101 Albums I Love (lyrics, country, dance, funk, instrumental)

Son of JayJamJah · 09-13-2007, 01:57 AM

65.

Rage Against The Machine - Renegades (2000)
An album entirely comprised of covers would typically be left far of any best of list I compile but this is a certain exception. The immensely distinctive style Rage Against the Machine Brings to the creations of their musical idols and influences sets this album apart. From the get go with the influential “Microphone Fiend” (Original by Eric B and Rakim) with Zack’s distinctive painstaking vocals and Tom Morellos dynamic guitar interpretations driving it into your ear. The MC5’s “Kick out the Jams” is the next highlight as Rage brings it a whole new level of energy. “Renegades of Funk” is the fourth and probably best track on the album. De La Rocha deliverers such an emotional performance lyrically it’s impossible to escape. EPMD’s “I’m Housin” features Tim’s strongest isolated bass effort providing the basis of the songs groove. The playful interpretation of Cypress Hill’s “I could just kill a Man” is even better on the live version that finishes album. The helicopter that opens “The Ghost of Tom Joad” and it’s distortion fueled guitar lead ins are so good they almost make you forget it’s a Bruce Springsteen song they are covering. The Stones “Street Fighting Man” is one of the few disappointments from the album and is still a listenable track. In the tradition of Jimi Hendrix, Rage covers a Bob Dylan song and makes it a thousand times better. “Maggie’s Farm” was a wonderful protest song in Dylan’s hands, but Rage brings it to life with considerable liveliness. This is sadly the final offering we have from Rage Against the Machine to date, the unique dynamics of the band and their sound make them a favorite of mine. This will not be the last time they are heard from on this list.
Musical Content: *****
Artistic Content: ***
Impact: ****

Favorite Song: Maggie’s Farm

64.

Pearl Jam - Ten (1991)
The debut effort for the band that once considered the name Mookie Blaylock but settled on Pearl Jam. Chalked full of memorable hits like “Alive” with it’s pulsating hook and electric closing solo, the inexorable “Even Flow” which continues to invade rock radio and “Jeremy” the cryptic re-telling of a high school suicide tragedy which helped create the template for rock singers for the next ten years. Eddie Vedder’s grating moans and commanding shouts became the signature of the bands Seattle grunge sound. “Black” is a methodical expressive ode that demonstrates the young bands ability to mellow their aggressive sound when needed. It’s the most critical track on the album and elevates it to top 100 status in my world. There are some lame ducks on this album but just a few opening track “Once” awakens the sound that is Pearl Jam and pushes the album forward very effectively, while it’s counterpart finale track “Release” gives summation to the album as a whole building over the course of nearly ten minutes from a rhythmic bellowing ode into an electronic salutations of the arrival of what would become the most significant lasting band of the movement. Also recorded during the “Ten” sessions but left of the album is “Yellow Ledbetter” a much underrated and often overlooked song with great pacing and a catchy balance. An easy choice for me over Vitalogy as the Pearl Jam representative in the group.
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Black

63.

Metallica – Master of Puppets (1986)
There is nothing subtle about this at all. With a continuous theme of our inability to control our own paths resonating throughout this surprisingly benevolent compilation, the third effort by the band stands as there greatest work Metallica was the heaviest band I’d ever heard and enjoyed. I was captivated by the power of their music and their innovative thrash metal sound. Opening track “Battery” delicately places you in the troughs of their musical destruction and then shakes your core. It’s followed by title track “Master of Puppets” and its remarkable opening and hook riff. Bass player Cliff Burton had a significant role in writing this song and credits it as his favorite Metallica track. “The Thing That Should Not Be” is filled with dark imagery and more heavy guitar riffs. The shadowy “Welcome Home” hovers as a cloud of revolution in the midst of the album emoting riffs and increasingly ominous lyrics give the song an even more dark edge then the rest of the album. The easy on melodic battlefield of “Disposable Heroes” provides excellent speed guitar work by both Hetfield and Hammett throughout as its lyrics detail the chaos of war from the participant’s perspective. Burton’s instrumental composition “Orion” is a highlight of the album for me, a mix of Metallica’s signature style riffs and bass and drum driven transitions. The final cut from the album is “Damage Inc.” begins with an echoing bass guitar intro and explodes intro a criticism of the conformity within the music scene at the time. Consistently reviewed as on of the best and most significant metal albums of all-time it’d be a shame not to give it a listen.
Musical Content: ****
Artistic Content: ****
Impact: *****

Favorite Song: Welcome Home

Son of JayJamJah · 09-16-2007, 05:58 PM

The list will take a temporary hiatus, but return shortly with a frenzy as I recalibrate some of my rankings. I'm already upset I left "London Calling" and a few others so low. You forget just how much you like something when you have not listened to it in 8-12 months or longer.

Son of JayJamJah · 09-25-2007, 10:46 PM

62.

Red Hot Chili Peppers – Blood Sugar Sex Magik (1991)
The Pinnacle of the Chili Peppers discography is this Rick Rubin produced 75 minute foray into the personal torment and eccentric compulsions of Anthony Kiedas, the aggressive bass play of Michael “Flea” Balzary the now refined drumming of Chad Smith and the passion of super fan turned lead guitar player John Frusciante. Blood Sugar Sex Magik marks a progression into a more funk driven alternative rock style for the band with songs like “Give it Away” a Grammy award winning punk anthem born out of a jam session and “Suck My Kiss” containing one of several sexually charged lyrical efforts. Daring from the outset with the raucous opening track “Power of Equality” and groove laden tracks mixed with the somber “Breaking the Girl”. The acoustic motivated “I Could Have Lied” is a stand out song demonstrating the range the now polished band has. Fleas Bass lines are perhaps the most resounding mark this album makes, the intro to “Apache Rose Pea****” (for fucks sake they bleeped out cock in the context of the animal) will stick in your head for hours. “Sir Psycho Sexy” is the heaviest and grimiest funk effort on the album and solidifies the funk as the defining sound for the compilation. Despite this undoubtedly the crowning achievement of the album is “Under the Bridge” which has become a sort of Magnum Opus for the band. Now more then 15 years old it remains there most popular and revered song. The ballad is of course a first hand account of Heroin addiction from Kiedas’ point of view. A defining album for one of the most unique bands of the modern era and always a good listen cover to cover so to speak.
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Under The Bridge

61.

Incubus – Morning View (2001)
The third mainstream effort by Incubus marked a further departure, for better or worse, from their modern metal roots into a more expressive intricate style while sill maintaining a good portion of the tranquil aggression. Regardless of preference the album demonstrates further the massive variety of influence that Incubus incorporates into their sound. The first highlight is the introductory riff in the albums second track “Circles” one the albums stronger songs featuring a solid vocal performance by Brandon highlighted by a harmonious chorus and a nonchalant mellowing bridge. Now track better illustrates the evolution from organic Incubus to all grown up better then “Just a Phase” which is layers and layers of contentment and intrigue that lulls you into a sense of security comfort. With intentionally ironic metaphorically lyrics and an enjoyable musical cadence complete with a looping pre-chorus that explodes the second time around into a traditional Incubus symphonic audio experience. The rough edged “11 am” follows telling the story of one particular morning from a first person perspective. “Blood on the Ground” is a more traditional Incubus effort featuring up-tempo lyrics and intense hard rock riffs. “Mexico” is a surprise to steal the show as a chilling acoustic ballad demonstrating Brandon’s outstanding range as a singer and developing ability as a song writer. “Warning” is a true gem with an ambient light hearted melody and outstanding lyrical phrasing. Among Incubuses finest song writing efforts before or since; a favorite moment is the understated piano in the songs final movement. The subsequent song “Echo” serves as both a bridge between Incubuses styles a sort of prelude or foreshadowing to the albums final track the glorious middle-eastern stringed experiment in relaxation “Aqueous Transmission”. “Are you in” serves as a respite from the intensely poignant (either musically or vocally) tone of the album while continuing the soothing theme established throughout. Morning View, on the whole, its greatest detriment is coming on the heels of two outstanding efforts previous and additionally is victimized in terms of consistency as a result of the evolving musical direction the band was taking at the time. It is still a uniquely good album and a frequent disc in my rotation.
Musical Content: ****
Artistic Content: *****
Impact: ***

Favorite Song: Warning

60.

The Rolling Stones – Exile on Mainstreet (1972)
Retrieving Review File
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Tumbling Dice

59.

Van Morrison – Saint Dominic’s Preview (1972)
Opening with a rousing tribute and concluding with a dynamic ten minute opus, Saint Dominic’s Preview is seven thrilling R&B and folk rooted tracks jammed in between two more generic efforts in Van’s discography. Often overlooked and underestimated by the casual fan, its allure is undeniable when its rhythm is laid upon you. As with most of Van’s albums Saint Dominic’s Preview is best listened to and therefore reviewed in its attentive order. So…“Jackie Wilson Said” is the afore mentioned opening tribute track and the most notable single from the album is a snappy upbeat jam that does its muse proud. The gripping “Gypsy” is a step by step accent into the esoteric, a burgeoning theme for the album. The tour of homage continues with the jazzy “I’ll be there” as Van provides praise for Count Basse. Following next is the mind relocating first side finale “Listen to the Lion” with a very Vanesque improvisation, streaming outro. Like in his previous release, 1968’s Astral Weeks, the careful rhythm lifts you into the world of imagery the lyrics create as you experience the dream as it pours from Van. At more then eleven minutes it is the longest track on the album. The eponymous side two opener “Saint Dominic’s Preview” is a seemingly autobiographical ballad as evidenced by the reference to cleaning windows in the songs opening lyric. With a personal message and some of Van’s most epic lyrics, the intricate fills of the verses and the swelling momentum of the exclaimed title chorus make this one of my favorite songs ever. This song both in it’s context and as Van improvises outside the box is further evidence of Morrison’s amazing ability to say the same words over and over again without ever saying the same thing twice. On the heels of that masterpiece “Redwood” seamlessly combines country\folk\funk\jazz\gospel\soul and pop elements into another indubitable masterpiece of childhood memories and simplicity. Concluding the album a superfluous but brilliant intro bleeds into the plot of “Almost Independence Day” as Morrison and Ron Elliot duel on guitars behind the anticipatory lyrics and more direct metaphorical imagery. One of five Van Morrison albums that qualify as more of an experience than an album and the first of four on my list; Saint Dominic’s preview will draw you in with it’s jazzy charm and grab a hold of you with it’s poignant spirit. An essential listen.
Musical Content: *****
Artistic Content: ****
Impact: ****

Favorite Song: Saint Dominic’s Preview

ProggyMan · 09-25-2007, 11:12 PM

Exile On Main is my second favorite Stones album, I'd have it in my top 40. But it's your list so...

Son of JayJamJah · 09-25-2007, 11:28 PM

I'm not a huge Stones fan...especially in album form, I loved them live, but they never really put a great album together for my taste.

ProggyMan · 09-25-2007, 11:30 PM

Beggars Banquet is in my top 10, and Sticky Fingers and Exile are in my top 40 but beyond that...

sleepy jack · 09-26-2007, 04:31 PM

Morning View is such a fantastic album, Incubus seem to get over looked because they're mainstream rock but they're a great band. Plus Brandon Boyd is a great singer, he pisses all over Cornell at that whole nasally singer type thing. Drive is probably my favorite song off of it. Pardon Me is great too you didn't mention that one D=!

Son of JayJamJah · 09-26-2007, 06:15 PM

Quote:

Originally Posted by Crowquill

Morning View is such a fantastic album, Incubus seem to get over looked because they're mainstream rock but they're a great band. Plus Brandon Boyd is a great singer, he pisses all over Cornell at that whole nasally singer type thing. Drive is probably my favorite song off of it. Pardon Me is great too you didn't mention that one D=!

Those songs are off of Make Yourself actually, which is a superior album to morning view in my opinion and apparently yours.

sleepy jack · 09-26-2007, 07:31 PM

As you can see I don't listen to Incubus too much anymore...>.>

The Dave · 09-26-2007, 11:12 PM

I used to play Morning View all the time, then the album with Megalomaniac came out (Is the album titled Megalomaniac?), and I kinda had a falling out with them, I just didn't care for that album much at all. Incubus was one of the first bands I ever really got into, and Morning View being the first album of theirs I got into.

09-25-2007, 10:46 PM	#53 (permalink)
Son of JayJamJah Occams Razor Join Date: Jul 2007 Location: End of the Earth Posts: 2,472	Albums 59-62 62. *Red Hot Chili Peppers – Blood Sugar Sex Magik* (1991) The Pinnacle of the Chili Peppers discography is this Rick Rubin produced 75 minute foray into the personal torment and eccentric compulsions of Anthony Kiedas, the aggressive bass play of Michael “Flea” Balzary the now refined drumming of Chad Smith and the passion of super fan turned lead guitar player John Frusciante. Blood Sugar Sex Magik marks a progression into a more funk driven alternative rock style for the band with songs like “Give it Away” a Grammy award winning punk anthem born out of a jam session and “Suck My Kiss” containing one of several sexually charged lyrical efforts. Daring from the outset with the raucous opening track “Power of Equality” and groove laden tracks mixed with the somber “Breaking the Girl”. The acoustic motivated “I Could Have Lied” is a stand out song demonstrating the range the now polished band has. Fleas Bass lines are perhaps the most resounding mark this album makes, the intro to “Apache Rose Pea” (for fucks sake they bleeped out cock in the context of the animal) will stick in your head for hours. “Sir Psycho Sexy” is the heaviest and grimiest funk effort on the album and solidifies the funk as the defining sound for the compilation. Despite this undoubtedly the crowning achievement of the album is “Under the Bridge” which has become a sort of Magnum Opus for the band. Now more then 15 years old it remains there most popular and revered song. The ballad is of course a first hand account of Heroin addiction from Kiedas’ point of view. A defining album for one of the most unique bands of the modern era and always a good listen cover to cover so to speak. Musical Content: ** Artistic Content: Impact: Favorite Song: Under The Bridge 61. Incubus – Morning View (2001) The third mainstream effort by Incubus marked a further departure, for better or worse, from their modern metal roots into a more expressive intricate style while sill maintaining a good portion of the tranquil aggression. Regardless of preference the album demonstrates further the massive variety of influence that Incubus incorporates into their sound. The first highlight is the introductory riff in the albums second track “Circles” one the albums stronger songs featuring a solid vocal performance by Brandon highlighted by a harmonious chorus and a nonchalant mellowing bridge. Now track better illustrates the evolution from organic Incubus to all grown up better then “Just a Phase” which is layers and layers of contentment and intrigue that lulls you into a sense of security comfort. With intentionally ironic metaphorically lyrics and an enjoyable musical cadence complete with a looping pre-chorus that explodes the second time around into a traditional Incubus symphonic audio experience. The rough edged “11 am” follows telling the story of one particular morning from a first person perspective. “Blood on the Ground” is a more traditional Incubus effort featuring up-tempo lyrics and intense hard rock riffs. “Mexico” is a surprise to steal the show as a chilling acoustic ballad demonstrating Brandon’s outstanding range as a singer and developing ability as a song writer. “Warning” is a true gem with an ambient light hearted melody and outstanding lyrical phrasing. Among Incubuses finest song writing efforts before or since; a favorite moment is the understated piano in the songs final movement. The subsequent song “Echo” serves as both a bridge between Incubuses styles a sort of prelude or foreshadowing to the albums final track the glorious middle-eastern stringed experiment in relaxation “Aqueous Transmission”. “Are you in” serves as a respite from the intensely poignant (either musically or vocally) tone of the album while continuing the soothing theme established throughout. Morning View, on the whole, its greatest detriment is coming on the heels of two outstanding efforts previous and additionally is victimized in terms of consistency as a result of the evolving musical direction the band was taking at the time. It is still a uniquely good album and a frequent disc in my rotation. Musical Content: Artistic Content: * Impact: * Favorite Song: Warning 60. *The Rolling Stones – Exile on Mainstreet* (1972) Retrieving Review File Musical Content: ** Artistic Content: Impact: Favorite Song: Tumbling Dice 59. Van Morrison – Saint Dominic’s Preview (1972) Opening with a rousing tribute and concluding with a dynamic ten minute opus, Saint Dominic’s Preview is seven thrilling R&B and folk rooted tracks jammed in between two more generic efforts in Van’s discography. Often overlooked and underestimated by the casual fan, its allure is undeniable when its rhythm is laid upon you. As with most of Van’s albums Saint Dominic’s Preview is best listened to and therefore reviewed in its attentive order. So…“Jackie Wilson Said” is the afore mentioned opening tribute track and the most notable single from the album is a snappy upbeat jam that does its muse proud. The gripping “Gypsy” is a step by step accent into the esoteric, a burgeoning theme for the album. The tour of homage continues with the jazzy “I’ll be there” as Van provides praise for Count Basse. Following next is the mind relocating first side finale “Listen to the Lion” with a very Vanesque improvisation, streaming outro. Like in his previous release, 1968’s Astral Weeks, the careful rhythm lifts you into the world of imagery the lyrics create as you experience the dream as it pours from Van. At more then eleven minutes it is the longest track on the album. The eponymous side two opener “Saint Dominic’s Preview” is a seemingly autobiographical ballad as evidenced by the reference to cleaning windows in the songs opening lyric. With a personal message and some of Van’s most epic lyrics, the intricate fills of the verses and the swelling momentum of the exclaimed title chorus make this one of my favorite songs ever. This song both in it’s context and as Van improvises outside the box is further evidence of Morrison’s amazing ability to say the same words over and over again without ever saying the same thing twice. On the heels of that masterpiece “Redwood” seamlessly combines country\folk\funk\jazz\gospel\soul and pop elements into another indubitable masterpiece of childhood memories and simplicity. Concluding the album a superfluous but brilliant intro bleeds into the plot of “Almost Independence Day” as Morrison and Ron Elliot duel on guitars behind the anticipatory lyrics and more direct metaphorical imagery. One of five Van Morrison albums that qualify as more of an experience than an album and the first of four on my list; Saint Dominic’s preview will draw you in with it’s jazzy charm and grab a hold of you with it’s poignant spirit. An essential listen. Musical Content: * Artistic Content: Impact: Favorite Song:** Saint Dominic’s Preview Last edited by Son of JayJamJah; 10-08-2007 at 08:49 PM.

09-13-2007, 01:57 AM	#51 (permalink)
Son of JayJamJah Occams Razor Join Date: Jul 2007 Location: End of the Earth Posts: 2,472	65. *Rage Against The Machine - Renegades* (2000) An album entirely comprised of covers would typically be left far of any best of list I compile but this is a certain exception. The immensely distinctive style Rage Against the Machine Brings to the creations of their musical idols and influences sets this album apart. From the get go with the influential “Microphone Fiend” (Original by Eric B and Rakim) with Zack’s distinctive painstaking vocals and Tom Morellos dynamic guitar interpretations driving it into your ear. The MC5’s “Kick out the Jams” is the next highlight as Rage brings it a whole new level of energy. “Renegades of Funk” is the fourth and probably best track on the album. De La Rocha deliverers such an emotional performance lyrically it’s impossible to escape. EPMD’s “I’m Housin” features Tim’s strongest isolated bass effort providing the basis of the songs groove. The playful interpretation of Cypress Hill’s “I could just kill a Man” is even better on the live version that finishes album. The helicopter that opens “The Ghost of Tom Joad” and it’s distortion fueled guitar lead ins are so good they almost make you forget it’s a Bruce Springsteen song they are covering. The Stones “Street Fighting Man” is one of the few disappointments from the album and is still a listenable track. In the tradition of Jimi Hendrix, Rage covers a Bob Dylan song and makes it a thousand times better. “Maggie’s Farm” was a wonderful protest song in Dylan’s hands, but Rage brings it to life with considerable liveliness. This is sadly the final offering we have from Rage Against the Machine to date, the unique dynamics of the band and their sound make them a favorite of mine. This will not be the last time they are heard from on this list. Musical Content: *** Artistic Content: * Impact: ** Favorite Song: Maggie’s Farm 64. Pearl Jam - Ten (1991) The debut effort for the band that once considered the name Mookie Blaylock but settled on Pearl Jam. Chalked full of memorable hits like “Alive” with it’s pulsating hook and electric closing solo, the inexorable “Even Flow” which continues to invade rock radio and “Jeremy” the cryptic re-telling of a high school suicide tragedy which helped create the template for rock singers for the next ten years. Eddie Vedder’s grating moans and commanding shouts became the signature of the bands Seattle grunge sound. “Black” is a methodical expressive ode that demonstrates the young bands ability to mellow their aggressive sound when needed. It’s the most critical track on the album and elevates it to top 100 status in my world. There are some lame ducks on this album but just a few opening track “Once” awakens the sound that is Pearl Jam and pushes the album forward very effectively, while it’s counterpart finale track “Release” gives summation to the album as a whole building over the course of nearly ten minutes from a rhythmic bellowing ode into an electronic salutations of the arrival of what would become the most significant lasting band of the movement. Also recorded during the “Ten” sessions but left of the album is “Yellow Ledbetter” a much underrated and often overlooked song with great pacing and a catchy balance. An easy choice for me over Vitalogy as the Pearl Jam representative in the group. Musical Content: Artistic Content: Impact: Favorite Song: Black 63. Metallica – Master of Puppets (1986) There is nothing subtle about this at all. With a continuous theme of our inability to control our own paths resonating throughout this surprisingly benevolent compilation, the third effort by the band stands as there greatest work Metallica was the heaviest band I’d ever heard and enjoyed. I was captivated by the power of their music and their innovative thrash metal sound. Opening track “Battery” delicately places you in the troughs of their musical destruction and then shakes your core. It’s followed by title track “Master of Puppets” and its remarkable opening and hook riff. Bass player Cliff Burton had a significant role in writing this song and credits it as his favorite Metallica track. “The Thing That Should Not Be” is filled with dark imagery and more heavy guitar riffs. The shadowy “Welcome Home” hovers as a cloud of revolution in the midst of the album emoting riffs and increasingly ominous lyrics give the song an even more dark edge then the rest of the album. The easy on melodic battlefield of “Disposable Heroes” provides excellent speed guitar work by both Hetfield and Hammett throughout as its lyrics detail the chaos of war from the participant’s perspective. Burton’s instrumental composition “Orion” is a highlight of the album for me, a mix of Metallica’s signature style riffs and bass and drum driven transitions. The final cut from the album is “Damage Inc.” begins with an echoing bass guitar intro and explodes intro a criticism of the conformity within the music scene at the time. Consistently reviewed as on of the best and most significant metal albums of all-time it’d be a shame not to give it a listen. Musical Content: Artistic Content: Impact: * Favorite Song:** Welcome Home

09-16-2007, 05:58 PM	#52 (permalink)
Son of JayJamJah Occams Razor Join Date: Jul 2007 Location: End of the Earth Posts: 2,472	The list will take a temporary hiatus, but return shortly with a frenzy as I recalibrate some of my rankings. I'm already upset I left "London Calling" and a few others so low. You forget just how much you like something when you have not listened to it in 8-12 months or longer.

09-25-2007, 11:12 PM	#54 (permalink)
ProggyMan Reformed Jackass Join Date: Sep 2007 Posts: 3,964	Exile On Main is my second favorite Stones album, I'd have it in my top 40. But it's your list so...

09-25-2007, 11:28 PM	#55 (permalink)
Son of JayJamJah Occams Razor Join Date: Jul 2007 Location: End of the Earth Posts: 2,472	I'm not a huge Stones fan...especially in album form, I loved them live, but they never really put a great album together for my taste.

09-25-2007, 11:30 PM	#56 (permalink)
ProggyMan Reformed Jackass Join Date: Sep 2007 Posts: 3,964	Beggars Banquet is in my top 10, and Sticky Fingers and Exile are in my top 40 but beyond that...

09-26-2007, 11:12 PM	#60 (permalink)
The Dave Me and The Major Join Date: Jun 2006 Location: Kentucky Posts: 1,830	I used to play Morning View all the time, then the album with Megalomaniac came out (Is the album titled Megalomaniac?), and I kinda had a falling out with them, I just didn't care for that album much at all. Incubus was one of the first bands I ever really got into, and Morning View being the first album of theirs I got into.