair lot of Wu-Tang members on certain songs. It's as if the Wu-Tang understands their collective power is greater than the sum of its parts, valuing the chemistry between the group so dearly that they're practically drawn to each other. While these albums have earned a spot in my musical rotation, I can't deny the intangible elements that are lost without hearing the entirety of the Wu-Tang involved in the production. The variance each artist brings to every verse on Enter the Wu-Tang leaves indelible impressions that make you excited for each member's appearance. I love how in-your-face Ghostface Killah gets, nearly shouting the words on the page. Method Man is guaranteed to slip in drug vernacular with his deep, grizzly voice. Although his lines are few, I always look forward to the explicit, off-key delivery of ODB. How could I possibly crown just one of these artists when each is vital to completing the Wu-Tang formula? Without their plethora of performers, Enter the Wu-Tang wouldn't have the advantage of filling its contents with consistent S-tier material. Think of it this way: a single MC has to empty their notebook in order to meet the requirements for a full-length album. The Wu-Tang clan had numerous lyrical geniuses at the helm, meaning each MC could focus on quality bars that utilize exuberant wordplay and literary devices. Hip-hop collectives in the modern age such as Odd Future and BROCKHAMPTON derived success from this same model, but there's nobody in the game that does it better than the Wu-Tang.

Number 18 - Tenacious D by Tenacious D

 Number 18: Tenacious D by Tenacious D

The greatest and best band in the world

Release: September 25th, 2001
Genre: Comedy, Rock
Favorite Tracks: Double Team, Rock Your Socks, City Hall

 

Where I heard it: 

There is no greater cult-like fanbase than followers of the almighty D. While Jack Black has made himself a household name in the 21st century, he and his musical partner Kyle Gass were humbly beginning their venture as a new band called Tenacious D at the turn of the millennium. It's funny to reminisce upon the D as an underground phenomena when I was first introduced as a young teen in 2009 by one of my friends' dads. My 8th Grade class had a travel club that journeyed to San Francisco towards the end of the year, and I shared a hotel room with a couple friends along with one of their dads, Travis. Travis is one of the most cultured and down-to-Earth people I have ever met at any age. His son reflected a ton of that charisma, which led to a memorable and long-lasting friendship that persists to this day. Back when we were just thirteen, we were still discovering a lot about the world and what it had in store for us. As teenage boys do, we would spend our downtime discussing raunchy and inappropriate subjects that elicited a rise out of our immature sense of humor. During this trip, my friend brought up some paraphrased quotes from a song his dad Travis had showed him once while driving around town, and suggested we ask him to show it to us. I remember Travis gulping regretfully upon this request, reluctantly choosing to show us the song under the condition that we wouldn't run off telling everybody that we listened to it. After swearing secrecy, we were treated to the Drive-Thru skit in all its glory. I couldn't contain my uproarious laughter from the comedic chemistry that Jack Black and Kyle Gass demonstrated; I'd never heard spoken word used for humorous effect like this in an album that also boasted full-length, traditionally composed songs. It wasn't long after our pilgrimage to San Francisco that I would seek out Tenacious D to share the chuckles with other friends of mine, in direct defiance of the promise I made to Travis. Sorry about that, man. If it's of any consolation, Tenacious D remains as one of my favorite musical duos ever because of your recommendation. I think that's worth something in the end.

Now I know what a lot of you are saying
"I just figured out what I'm gonna do with the rest of my days:
I'm gonna get me an oversized guitar,
Gain forty pounds and be the next D!"
Well I got sour news for you, Jack
It ain't that easy
~ Rock Your Socks
 

What to expect:

Mixing the medium of comedy and music together harmoniously has proven to be a challenge historically, but this obstacle has been overcome by several notable artists through the ages. Lighthearted lyricism grew popularity with acts like Frank Zappa and Randy Newman, but the truest blend of comedy and songwriting appeared in the 70s with the arrival of "Weird Al" Yankovic's brand of parody. For decades, Yankovic's model set the standard for comedy music, inspiring countless musicians along the way to add their voice among the conversation. Tenacious D are far from the first to pioneer the genre, but they provide perhaps the finest example of successfully integrating competent riffs with humor that consistently lands the punchline. It can be a struggle for artists within this genre to escape the label of 'comedy' and establish themselves as more than just a novelty. By its very nature, music with comical themes is generally taken less seriously compared to more radio-friendly hits. Tenacious D gains a ton of credibility from the outstanding talent of its members, valuing the quality of their performance just as much as the clever jokes they slip in. JB and KG's tandem of acoustic and electric guitar create bright, spritely riffs that gather a full head of steam into theatrical climaxes that conclude with powerful chords and remarkable gusto. Jack Black's bombastic vocal style emphasizes these moments of intensity, occasionally accompanied by the soft and sweet harmonies of Kyle Gass in the background. Although not an official member of the D, the boys also employ the services of one Dave Grohl to record drums, adding further musical legitimacy to the album. However, Tenacious D wouldn't be the lovable and endearing group they've become without the eccentric personalities of Jack Black and Kyle Gass. Their close relationship as friends and bandmates comes across potently in their collaborative songwriting efforts, which often features lewd and crass material that barely manages to still have good taste. Songs like Fuck Her Gently and Double Team brazenly aim for explicit shock value, but there do exist tracks with a more whimsical tone like Tribute and Dio. Fortunately, the transition between these subjects is well-prefaced, as a handful of tracks include dialogue from Jack and Kyle in a podcast-type format. Although these short interludes are technically scripted, the chemistry of JB and KG portrays these skits in such an impromptu manner, making for some out-of-pocket remarks during Inward Singing and Drive-Thru that feel genuine and leave you in stitches. These sections offer contextual setups that enhance the tongue-in-cheek humor from these caricaturized individuals, perfectly rounding out the Tenacious D experience. 

Long time ago, me and my brother Kyle here
We was hitchhiking down a long and lonesome road
All of a sudden, there shined a shiny demon
In the middle of the road
And he said,
"Play the best song in the world,
Or I'll eat your soul!"
Well, me and Kyle
We looked at each other
And we each said,
"OK."
~ Tribute
 

Why it's my favorite: 

Tenacious D holds a special pertinence in developing the friendships dear to me in my adulthood. It became apparent when two of my best friends and I moved in together in mid 2016 that all of us had a passionate love for the D. During its peak, it was as if we exclusively communicated through a series of Tenacious D lyrics. There's a mound of quotable lines from the catalog of Tenacious D, but something about that debut album was just lightning in a bottle. It's pretty clear that it wasn't just my friend group, either; Tenacious D have since become pop culture icons, coinciding with the rise of Jack Black's career in Hollywood. Tribute alone is a song that will perk up anybody in earshot, similar in effect to songs like Bohemian Rhapsody and Livin' On A Prayer. I remember once during a marching band rehearsal in high school, our guitar player started the riff to Tribute as a joke, but ended up with a chorus of kids belting out the entire song. Be it luck or otherwise, there's massive pride in becoming a musical staple, and Tenacious D have run with that success. There have been attempts to recapture the magic of that first album, but fail to achieve that effect. That isn't to disparage the work of Tenacious D; it merely elevates the status of Tenacious D's incredible body of work. Plus, it's just the album I'm most sentimental towards for the impact it had on my life. I've fostered priceless memories with cherished people because of these songs. There isn't a layer of critical analysis I can apply that meaningfully accounts for my personal bias. The traits that make Tenacious D a worthwhile listen are negligible when I take into consideration the laughing fits I've participated in with others. My adoration for Tenacious D derives from a place of nostalgia that transports me back into the room with those I love most. The soundtrack may be different from person to person, but that feeling remains the same. I hope everybody gets to experience that at least once in their lifetime.