It’s been weeks since I last posted one of these. It’s not because I haven’t been listening to these albums, it’s just with the holidays, there wasn’t a lot of time for blogging about the records that make up Rolling Stone‘s 500 Greatest Albums Of All Time. So, I’m going to try and make up for lost ground by quickly shotgunning my reactions to a larger block of them.
#470 Juvenile, 400 Degreez Coming as it did toward the end of Rap’s Golden Era, this record was difficult for me to connect to. I’m sure there’s something visceral, raw, and even dangerous that appeals to the rebel in all of us — well for those who think a rebellious spirit resides somewhere in the sub cockle region. For me? Listening to this record was an endurance test.
#469 Manu Chao, Clandestino It wasn’t an endurance test listening to Manu Chao’s album (which came out the same year as Juvenile’s). Chao’s nasal delivery is a bit of an acquired taste, but his songs are melodic and catchy — no matter the language he sings in. One of my favorite tracks is “Bongo Bong.”
#468 The Rolling Stones, Some Girls 1978 was a difficult year to be a rocker. Disco was all the rage, so what’s a rocker to do? Well, if you’re The Rolling Stones, you do a head fake by releasing a disco-sounding single (“Miss You”) — and then fill the rest of the record with songs that are more in line with the Stones’ brand of rock. And that’s exactly what you get in Some Girls. Trying to serve two masters isn’t easy, but The Rolling Stones pull it off on this album.
#467 Maxwell, BLACKsummers’night This was a solid return to the world of soul music for Maxwell. Released in 2009, the songs are well crafted, Maxwell’s vocal delivery is mature, and it shows that sometimes even gifted musicians need a break to recharge before plotting a comeback.
#466 The Beach Boys, The Beach Boys Today It may seem kind of comical that The Who’s Keith Moon suggested his band sound more like The Beach Boys at one point in their career. It’s a good thing Townshend and Co. squashed that idea because, really, how could they compete with the gems that make up this record. From “Good To My Baby” to “When I Grow Up To Be A Man,” The Beach Boys Today is one of those records you can put on and sing along with a vocal harmony of your choosing.
#465 King Sunny Ade, The Best of the Classic Years When I was in my 20s, I was enthralled with what was then called “World Music.” King Sunny Ade was certainly one of those artists who were on the list of performers that seemed to fit in that category. While I’m not a fan of Best of or Greatest Hits being included in this list, sometimes these records are good introductions. For King Sunny Ade, this is certainly a place to start to get to know his work.
#464, The Isley Brothers, 3+3 If all you know from this early ’70s era of The Isley Brothers is the hit “That Lady” you’ll be doing yourself a disservice in ignoring this album. Song after song…it does not disappoint. Indeed, if you want to hear some of Maxwell’s influences, you can certainly hear them on The Isley Brothers 3+3.
#463 Laura Nyro, Eli and the 13th Confession I’ll admit to not knowing who Laura Nyro was when I saw this record on the list. I didn’t know what I was in for, but after hearing this 1968 sleeper(?), I hear a record that Kate Bush may have played as a young girl. Some of Bush’s phrasing can be traced to Nyro. Although, musically, their styles couldn’t be more different.
#462 The Flying Burrito Brothers, The Gilded Palace of Sin For decades I’ve heard the name The Flying Burrito Brothers, and for decades I’ve ignored their music. So, it was with some trepidation that I dove into 1969’s The Gilded Palace of Sin. I don’t know if it’s a case of false advertising, but with a band name like that, I was expecting a comedy record. Instead, it’s country-rock. And country-rock that reminds me of Eagles — a band I’ve grown to dislike.
#461 Bon Iver, For Emma, Forever Ago Every generation has its acquired taste performer — and Bon Iver fits the bill for millennials. I can hear the stylistic choices that are interesting and unique, but there’s only so much I can take of these folksy and introspective dirges.
#460 Lorde, Melodrama I’m glad Lorde didn’t try and remake her 2013 hit record in 2017– which is when Melodrama came out. The lead song (and single) “Green Light” does give the impression she’s revisiting styles on Pure Heroine. But once the tempo picks up, it’s clear Lorde trying to move beyond her previous record on the rest of the songs that comprise this album — but not entirely by shedding her unique vocal phrasing that, sadly, has become ripe for parody.
#459 Kid Cudi, Man on the Moon: The End of the Day This 2009 record can be easily categorized as emo rap. And it’s clear that Kid Cudi was onto something with this album. The themes are often dark, but there’s a kind of production genius that pervades. For those who have been reading my reactions to these records, it’s pretty clear that I’m not a hip-hop fan, but records like Man on the Moon and Kanye’s 808s and Heartbreak are changing that — at least for this sub-genre of rap.
#458 Jason Isbell, Southeastern It’s difficult for me to warm up to country music. I know a good song is a good song, but there’s something about the genre that makes me recoil at times. I guess, perhaps, that reaction is related to how I feel about some hip-hop artists. I understand the intellectual arguments about what makes this or that record outstanding… but my heart is just not feeling it. Alas, that goes for Jason Isbell — who by all accounts is a gifted songwriter. But in my musical taste profile, the kind of songs he excels in is outside of my preference.
#457 Sinead O’Connor, I Don’t Not Want What I Haven’t Got O’Connor’s best album of her career, hands down. There isn’t a bad track on this record. If there’s one critique I can make about it, it’s that’s a little too ballad-heavy at times. However, what it lacks in uptempo songs makes up for it with her heartfelt lyrics.
#456 Al Green, Greatest Hits Here’s another case of where a greatest hits compilation is a good introduction to an artist. Green is certainly an icon in the musical canon of pop music. However, this collection showcases The Reverend’s songs that go beyond “Let’s Stay Together” or “Here I Am (Come and Take Me).”
#455 Bo Diddley, Go Bo Diddley Now here’s a record every serious collector should have — even if that collection is through a streaming service. Released in 1959, but recorded in ’55 and ’58 it contains songs that weren’t singles and showcases Diddley in the early years of rock-n-roll.
#454 Can, Ege Bamyasi If there were a category for “Most Bizzare Album” in this list, it would go to Can. Many times albums come out before their time — and go on to influence others decades later. That’s the case with Can. If you’re a big music fan, listen to what this group of artists wrought…and then listen to the artisans who came after to spot the influences.
#453 Nine Inch Nails, Pretty Hate Machine Modern/alternative rock in 1989 really needed a kick in a butt. The previous year, R.E.M. sounded like a parody of itself with “Stand,” 10,000 Maniacs were earnestly asking “What’s the Matter Here?” and c’mon, really? The Escape Club? Jesus, even Siouxsie And The Banshees sounded a little too polished. That’s why when Nine Inch Nails came on the scene, it gave the genre a much needed jolt. Sure, the record has a lot pop hooks laced into its soundscape of rage, but the sheer ferocity of Trent Reznor’s channeling of punk and rock styles into a new form was a welcome change to alternative rock that, let’s face it, was becoming more boring and bloated as the decade was coming to an end.
#452 Diana Ross and the Supremes, Anthology 50 songs and almost two and a half hours of music…excuse me, two and half hours of hits. What could go wrong? Nothing. This is five star pop-soul comfort food
#451 Roberta Flack, First Take If your only knowledge of Roberta Flack’s music centers on two singles (“The First Time I Ever Saw Your Face” and “Killing Me Softly With His Song”) you should keep going in checking out this fantastic variety of soul, jazz, blues and gospel styles from 1969. It will truly upend what you think you know about Roberta Flack’s music.
#450 Linda McCartney and Paul McCartney, Ram An album Ringo Starr said didn’t have one good tune on it. But time can do funny things to records. Some get better with time, others age badly. 1971’s Ram, Paul McCartney’s “muzak to my ears” effort (That’s John Lennon’s assessment at the time), is one album that’s clearly gotten better with age. With The Beatles, any solo work released post-breakup — especially so close to the breakup — was bound to be a disappointment. And so it was with Ram. Critics didn’t like it and Paul’s former bandmates (well, two of them) didn’t either. However, at various times, many of the songs do sound like The Beatles — but in more adventurous ways. Plus, there’s no denying the sheer sonic wonderfulness of “Uncle Albert/Admiral Halsey” — butter pie and all.
