Ten MORE records you need to hear
April 17th 2009 00:05
This is a follow-up to my previous post. I thought I would give you ten “under-the-radar” records that you must hear. Being “under-the-radar” is a very relative term and mostly depends on the audience. A room full of rock critics may scoff at my selections, but bored 42 year old housewives may think my list is way too obscure to be considered enjoyable – much less required listening. I’ll do my best to walk the line.
1. Sublime – 40 oz to Freedom. Everyone owns the self-titled record by these Long Beach dudes. But it was 40 oz that fueled my reckless 20s with Mickeys and Marlboros. Unlike Reel Big Fish (who seemed kinda jokey) or No Doubt (who seem too polished, to MTV-friendly), Sublime best represents this musical scene; this musical moment. They brought this ska/punk sensibilities with a sense of authenticity and sincerity unmatched. All told from a perspective I can identify with: SoCal culture (oranges by the freeway?)
2. Ryan Adams – Love Is Hell (Part 1 & 2). I was only a half-hearted RA fan when I bought this record and I didn’t immediately like it as much as Gold or Heartbreaker. But it is a “grower” type record that seems to get better with each progressive listen. Supposedly, this is RS’s “new wave” album, and I hear a little of that, but I honestly think it is his most well balanced record with sounds spanning the gamut from brezzy acoustic (“English Girls”) to straight-forward rock (the title track). It also includes probably his finest song: the hauntingly beautiful “I See Monsters”.
3. Neil Young – Rust Never Sleeps. This record is perhaps the perfect synopsis of Neil as an artist. One side with acoustic driven songs (both powerful and sweet), as well as, the distortion filled Les Paul driven second side. Not to mention this came out almost 15 years after he first came onto the music scene. While his contemporaries starting cashing in on lucrative Greatest Hits tours, Neil rpoved to be still relevant, influential and inspired. This one doesn’t get as much radio play as say “Harvest”, but there are great songs here. From spooky, Spartan “Hey Hey, My My” to the achingly beautiful “Pocahontas” to the raw savagery of “Powderfinger”, this is a great record.
4. Damien Rice – O. Modern folk music is an often over-looked genre that is currently producing some great stuff. Artists like Gillian Welch, Bon Iver and Iron & Wine are re-charging a once forgotten (or disregarded) musical tradition. Many great records to choose from, but I selected Damien’s O because it is just devastating. Listen to “Volcano” and “The Blower’s Daughter” and tell you were not just crushed. Impossible to deny the raw emotion behind these songs.
5. Led Zeppelin – Presence. Everyone knows Zep. But I feel Presence is an unfairly ignored masterpiece. The song “Achilles Last Stand” itself is worth the price of this (fairly short) record. An epic tune for an epic band. But the rest of the album holds some gems, as well. Sure, Jimmy can’t solo as well, what with the heroin and all. But these songs have some groove, some thump. Take a listen. You’ll not be disappointed.
6. Son Volt – Trace. I know, I know. I love alt.country. But this record is just so awesome. Maybe more than any record of the 1990s alt.country, this one captures that best-of-the-best. More country than alt, it focuses on song writing, melody and musical chops (at least, more so than Jay Farrar’s earlier band, the seminal Uncle Tupelo). “Drown” was a minor radio hit, but for the best tunes, check out “Tear Stained Eye” and the beautiful Ronnie Wood cover of “Mystifies Me”.
7. Bob Dylan – Desire. This is Bob’s most underrated record, by far. Recorded during his Rolling Thunder days, this one captures all of Bob’s eclecticism: political (“Hurricane”), personal (“Sara”), story-telling (“Isis”). If you liked Blood on the Tracks, do yourself a favor and grab this one. The addition of female backing singers is controversial amongst Dylan fans, but I think it brings a fresh, new way to present these songs. Add the prominent violin as well, and you’ve got a Dylan record that sounds like no other.
8. Bright Eyes – I’m Wide Awake It’s Morning. Conor Oberst’s lyricism on this record is unsurpassed for by anything released since Y2K. Combine this with the stripped down, folky, (mostly) acoustic instrumentation, and you have a genuinely enjoyable, yet subtlety subversive record. He really wears his heart on his sleeve and it pays dividends. Easily one of the best records of the 2000s.
9. Beth Orton – Trailer Park. A genre unto herself, Beth pushes the boundaries without sacrificing aesthetic appeal. “She Cries Your Name” is so harrowing and surreal that it leaps out of the speakers at you – but done in a subtle way with minimal instrumentation and bombastic sonic overload. Post-modern love songs for a jaded generation. Is this folk? Is this electronic? Is this alternative? Uhhh… no. It’s just good. Even the iconic cover art leaves an impression.
10. The Byrds – Sweetheart of the Rodeo. What can I say about this record that has not already been said? Probably nothing. Just know this: all the hype is worth it. It is much bally-hooed for its ground-breaking, genre defining glories, but I find few people who have actually listened to it. Please, discover this musical milepost. Just to say you have, at least.
Soundtrack of the 1990s
1. Sublime – 40 oz to Freedom. Everyone owns the self-titled record by these Long Beach dudes. But it was 40 oz that fueled my reckless 20s with Mickeys and Marlboros. Unlike Reel Big Fish (who seemed kinda jokey) or No Doubt (who seem too polished, to MTV-friendly), Sublime best represents this musical scene; this musical moment. They brought this ska/punk sensibilities with a sense of authenticity and sincerity unmatched. All told from a perspective I can identify with: SoCal culture (oranges by the freeway?)
2. Ryan Adams – Love Is Hell (Part 1 & 2). I was only a half-hearted RA fan when I bought this record and I didn’t immediately like it as much as Gold or Heartbreaker. But it is a “grower” type record that seems to get better with each progressive listen. Supposedly, this is RS’s “new wave” album, and I hear a little of that, but I honestly think it is his most well balanced record with sounds spanning the gamut from brezzy acoustic (“English Girls”) to straight-forward rock (the title track). It also includes probably his finest song: the hauntingly beautiful “I See Monsters”.
3. Neil Young – Rust Never Sleeps. This record is perhaps the perfect synopsis of Neil as an artist. One side with acoustic driven songs (both powerful and sweet), as well as, the distortion filled Les Paul driven second side. Not to mention this came out almost 15 years after he first came onto the music scene. While his contemporaries starting cashing in on lucrative Greatest Hits tours, Neil rpoved to be still relevant, influential and inspired. This one doesn’t get as much radio play as say “Harvest”, but there are great songs here. From spooky, Spartan “Hey Hey, My My” to the achingly beautiful “Pocahontas” to the raw savagery of “Powderfinger”, this is a great record.
4. Damien Rice – O. Modern folk music is an often over-looked genre that is currently producing some great stuff. Artists like Gillian Welch, Bon Iver and Iron & Wine are re-charging a once forgotten (or disregarded) musical tradition. Many great records to choose from, but I selected Damien’s O because it is just devastating. Listen to “Volcano” and “The Blower’s Daughter” and tell you were not just crushed. Impossible to deny the raw emotion behind these songs.
5. Led Zeppelin – Presence. Everyone knows Zep. But I feel Presence is an unfairly ignored masterpiece. The song “Achilles Last Stand” itself is worth the price of this (fairly short) record. An epic tune for an epic band. But the rest of the album holds some gems, as well. Sure, Jimmy can’t solo as well, what with the heroin and all. But these songs have some groove, some thump. Take a listen. You’ll not be disappointed.
6. Son Volt – Trace. I know, I know. I love alt.country. But this record is just so awesome. Maybe more than any record of the 1990s alt.country, this one captures that best-of-the-best. More country than alt, it focuses on song writing, melody and musical chops (at least, more so than Jay Farrar’s earlier band, the seminal Uncle Tupelo). “Drown” was a minor radio hit, but for the best tunes, check out “Tear Stained Eye” and the beautiful Ronnie Wood cover of “Mystifies Me”.
7. Bob Dylan – Desire. This is Bob’s most underrated record, by far. Recorded during his Rolling Thunder days, this one captures all of Bob’s eclecticism: political (“Hurricane”), personal (“Sara”), story-telling (“Isis”). If you liked Blood on the Tracks, do yourself a favor and grab this one. The addition of female backing singers is controversial amongst Dylan fans, but I think it brings a fresh, new way to present these songs. Add the prominent violin as well, and you’ve got a Dylan record that sounds like no other.
8. Bright Eyes – I’m Wide Awake It’s Morning. Conor Oberst’s lyricism on this record is unsurpassed for by anything released since Y2K. Combine this with the stripped down, folky, (mostly) acoustic instrumentation, and you have a genuinely enjoyable, yet subtlety subversive record. He really wears his heart on his sleeve and it pays dividends. Easily one of the best records of the 2000s.
9. Beth Orton – Trailer Park. A genre unto herself, Beth pushes the boundaries without sacrificing aesthetic appeal. “She Cries Your Name” is so harrowing and surreal that it leaps out of the speakers at you – but done in a subtle way with minimal instrumentation and bombastic sonic overload. Post-modern love songs for a jaded generation. Is this folk? Is this electronic? Is this alternative? Uhhh… no. It’s just good. Even the iconic cover art leaves an impression.
10. The Byrds – Sweetheart of the Rodeo. What can I say about this record that has not already been said? Probably nothing. Just know this: all the hype is worth it. It is much bally-hooed for its ground-breaking, genre defining glories, but I find few people who have actually listened to it. Please, discover this musical milepost. Just to say you have, at least.
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