Definitely not a favorites list (though some qualify), this is my attempt to come up with 25 albums that were signposts along the way. In many cases they were gateways to new musical and emotional worlds. In many cases I laugh when I think about these now even though I can still enjoy those too…on occasion.
Gateway Drugs
1. Band On The Run – Paul McCartney & Wings [1973]
2. Abbey Road – The Beatles [1969]
These two form some of my earliest musical memories as my mom would play them incessantly in the mid 1970s, bouncing me around the room with her. With Abbey Road, she focused on side two, the one with the medleys. Actually, both of these albums are good examples of McCartney songcraft, not to mention some amazing basslines (“Mrs. Vandebilt” or “Let Me Roll It” from Band On The Run and “You Never Give Me Your Money” from Abbey Road being my favorite examples).
3. Highway 61 Revisited – Bob Dylan [1965]
My dad’s main contribution to my musical upbringing was a steady diet of Dylan, none more so this album, his second of 1965! As a child, listening to this was akin to reading Aesop’s Fables. All sorts of dark “lessons” and characters at the margins of society hobnobbing with T.S. Eliot and Napoleon. A heady brew. And it rocks more than anything else he’s released.
“…and the only sound that’s left, after the ambulances go/
is Cinderella sweeping up on Desolation Row…”
4. Business As Usual – Men At Work [1982]
5. Rhythm Of Youth – Men Without Hats [1983]
When I started getting my own albums, it was often on cassette. I got these two around the same time in ’83. I still listen to them today. Men At Work’s Colin Hay is a brilliant songwriter and Business As Usual doesn’t suffer from the often stifling production of so much ‘80s music. Men Without Hats? Ignore the album at your peril based on the inane “The Safety Dance”. “Antarctica” features Ivan Doroschuk’s best Buddy Holly hiccup laid down over some very catchy Gary Numanesque synthpop. “I Like” is a sarcastic jibe at all the idiots you went to school with. “Ideas For Walls” has…lots of great ideas for walls. You can dance, sing and learn all at the same time.
6. Invisible Touch – Genesis [1986]
Phil’s first divorce 6 years prior to this really messed him up. No, you can’t tell it from “In Too Deep” or “Throwing It All Away” despite the downer sound of the titles. You hear it in album tracks like “Mama” from the self titled Genesis album in ’83 or “Domino” from Invisible Touch. The latter’s got rivers of blood, for god’s sake. What would Walt Disney say? I was going through a rough patch at home, and I could put on my vinyl copy of this one and get lost in the cold, brittle synths and tales of isolation. It didn’t sound so bad to me.
7. The Story Of The Who – The Who [1976-Europe]
I borrowed a copy of this weird import in high school which featured an exploding pinball machine on its cover. It was my uncle Joe’s. He would prove to be quite influential on my musical tastes during these years. Thanks to this double album on cassette, I would be forever fascinated with The Who’s ability to combine melody with power, leading me to explore the entire catalog. Current favorites – The Who Sell Out [1967], Quadrophenia [1973] & The Who By Numbers [1975]. I’ll stop now. I still can’t get enough of the musical interplay between Townshend, Entwistle and Moon, the way they could seem on the verge of falling over the cliff, each playing from their own devil’s hymnal, only to come together in moments of sheer beauty (think “Sparks” from 1969’s Tommy as they build up to Pete’s power chord to end all power chords).
8. Girls, Girls, Girls – Elvis Costello [1989]
One more comp that caused me to eventually delve into an artist’s entire catalog, this time EC’s. It was a 2-CD set that covered his entire Columbia period 1977-1986, curated by the artist himself. His self-penned liner notes are worth the price of admission all by themselves, but it was the Thomas & Thomas rhythm section (Pete on drums, Bruce on bass, no relation) and paranoid, stinging lyrics of Declan MacManus that hooked me. Though he rarely uses the first person, I’m convinced that the most frequent object of his ire is himself. He’s a great alchemist, combining the favorites from his record collection – soul, Tin Pan Alley, British Invasion pop – into something unique. My current Elvis pick to click: Trust [1981].
9. Nuggets: A Classic Collection from the Psychedelic Sixties – Various [1986]
This was one of my first 3 CDs (along with The Beatles’ Revolver and a Lovin’ Spoonful collection). A lot of great tracks on this one from the likes of The Seeds and The Easybeats. The album did a couple of things for me. It cemented my abiding love for garage rock and the perfect 2:30 – 3:00 single and it introduced me to the Rhino Records label. Over the course of the next 15 years (their heyday), their reissues would swell the shelves of my music collection and introduce me to countless bands and songs that have made my life a lot richer.
10. Operation: Mindcrime – Queensryche [1988]
My friend James and I would drive to Taco Bell or Rally’s every day for lunch our senior year of high school in South Bend, Indiana. This was often the soundtrack for those trips. The night before finals, we even went to see them play a concert in Fort Wayne. I’m not sure if that says more about my dedication to my studies or to the “rigorous” academic training I received in the South Bend school system.
11. Green – R.E.M. [1988]
“I Remember California” is one of the heaviest things they ever did. The record doesn’t hold up as well for me now (they certainly had a lot of better ones) but it was my entry into the world of Berry/Buck/Mills/Stipe. Thank goodness they called it a day when Bill Berry retired to his farm in ’97. Wait, you’re saying they’re still together? That’s a shame. Current favorite: Fables Of The Reconstruction [1985]
12. Led Zeppelin IV – Led Zeppelin [1971]
This was my “psych myself up” tape before cross country meets in high school. I can’t imagine John Bonham’s drum kit survived the beating he gave it on “Misty Mountain Hop” and “When The Levee Breaks”.
13. Violator – Depeche Mode [1990]
Moody stuff but poppy melodies sprinkled throughout. Not as many as the early days of the band on singles like “Just Can’t Get Enough”, “New Life” and “Dreaming of Me” but not too many lectures sound as much fun as “Policy of Truth”.
14. Dan Bern – Dan Bern [1997]
When he’s hungry and the audience is actually listening, Dan Bern puts on the best concert you could hope to see. Sometimes it’s just him and a guitar, but he’s no overly earnest folkie. His sense of humor and catchy melodies set him apart in the usually staid folksinger/songwriter genre. Some of his observations: Marilyn Monroe should have married Henry Miller (as opposed to Arthur), the day that Elvis died was like a mercy killing…and he really likes olives. Mountains of them, in fact.
15. Little Plastic Castles – Ani DiFranco [1998]
Hands down the sound of ’98 for me. Ani’s embrace of the rhythm section in her music, rather than detracting from her incisive and insightful words, enhanced her vision. Dance-folk!
16. Electric Version – The New Pornographers [2003]
Pure adrenaline rush. As soon as I heard the harmonies and punchy guitar on “From Blown Speakers” they had a fan for life.
17. Gallowsbird’s Bark – The Fiery Furnaces [2003]
Eleanor Friedberger’s voice is one of my favorites and it’s often put to use on lyrics that don’t make any sort of literal sense at all. But so what. This is one band that understands that how you sing a line can be just as important as the words.
18. Get Away From Me – Nellie McKay [2004]
Nellie was classically trained, but steadfastly does her own unique thing. She frequently sends up the very Tin Pin Alley song conventions that she explores in her songs but it’s playful rather than mean spirited. She saves the vitriol for neoconservatives and people that lack the courage to laugh at themselves.
19. A Ghost Is Born – Wilco [2004]
It was a warm spring evening at Heather’s old place before the album’s release, and this was streaming on Wilco’s website. I loved Yankee Hotel Foxtrot in all its artiness, but the warm sounding guitars and immediate riffs were just what I needed at the time. The long winter was finally over.
20. Milk Man – Deerhoof [2004]
The milk man comes in the night; what are his intentions? This album can be downright spooky, but the clattering drums and slashing guitar combined with Satomi Matsuzaki’s childlike (but not childish) voice are never dull. They’re always moving in unexpected directions, but after listening you think it had to be that way all along.
21. The Ditty Bops – The Ditty Bops [2004]
These two ladies brought music hall into the 21st century though nobody was asking for it. Endlessly singable, these songs feature beautifully blended harmonies and much humor without being campy. Even more fun live when the music comes with costumes.
22. Axes – Electrelane [2005]
These British ladies just pound out one 4/4 beat after another with lots of emphasis on organ and drums along with those downstrokes on the guitar. It’s the flourishes that, along with their never flagging energy, keep it sounding fresh. Found sounds like guitar strings being tightened until they break. Distant train whistles. Men’s choruses. I hope their current hiatus is not permanent.
23. Tanglewood Numbers – The Silver Jews [2005]
David Berman made me empathize with ponies.
24. Otis Blue/Otis Redding Sings Soul – Otis Redding [1965]
Way too little soul on this list, but I was trying to keep comps to a minimum and historically soul and r&b have been singles mediums. Otherwise I would have included The Complete Stax/Volt Singles Vol. 1, James Brown’s Star Time box set, and The Very Best Of Sam & Dave among other candidates. But this is one 60s soul album that works completely as an album. In addition to his own “Respect” and “I’ve Been Loving You Too Long”, he puts his signature on “Satisfaction”, “Shake” and “You Don’t Miss Your Water” among many other gems. Otis didn’t know how to give less than his all and always his humanity shines through.
25. Acid Tongue – Jenny Lewis [2008]
My favorite of 2008 has many of the hallmarks of Jenny’s work with Rilo Kiley (R.I.P?) – catchy tunes, that crystalline voice. And she makes her brand of introspection so much fun. It helps that she has fun friends on this self-critique. It’s a built in support group, more of a family than she actually had when she was younger, to hear her tell it. It’s also beautifully recorded with that analog sound that fewer and fewer albums have in this highly compressed CD/mp3 age. Let it envelop you.
Current obsession: Middle Cyclone – Neko Case [2009]
