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.

Number 19 - Eternal Champ by Sweet Valley

 Number 19: Eternal Champ by Sweet Valley

Dust off your cartridge

Release: September 17th, 2012
Genre: Electronica
Favorite Tracks: Where Will I Go, Sentimental Trash, The Great Bay Shrines 

 

Where I heard it: 

As I mentioned in my write-up on Wavves' King of the Beach, my introduction to Nathan Williams' musical projects went a little backwards chronologically. Before I even knew anything about Wavves, I discovered the side collaboration Sweet Valley through a recommendation on my Discovery Weekly playlist on Spotify. There was a point in time around late 2015 where my friends and I were religiously devoted to the weekly ritual of sharing our favorite songs from the pool of auto-generated suggestions that were personally tailored to our preferences based on the Spotify algorithm. Having such a diverse range in music taste, my Discovery Weekly playlists often contained a hodgepodge of different genre selections to choose from. Some weeks were hit-and-miss, but every now and again I'd be given a gem of a band to suddenly obsess over with my friends. Sweet Valley was perhaps the group that stuck out to me most, given the inspiration from its source material. One fateful day, Where Will I Go was slipped into my Discovery playlist, as unassuming as any song that I'd never heard before. Immediately, I recognized the song's use of samples from the video game Legend of Zelda: Ocarina of Time, a title that just so happened to be one of my favorite entries from childhood. This was the first instance I had heard of where music from video games was sampled seamlessly, rather than simply revamped with something like a remix. I thought it was genius of Sweet Valley to pull reference from a popular yet niche medium of culture that resonates with the demographic of twenty-somethings that mostly comprise the listening audience. That cleverness had taken me hook, line, and sinker, as the entirety of Sweet Valley's Eternal Champ consists of feel-good tracks drenched in nostalgia like I've hardly ever felt from music before.

"As an actual piece of music, Eternal Champ mostly just reminds you that Nathan's proven to have a quick learning curve. While it doesn't parallel the leap he made from Wavvves to King of the Beach, it's a more impressive, diverse, and genuinely artistic endeavor than its enjoyable but slight predecessor."
~ Pitchfork

What to expect:

If you spent your childhood nights by the dim glow of the television set playing Nintendo until the morning sun peeked through the blinds, Eternal Champ was made for you. This cozy scenario is the driving force that gives the album its unmistakable charm. Like countless others with similar experiences, Nathan Williams along with his brother Kynan pay homage to the franchises that shaped their adolescence, loading their music chock-full of references to several different video games like Excitebike, Super Mario Bros., and most notably the Legend of Zelda: Ocarina of Time. Between the subtle track naming of songs like Golden Gauntlet and Spirit Temple and more blatant use of Koji Kondo's original soundtrack from Ocarina of Time in tracks like One and The Great Bay Shrines, fans of the Legend of Zelda series are in for a delightful treat that plays around with the sound font of N64-era Zelda mixed with lo-fi style trip-hop beats. The interpolations found in Eternal Champ are masterminded by true fans of the brand, clashing vintage sound effects with modern electronica that put a spin on familiar Nintendo classics. Additional samples exist on the album that reflect the interests of Nathan and Kynan in the form of obscure movie dialogues ripped straight from their respective films. Some examples include an excerpt from a 1994 gang documentary called Bangin' in Little Rock that opens up One, a snippet from the Michael Keaton Batman movie underneath the chill beats of Stone, and a scene out of Menace II Society featuring Samuel L. Jackson to interrupt the flow of Chaos Speed. While their appearances on Eternal Champ are less integral within the overall composition, these samples still provide the same inclusivity and satisfaction as the video game segments when the references are caught and understood. Sweet Valley take this vast collection of influential media into account and expands upon the initial framework until the final product only vaguely resembles the original. This imaginative approach to Eternal Champ creates dream-like suites that immerse the listener within the vibe of a song, often times bleeding right into the next song with dedicated continuity. Even without the prerequisite knowledge, each song has the integrity to be enjoyed regardless of the internal allusions. There's just an added joy to being able to pick out the not-so-hidden easter eggs littered throughout the album. Eternal Champ helps further establish the claim that video game soundtracks are legitimate works of art in their own right; tedious and beautiful arrangements that deserve recognition right alongside some of the best music ever recorded.

 

"There’s lots of beats out there, but Eternal Champ is a different flavor. Sticky basslines, subtle chucking, and samples from some really well known reggae artists are that flavor. I never knew I wanted an 8-bit reggae crossover, but the first time I heard Where Will I Go, I was convinced it was the most genius musical thing ever made."
~ Medium

Why it's my favorite: 

It's impossible to overstate how essential video games were to my upbringing. As a kid, my older cousin and I would take every opportunity we could to get together after school or during the summer to play some Nintendo throughout the generations. We began with Super Nintendo, then Nintendo 64, and finally Gamecube. This era of gaming history provided me with some of the most impressionable memories of my childhood, too many to choose one in particular. Eternal Champ takes me back to this moment in time, numb to the world around me with only the worry of how I'd overcome the next obstacle in the video game I was playing. Times have changed since then, and my priority toward video games has been severely reduced. When I do get the chance to play, I often find myself chasing that feeling of adolescent innocence by revisiting games from my youth that I remain fond of. I played my fair share of Legend of Zelda games as a kid, and Ocarina of Time is lauded by many (including myself) as the finest entry in the series. of all-time. It seems that its iconic soundtrack was destined to eventually become the focus of one of my favorite concept albums and passion projects ever created. Eternal Champ is a favorite of mine to share with fellow gaming enthusiasts, as it allows a platform to discuss similar backgrounds involving the same experience. It's like a supplementary bonus for those craving more from tracks that already provide so much substance in context to the games they were made for. It's downright hypnotizing to hear these fusions in practice. Sweet Valley know just how to augment the tracks while simultaneously maintaining the appeal of each song's personality. Eternal Champ is engineered to deliver a rush of nostalgia toward any millennial that grew up with gaming as a hobby. It's a bittersweet memento of the magic that video games cast upon me during a pivotal period of my life.

Number 20 - Hypermagic Mountain by Lightning Bolt

  Number 20: Hypermagic Mountain by Lightning Bolt

The antithesis of silence

Release: October 18th, 2005
Genre: Noise Rock
Favorite Tracks: Captain Caveman, Dead Cowboy, 2 Morro Morro Land

 

Where I heard it: 

My extensive history with rock and roll has led me to some pretty niche areas within the genre. I had a phase in high school where I revolved around classic death metal bands like Cannibal Corpse and Cryptopsy. This was eventually succeeded by an even more brutal deathcore phase that introduced me to groups like Job For A Cowboy and Whitechapel. After high school, my taste for the extreme became slightly more refined, seeking out prog metal and djent acts like Meshuggah and Car Bomb. This gradual process of discovery was motivated by my own morbid fascination with exploring the depths of recorded music for what I could consider the 'heaviest' product. I wanted to know exactly where that limit existed on the sonic plane. Around 2018, I was able to formulate a satisfactory answer to my curiosity. Upon the release of the newly revamped installment of Rock Band 4 in 2015, I religiously chased high scores and full combos on the game's on-disc setlist, harkening back to my days as a kid playing Guitar Hero III. I became well-acquainted with the music of Rock Band 4, particularly with one track that stood in the way of my pursuit toward in-game perfection: Dream Genie by Lightning Bolt. My fret fingers simply could not keep up with the quick flurry of notes that flew down the highway, prompting me to replay the song for hours on end until either my fingers or my brain couldn't take it anymore. I was highly active in Rock Band 4 for about five years, and like many of its previous installments, I was left a treasure trove of material from bands I'd never heard of or were less familiar with to listen to. My stark hatred of Dream Genie from a gameplay perspective held me back from deep diving Lightning Bolt's catalog for years, but I couldn't deny the appeal the song had in relation to my personal tastes, and my inquisitive mind just had to give this musical anomaly a peek. Years later, Lightning Bolt has risen through the ranks and emerged as one of my favorite modern bands, if not all-time. Their music is...well, it's close to not. And there's just something I adore about that.

I've been flying
I've been Superman
I'm trapped down here on Bizarro Land
Someone get my friends in Jupiter
Cause down here humans can't get stupider
~ Bizarro Zarro Land

What to expect:

Before you can even begin to analyze the frenzied arrangements of the band, it's worth it to first take a look at the artists behind the music. Lightning Bolt boasts two of the most imaginative and unorthodox musicians I've ever seen, and they both just happen to be named Brian. Brain Gibson handles all things guitar, fashioning a five-string bass guitar with two restrung banjo strings to achieve a dichotomy in sound between deep bass notes and twangy slides. In addition, Gibson uses a variety of pedals to modulate the effects of his guitar, allowing for an array of squeals and squeaks to play with. Brain Chippendale is substantially more flamboyant in both his appearance and play style on drums, which derives from the minimalism of his unique setup. Chippendale rids any unnecessary bells and whistles from his kit, electing to play a stripped-down kit comprised of a snare, bass, hi-hat, and two ride cymbals. That's it. As for the most peculiar element of his performance, Chippendale also provides complementary vocals that at best resemble sensible lyrics, and at worst boil down to a series of hoops and hollers. These interjections are masked deep within the mix, thanks to a literal mask that Chippendale shoddily attaches to his face that allows for hands-free usage. In lieu of a traditional mic stand, Chippendale is wired through a contact mic ripped straight from a payphone, then plugged into an amp that horribly distorts and delays the vocal track. Think that's enough modifications? Think again. Lightning Bolt are famous in live settings for their guerilla-style concerts, placing the band directly in the middle of the action by surrounding themselves with rabid and rambunctious fans. Without having played a single note, Lightning Bolt has established their hardcore status through the sheer power of stage presence alone. Once they get going, it's truly a spectacle to behold. Gibson and Chippendale only know how to play music two ways: fast and loud. Breakneck speeds are standard precedent for Lightning Bolt, especially featured in Chippendale's frantic and eclectic drumming. It's actually mind-blowing the amount of noise these two can make with limited capabilities.  To the untrained ear, a typical song from Lightning Bolt may appear as nothing more than garbled nonsense; compositional vomit that chaotically spews from the amps. Admittedly, most of Lightning Bolt's library can be a complicated mess when things start to go off the rails. A closer listen will derive a staggering amount of substance and theory knowledge within any given track. meticulously arranging each passage into something comprehensible. The level of focus it takes to remain locked in through the disorder is nothing short of astounding, and Lightning Bolt practically reside exclusively within this environment. Embedded in the madness lies a carefully executed method that manages to produce engrossing soundscapes which pull you under the riptide for a wild ride, then spit you back ashore. Lightning Bolt is an immersive music experience unlike any other I've managed to find. The challenge is daunting, but the reward is a philosophical product that encourages the listener to really ponder what they've just listened to.

 Take George Bush to Afghanistan
He's gonna bathe in a river of blood
He wants to party till the wheels fall off
Six feet underground
What the world needs
Is another dead cowboy
~ Dead Cowboy

Why it's my favorite: 

I've gone on this whole time and I've still yet to introduce today's entry, Hypermagic Mountain. I do so intentionally not to belittle this extravagant album, but rather to look introspectively at the reverence I have for the entirety of Lightning Bolt. There are subtle differences among the discography that chart the progression of the band's growth as musicians throughout their careers, but the essence of their sound boils down to the same core principles of copious noise. I've been a bit embarrassed to share Lightning Bolt with others because of this caveat; the stimulation can be quite jarring for those with more contemporary music preferences. However, I've diligently studied the tendencies of this group's subtle genius, mostly as personal justification for my love of Lightning Bolt. Very rarely have I brought into consideration the viability of a group based on the definition of music. When I do, it's generally to argue that a song is poorly written. Lightning Bolt was the first band that made me question where the boundary for musical enjoyment existed, or what even qualified as music in general. What makes a song good? Does a series of unintelligible sounds count as a song? Granted, albums like Hypermagic Mountain definitively hold merit as music, but there's still moments that devolve into muddled confusion before snapping out of it. I've been transfixed at the microcosm of these moments throughout the catalog of Lightning Bolt, polling others in search of an answer. I've reached the conclusion that acts like Lightning Bolt blur the line between art and music, two shared concepts often conjoined into one medium. Lightning Bolt is the abstract art of the musical landscape, creating amorphous material that aims to evoke emotion and meaning from the beholder. Their form of musical expression is unparalleled, putting forth something into the world that hadn't been there before. Perhaps I'm misguided in my musings, and Lightning Bolt really aren't the savants that I take them as. However, the impression they've left upon me will forever have me coming back for more. I highly recommend you take a listen to Hypermagic Mountain with open ears and an open mind. It might take a few replays for it to click, but you may find a love for Lightning Bolt just like I did.