Uncovered Classics Vol. 3: Ranking 36 Acclaimed Albums I’d Never Heard

Welcome back!

It’s time for the long-awaited return of my classic review series. From early October to early November, I listened to a classic album I’d never heard before every day. After almost sticking to that daily schedule and sharing my thoughts through social media as I went, I now have this collection of 36 album reviews copy edited, polished and collected all in one place for your reading pleasure.

Read on to see my list of these older and contemporary classics, ranked from least to most favorite:

36. “Most Known Unknown” by Three 6 Mafia from 2005

As far as the aesthetic of southern horrorcore rap goes, this album delivers everything you could want. Memphis-based group Three 6 Mafia’s 2005 album “Most Known Unknown” brings plenty of DJ Paul and Juicy J’s hard-hitting beats to the table, along with cutthroat verses from core members Paul, J and Crunchy Black. But as far as the content of these songs go, this southern rap classic is spotty at best. As catchy as many of the hooks on these songs are, there’s not much else going on to keep me coming back.

Topical depth and focus notwithstanding, when the album’s hits get everything right, Three 6 Mafia delivers infectious confidence and nonstop thrills. After the greatest hits-style clip show of the intro track “Most Known Unknown Hits,” the album’s most infamous song “Stay Fly” brings the heat. The beats’ mix of relentless drums, speedy bongos and chopped guitar and string samples make the perfect foundation for the charismatic verses, delivered in glorious southern drawl. “Poppin My Collar” is easily another highlight, with soulful horn, string and vocal samples serving as a luxurious vessel for the three MCs’ effortless braggadocio. Darker moments hit hard too, like on the menacing posse cut “Body Parts 3,” where the three core members and guest rappers Lil Whyte, Frayser Boy, Chrome, Boogieman, Project Pat and Grandaddy Souf all spit over murderous string samples.

But aside from the highlights, “Most Known Unknown” can really be a slog. The interruptions for shameless self-promotion on “Skit” and “Outro” do nothing but distract from the atmosphere the album’s best songs established. And from the in-your-face violence of “Knock Tha Black Off Yo Ass” to the graphic sexuality of “Side 2 Side” and “Half On a Sack,” the album’s deep cuts don’t have any content I can get invested in.

If you want to check out this album, I can recommend a few of Three 6 Mafia’s hits. But I don’t see myself returning to this whole project anytime soon.

Rating: 4/10

35. “Symbolic” by Death from 1995

It was funny reviewing this record soon after listening to Black Sabbath’s “Paranoid” for the first time, because I had almost the opposite experience. Sabbath’s classic debut reminded me of everything I can love and appreciate about heavy metal, while Death’s cult classic “Symbolic” reminded me of everything that can leave me feeling cold and indifferent toward the whole genre.

Before some metalhead out there reaches through their screen to wring my neck, let me be clear; I totally understand why this is a beloved album. The propulsive drums, growling bass, searing guitars and throat-shredding vocals all pack a massive punch and probably give fans exactly what they’re looking for. But there’s only so much “dudes playing really fast” music I can take before it all melts together, especially when those tortured vocals don’t ever deliver much melody. The intensity of songs like the opening title track or “Sacred Serenity” are undeniable, and there are even some lyrics that stick out and pull you into the dark fantasy of the album. But without solid song structures, it’s easy to get lost.

There are some great moments and embellishments in the production. The clean electric guitar and echoey percussion at the beginning of “Empty Words” and the bursts of melancholic Spanish guitar at the fiery climax of “Crystal Mountain” are thrilling surprises. But after 50 minutes of breakneck shredding, there just aren’t enough of those moments to help me form a real connection with this record.

I definitely enjoyed checking out this record, but there’s not much here to keep me coming back for more.

Rating: 5/10

34. “Deathconsciousness” by Have A Nice Life from 2008

This rock duo’s debut album “Deathconsciousness” has a powerful mood and atmosphere, but the songs don’t always capitalize on that vibe. When Have A Nice Life provide enough structure to give a tune a satisfying progression or just pile on the moody production so much you get lost in it, these tracks really hit. But when they land between abstract soundscapes and true songs, the album loses me.

One thing that’s important to note: The amateurish production is not a mark against “Deathconsciousness.” You can hear the limited budget and laptop mic recording quality, and if anything, the album’s everyman context makes the music more compelling. The quietly mastered, but richly produced layers of apocalyptic guitars, bass and synths can make for some absolutely spellbinding moments, like the bittersweet odyssey of “The Big Gloom” or the patient build toward the noisy finale of closer “Earthmover.” Some of the shorter tunes deliver too, like the punky barnburner “Deep, Deep” or the depressive piano ballad “Who Would Leave Their Son out in the Sun?”

Despite the highlights, “Deathconsicousness” has a good handful of tunes that wear out their welcome. From the tedious 10 minute slog of “Hunter” to the at-first pleasant, but eventually stale soundscape of opener “A Quick One Before the Eternal Worm Devours Connecticut,” Have A Nice Life kills the mood by testing my patience too much.

Maybe this will hit much harder when I’m in a better state of mind to absorb something this dark and moody, but for now, I can’t see myself returning to it much.

Rating: 5/10

33. “Mezzanine” by Massive Attack from 1998

This UK group’s trip hop cult classic is an impressive display of sound design, sampling and beat making. Massive Attack’s production chops are undeniable, but the songs themselves are a mixed bag. Some of “Mezzanine’s” tunes deliver cathartic journeys bringing each dark and moody sound to life, and others let them sit and get stale.

In all fairness, those highlights stand as some of the best trip hop tunes I’ve ever heard. Opener “Angel” slowly builds from skeletal percussion and rumbling bass to an incredible explosion of distorted guitars and crashing live drums. “Teardrop” is the album’s most popular song for good reason, with a euphoric vocal performance by Cocteau Twins’ Elizabeth Fraser complimenting a hauntingly beautiful beat built from powerful piano chords, snappy percussion and driving harpsichord arpeggios.

Sometimes the more subtle songs on “Mezzanine” deliver a satisfying progression too, like the title track, which piles on atmospheric guitars, synths and effects to support hushed, jaded vocals before a snare drum comes in and gives the whole track momentum. But on others, the tune allows so much space the whole experience deflates. On the 8-minute-plus penultimate track “Group Four,” Massive Attack puts together an intriguing blend of mysterious keys and interplaying masculine and feminine vocals, and eventually builds to an incredible finale, with arid guitars and bass supporting a rush of heavenly effects. But the song’s journey to get to this finale gets so stale by the time the guitars build that I’ve already checked out. Closer “(Exchange)” is a soothing and slightly jazzy change of pace, but doesn’t leave a strong enough impression to give the album a sense of finality.

Maybe I’ll enjoy some of Massive Attack’s other records more, but I know other trip hop records have more to offer me personally than this one.

Rating: 6/10

32. “The Earth Is Not A Cold Dead Place” by Explosions In The Sky from 2003

The four-piece, Texas-based emo band Explosions In The Sky are nothing if not ambitious on this record. The 45 minute runtime of “The Earth Is Not A Cold Dead Place” is made up of only five songs, with not a single track running shorter than eight minutes. And considering the band’s sound, an instrumental blend of emo and post rock that fans of Godspeed You! Black Emperor or Sigur Rós might recognize, a record full of instrumental epic crescendos and dynamic compositions is promising.

Unfortunately, Explosions In The Sky doesn’t push these compositions nearly as far or use as lush instrumental palettes as other post rock bands of the late ’90s and early ’00s often did. The album does deliver a few satisfying peaks, especially in the finale of “The Only Moment We Were Alone,” where the band uses all 10 minutes of this epic to build up bittersweet licks and marching band drums into a distorted explosion of thunderous cymbals and fuzzy guitars. The soft, serene journey into a cathartic finale on “Memorial” delivers as well.

But on most of these songs, Explosions In The Sky’s layers of melancholy guitars just don’t live, breathe and swell like I hoped they would. “Six Days At The Bottom Of The Ocean” does build up into louder sections, but as pretty as the soft layers of spacey guitars are, they kill the song’s momentum and keep it from a satisfying sense of progression. Closer “Your Hand In Mine,” which stands as the band’s most popular song, keeps building and relieving tension without ever reaching a real climax, making for an underwhelming finale.

I like this sound and I see why these guys were tapped to score “Friday Night Lights,” but I enjoy those songs in the background of that show much more than on this album.

Rating: 6/10

31. “Mista Thug Isolation” by Lil Ugly Mane from 2012

Virginia-based rapper and producer Travis Miller broke out with this twisted southern hip-hop debut. But as powerful as the atmosphere conjured through Lil Ugly Mane’s beats can be, “Mista Thug Isolation” is an inconsistent project, often failing to elevate and complement the gritty production with compelling content.

But before I complain, I have to drive home just how immersive and creative these beats are. The soundscape here is lo-fi and bass-heavy, pairing looping southern vocal samples with spine-chilling synths just as often as smooth pianos and strings. Featuring a husky guest verse from SupaSortahuman, “Radiation (Lung Pollution)” perfectly exemplifies the album’s versatility, with the chipmunk soul chops and saxophone at the track’s opening providing a drug-addled oasis from the darkness, before Miller’s deep, drawl-soaked verse comes in and brings the mood all the way pack down over ominous synth chords and police sirens. On other songs, Miller’s production is genuinely moving, like on “Throw Dem Gunz,” which at first seems like just another gritty lyrical depiction of violence and drugs, but when paired with atmospheric effects and weepy strings, Ugly Mane’s performance becomes heart-wrenchingly tragic.

Despite Miller’s gritty performances and generally strong writing, quality production gets ruined when he focuses on sex. With the exception of “Mona Lisa Overdrive,” which makes more of an effort at romance over a lush and soulful beat, all the dirty jams are complete nonstarters. From the annoying bed creaking samples on “Looking 4 The Suckin” to the gross-out imagery of “Slick Rick,” it’s all in bad taste.

“Mista Thug Isolation” has some incredible highlights, but I would rather pick them out and put them in a playlist than bear the album’s lowest lows. In my opinion, you can get everything this project delivers and more elsewhere in Lil Ugly Mane’s discography.

Rating: 6/10

30. “Free Your Mind… And Your Ass Will Follow” by Funkadelic from 1970

This is not my first encounter with Funkadelic; I actually reviewed their most legendary album, 1971’s “Maggot Brain,” in a previous series of classic reviews. Aside from giving some of my personal background with the band, it also feels appropriate to mention “Maggot Brain” because “Free Your Mind…” follows a very similar structure: opening with an epic 10 minute-plus title track, then moving on to a crop of shorter, more traditional funk songs.

But while “Maggot Brain” opens with a giant, dark and almost ambient solo guitar piece, “Free Your Mind…” features a full band performance, complete with propulsive drums, George Clinton’s passionate screeches, driving bass lines and stabs of bright keys. On paper, this sounds like an absolute rager, especially with the lyrics placing such spiritual significance on moving and grooving, but the production makes it a disorienting experience, making furious performances oddly muffled and throwing elements back and forth in each stereo channel. At times, this builds fantastic tension and adds to the psychedelic aesthetic, and at others, it just frustratingly keeps me from full immersion.

Funkadelic’s implementation of psychedelic funk goes over more smoothly on the last two-thirds of the record, aided by topically focused songwriting. “Funky Dollar Bill” critiques how American culture idolizes money and closer “Eulogy And Light” doubles down, delivering a full Wall Street-obsessed parody of the Lord’s Prayer over the album’s most unsettling and abstract soundscape. But despite the upfront messaging, these songs don’t feel preachy and still groove hard.

“Free Your Mind…” is inventive and thrilling in moments, and a little frustrating in others. Overall, I prefer Funkadelic’s next album, but this is still more than worth a listen.

Rating: 7/10

29. “Ege Bamyasi” by Can from 1972

It’s easy to get lost in the weird and wonky world of “Ege Bamyasi,” krautrock legend Can’s psychedelic and unpredictable exploration of funk and rock music. In the album’s best moments, the otherworldly atmosphere and experimental production contrast beautifully with the rock-solid rhythms, keeping your toes tapping even as the sounds and melodies get stranger and more ominous.

The 10-minute-plus behemoth “Soup” is a perfect example of this balance, with the track’s opening minutes building into an easy-on-the-ears rock ’n’ roller, complete with a tight drum groove, funky bass lines and distorted guitars. But after the song moves through an abstract passage of eerie screeching samples, the track devolves into total chaos, with noisy synths, frantic percussion and panicked yelling making for an apocalyptic atmosphere. “Vitamin C” has a similar pairing of the strange and familiar, with locked-in drum and bass grooves providing a comfortable foundation before strained vocals and swells of ominous guitars make everything feel alien again.

Can’s less eventful tunes can be great listening too, such as the easy-going penultimate jam “I’m So Green” or the hypnotic “Sing Swan Song,” made infamous by Kanye West’s “Graduation.” But there are moments when “Ege Bamyasi” gets a bit too meandering or dull. Opener “Pinch” has a lively drum beat, but not enough development in the rest of the instrumentation and vocals to keep it engaging for more than nine minutes. Closer “Spoon” gets old as well, despite its “blink-you-miss-it” length of a measly three minutes. The track’s drum machine beat, acoustic guitars and repetitive vocals just don’t offer nearly as much atmosphere, development or character as the rest of the album, and makes “Spoon” an underwhelming finale.

Can deliver moments of brilliance here, but as an album experience, “Ege Bamyasi” can be a bit lopsided.

Rating: 7/10

28. “The Infamous” by Mobb Deep from 1995

New York-based rappers Prodigy and Havoc crafted a dark and somber picture of inner city life on “The Infamous,” with cutthroat lyrics over chilling beats. And while it could be easy to write this off as shallow gangster-core, with all the violence that comes with it, Mobb Deep’s second album is most impactful when it puts you in their shoes, pulling you into the scenes they’ve lived through and drawing you to empathize with them, despite the hard-as-nails image on the surface.

And make no mistake, Prodigy and Havoc are no slouches when it comes to spine-chilling threats and gritty depictions of violence. The album’s most iconic song, “Shook Ones Pt. II,” is the perfect example, with the duo ruthlessly putting down anyone who talks a big game, but can’t handle the grim realities of their world, delivering devastating bars and unforgettable hooks over the haunting blend of sampled pianos, growling bass and atmospheric effects. Just like “Survival of the Fittest” and “Up North Trip,” which follow a similar formula despite having their own unique beats, Mobb Deep’s most legendary song is a warning.

But “The Infamous” does have more to offer beyond the posturing and grit. “Q.U. — Hectic” seems like another threatening banger on the surface, but Prodigy and Havoc’s focus on their surroundings over the menacing synths and echoey saxophones makes this a more mournful song, where the violence is explicitly tied to the pressure and trauma of the streets. “Cradle to the Grave” and “Drink Away the Pain (Situations),” featuring an excellent guest verse from A Tribe Called Quest’s Q-Tip, explores more of how the circumstances of New York pushes them to find ways to cope and fight back.

This isn’t my favorite ’90s East Coast hip-hop album, but I can see just how essential “The Infamous” is to rap’s evolution. And most of Mobb Deep’s content feels just vivid as it must have back then.

Rating: 7/10

27. “Souvlaki” by Slowdive from 1993

This seminal shoegaze record stands out from other classics of the genre in several significant ways, but not always for the best reasons. British band Slowdive have a distinct sound within this hazy, moody genre, with many of the songs on “Souvlaki” dialing back the distortion and showing restraint. For some songs, the space and clarity make them hit all the harder. But for others, Slowdive just doesn’t deliver the heavy atmosphere I hoped to hear.

That’s not to say that the band can’t deliver a thick atmosphere or wall of sound, because in the climactic moments of “Souvlaki’s” best tracks, Slowdive delivers. The record gets off to a fantastic start with “Alison,” which pairs Neil Halstead’s gentle, smooth singing with thick layers of backing vocals, warm bass, distant, but energetic drums and distorted layers of electric guitars hanging in the background. “Machine Gun” is just as euphoric, with the pillowy mix of watery chords and soaring lead melodies perfectly supporting the soft masculine and feminine vocals trading back and forth on the chorus and verse. Less sonically ambitious moments can hit just as hard, with the easy-going and twangy guitar balladry of “Here She Comes” making for a bittersweet reprieve from all the dreamy textures.

But not every quiet song benefits from the space, and not every thick atmosphere is as engrossing as on the first few songs. “When the Sun Hits” is the album’s most popular and well known song, but to me, aside from the initial rush of guitars after the first verse, Slowdive doesn’t deliver enough immersive sound to draw me in. And while some tunes are all the more powerful for their restraint, closer “Dagger” relies too much on repetitive acoustic chords and vocal melodies to be a satisfying sendoff.

Slowdive have made their mark on shoegaze for good reason, but “Souvlaki” has its issues. I’ll go for some Cocteau Twins or My Bloody Valentine over this album any day.

Rating: 7/10

26. “The Stooges” by The Stooges from 1969

This freaky garage punk debut is a damn good time. The Stooges’ self-titled album is a psychedelic rollercoaster, and even if all the songs don’t maintain the same level of off-the-wall energy, they all come together for an immersive and unpredictable ride.

Opener “1969” perfectly sets the tone for the whole record, with squelchy guitars and Iggy Pop’s vocals, gradually building from bored deadpan to unhinged screaming, immediately grabbing your attention. “I Wanna Be Your Dog” keeps the momentum going, with Iggy’s freaky lyrics and woozy performance swept up in the endless waves of jingle bells, driving pianos and distorted electric guitars. “No Fun” delivers the same raw energy, with Iggy’s vocals building from stoned rambling to unhinged war cries by the end, with the fuzzy guitar solo pushing the tune toward its chaotic climax.

The Stooges put together many surprising and thrilling moments that remind me of what I love so much about The Velvet Underground’s debut, but the songwriting doesn’t always match that level of quality. For 10-plus minutes, “We Will Fall” builds a cultish atmosphere with haunting strings, deep vocal chants and Iggy’s delirious, druggy lyrics. But without any real dynamic build or development, this tune’s power as a mood piece starts to wear off after the first few minutes. On paper, “Ann” sounds much closer to one of the album’s best barn burners, but the relatively calm vocal performance from Iggy and the spacey blend of distant drums, fuzzy guitars and patient bass don’t make for much excitement, although the build at the very end does deliver some sludgy ear candy.

Still, when The Stooges get everything right and dive straight into the chaos, this album is a fantastic time. For any fans of classic rock and weird punk, this record will be right up your alley if it’s not already one of your favorites.

Rating: 7/10

25. “The Downward Spiral” by Nine Inch Nails from 1994

Trent Reznor’s legendary industrial rock project delivered its defining artistic statement on this intense bad trip of an album. “The Downward Spiral” lives up to the name, with tortured vocals and noisy production perfectly setting the scene for the album’s story of self-destruction, disillusionment and isolation. Even if the twisted journey this record takes you on can be a bit exhausting, it’s well worth experiencing at least once.

“The Downward Spiral’s” best moments come when the album reaches its dynamic extremes, covering everything from industrial walls of noise to soft, ambient soundscapes. Opener “Mr. Self Destruct” is a perfect example of Nine Inch Nails going all in, with jarring samples looping relentlessly, distorted guitar riffs bursting through the chaos and a terrifying but instantly catchy screamed chorus completing the insanity. And on the other hand, there’s “A Warm Place”, a soft series of synth chords and textured ambience that serves as a blessed reprieve from the album’s darkness. This piece, along with select moments where watery synths and spacey pianos come in on other songs, remind me of what I love about Reznor and Atticus Ross’s film scores they collaborated on decades later.

“The Downward Spiral” stumbles when the songs aren’t particularly soft or loud, and the songwriting doesn’t stick. Despite moments in the production I love, songs like “Ruiner,” “The Becoming” and “Eraser” haven’t made much of an impact on me even after repeated listens.

But when Nine Inch Nails’ aesthetic and songwriting truly complement each other, the results can be genuinely moving. One listen to “Hurt” will more than prove that if you have any doubt. Even if “The Downward Spiral” can feel a bit long-winded and inconsistent, the highlights are more than worth the grimy ride.

Rating: 7/10

24. “Drinking Songs” by Matt Elliott from 2005

This English songwriter and multi-instrumentalist caught me completely off guard with this haunting and unpredictable record. From the title and cover, I expected an album of quiet folk songs, like a soundtrack for getting hammered in a quiet pub. What I got was so much more contemplative, isolating and eerie than I ever could have imagined. Matt Elliott takes listeners on a dark and harrowing journey on “Drinking Songs,” making for an album that suits a night of spiraling in solitude much more than getting drunk with friends.

Dark aesthetic aside, Elliott’s blend of primitive arrangements and haunting atmosphere makes for some truly beautiful moments. Opening track “C. F. Bundy.” doesn’t develop dramatically over the course of its nine-minute runtime, but the melancholy blend of pianos, strings, guitars and backing vocals can be oddly soothing, setting the tone for the rest of the record. The real meat of the album comes in the form of depressive, haunted ballads, with Elliot’s vocals flipping between getting too close for comfort and being smothered by the instrumentation. “The Guilty Party” sounds the most like a traditional tune, but its layered vocals, acoustic guitars, horns, pianos and chimes are so slow and unsettling that its familiarity is hardly comforting. “A Waste of Blood” begins as one of the most tender and intimate moments on the record, with Elliott delivering exhausted, heartbreaking melodies over spacey pianos, before vocal samples and reversed pianos and vocals come in for a surreal second half.

There’s some variety to “Drinking Songs,” but nothing can prepare you for closer “The Maid We Messed,” a 20-minute IDM odyssey which takes a somber foundation of mellow pianos and guitars and transforms them into a relentless dance beat.

There’s something scatterbrained and alien about Elliot’s songs that make them unlike anything else. If you’re looking for a creepy and unique listen, give “Drinking Songs” a try.

Rating: 7/10

23. “Here’s Little Richard” by Little Richard from 1957

This foundational release in the history of rock ’n’ roll music sounds a bit dated, but that’s no surprise for an album released in ’57. Each and every song on Little Richard’s debut album follows the all-too-familiar structure built on the back of the blues, leading to a lot of these tunes blending together a bit. But, no matter how basic and old-timey this may sound to modern ears, one thing has not changed: that tried-and-true formula really does work. “Here’s Little Richard” is a straight-to-the-point explosion of pure energy and charisma.

Of course, it’s Little Richard’s performances that make the music pop. Songs like “Jenny, Jenny” might seem basic on paper, but it’s hard to care while Little Richard is screaming his brains out. The energy is infectious, and the rich saxophone lines fill the rest of the space in the mix in between his belting. So many sweaty, youthful, charming bangers on this album are sure to get you grooving.

If anything, the issue with “Here’s Little Richard” is that he brings so much energy to some tracks that his voice just spirals out of control. The throaty cries and pitchy runs on “Miss Ann” do more to distract from the momentum of the song than add to it. But that’s a rarity on the album; songs like“Tutti Frutti” and “Slippin’ And Slidin’ (Peepin’ And Hidin’)” feature fiery vocals, elevating the driving drums, pianos and guitars, along with some killer saxophone solos.

“Here’s Little Richard” sounds like a stepping stone toward building the rock music I’ve loved from decades since, but its propulsive, fun-loving energy is totally evergreen.

Rating: 7/10

22. “Selected Ambient Works: 85–92” by Aphex Twin from 1992

First and foremost, it’s important to establish that this is not by first exposure to Richard D. James’ work, not by a long shot. Some close friends are huge fans of his music, and it’s hard to be a music fan online without eventually stumbling across an Aphex Twin album or two. So I’ll be viewing his debut album through the lens of the highlights of the later stuff I already know and love from albums like “Drukqs” and “Syro.”

“Selected Ambient Works” isn’t quite as ambient as the title suggests; there are plenty of driving beats from drum machines and distant live drum samples laid all over most of these tracks. The consistent four-on-the-floor beats on tracks like “Tha” and closer “Actium” could fit into a house or techno DJ set, so long as the crowd was into something a bit more atmospheric.

And it’s that atmosphere that makes this record special. The distant drum samples, muffled synths, crisp and icy drum machines and the ethereal tones filling up the background make the sonic landscapes of this record so easy to dive into. Even the most straightforward, toe-tapping tracks like “Pulsewidth,” “Ageispolis” and “Ptolemy” have layers of texture that are very closely associated with ambient music and make the record’s best songs immersive and addictive.

The albums’ one drawback is when that middle ground between ambient and dance music falls flat and doesn’t give you the best parts of either. Songs like “Heliosphan” and “Schottkey 7th Path” feel too busy to be relaxing and too soft to get you grooving along.

I see the vision and love what this record tries to do. It just doesn’t always stick the landing for me.

Rating: 7/10

21. “Black Mahagoni” by Moodymann from 2004

Detroit-based DJ Moodymann delivers an eclectic and fun experience on this house record. “Black Mahogani” is so much more than a standard, predictable dance album, with its jazzy samples, soulful vocal features and inventive production giving you plenty to pick apart and enjoy on repeated listens. Moodymann’s creativity as a producer is easily the album’s biggest strength, even if the record’s unconventional song structures and dynamic progressions can be a bit frustrating.

There’s no better place to start than the album’s most ambitious, longest and best song, “Runaway.” This 11-minute jazz-house odyssey delivers such an instantly euphoric beat, pairing nimble piano riffs and warm backing vocals with driving four-on-the-floor drums. The track would already be a masterpiece without the beat switches near the end, but when those rising strings and clarinets that sound ripped straight from one of Nujabes’ most lush instrumentals lead into new funky bass lines and more lively key riffs, the tune delivers even more than I could have expected. Other tunes on the album reach similar heights, from the short, but cathartic build of “Roberta Jean Machine” to the entrancing closing track with its euphoric blend of bright harps, funky bass, muted guitars and hard-hitting drums.

The album’s more abstract moments have more mixed results. As much as I love the foundation of “Shades of Jae”, the track teases a full beat drop without following through, making me wish I could loop the parts where the kick comes in. “Mahogani 9000” makes you wait too, keeping the full beat drop after the intro just out of reach until the last minute of the song, but the sound design and sampled cinematic dialogue are interesting enough to still make the tune compelling.

“Black Mahogani” isn’t a masterpiece to me, but it’s a damn fun time, and one that makes me deeply respect Moodymann as an artist.

Rating: 7/10

20. “Get To Heaven” by Everything Everything from 2015

This alternative rock and art pop epic starts off with an incredible bang. Opener “To The Blade” begins as a soft ballad, with only minimal electronics and percussion backing frontman Jonathan Higgs’ spotlit, fragile vocals. Then everything changes when the electric guitars, bass and drums suddenly explode on the chorus, with Higgs’ delivery completely changing from delicate falsettos and raspy shouts.

This absolute barn-burner starts one of the best five-track runs I’ve ever heard open an alternative record, with Everything Everything delivering levels of hooky songwriting you’ll find on ’10s indie records like Two Door Cinema Club’s “Tourist History,” but with even more colorful and inventive production and performances. “Get To Heaven” keeps you guessing with drastic tonal shifts between verses, choruses and bridges, giving you what seems like three songs worth of ideas in a single, tight package. From the shouty verses and poppy, perfect chorus of “Distant Past” to the anxious opening building into the euphoric wall of sound on the outro “Spring/Sun/Winter/Dread,” the album delivers nonstop thrills.

But here’s the album’s weakness: Everything Everything heavily front-loaded the record. The last half of “Get To Heaven” still shows moments of brilliance, but often doesn’t deliver as satisfying song structures that develop and advance each track’s elements. “The Wheel (Is Turning Now)” has an abstract outro with distant vocals and eerie synths that just makes me miss the incredible chorus, and closer “Warm Healer” has a wonderfully angular bass line and some thoughtful lyrics, but doesn’t deliver a journey that can compare with any of the first songs.

“Get To Heaven” is an uneven experience, but I highly recommend it nonetheless. The highlights truly are heavenly.

Rating: 7/10

19.“Soviet Kitsch” by Regina Spektor from 2003

This album is a bit inconsistent, but the highlights are truly timeless works of songwriting genius. Russian-American singer and pianist Regina Spektor created a unique blend of sarcastic comedy and striking beauty on “Soviet Kitsch,” originally self-released in 2003 before a major label picked it up in ’04. These ballads can be confusingly obtuse in one moment, then hilariously playful in the next, before some genuinely moving performances and lyrics completely sweep you into her whimsical dreamland.

“Soviet Kitsch” has some variety in its songs, but Spektor delivers her best ones when sticking to lush piano balladry with just enough potent emotion to elevate her oddball lyrics. Over the soaring blend of sweeping strings and driving keys of “Us,” Spektor describes being immortalized, then brutally critiqued by future generations. What seems like a deeply pessimistic song on the surface is transformed by her performance, reaching soft but powerful falsettos and spitting out percussive yelps that add so much character to her hopelessly romantic lyrics, like the music is actively rebelling against the darkness. “Ghost of Corporate Future” strikes a similar bittersweet chord, using stark piano melodies to tell the story of a loser businessman obsessed with a vision of success, with Spektor’s lyrics painting a sympathetic character portrait.

Not all her tunes strike that same unique tonal balance or have such lush production. The rush of electric guitars on “Your Honor” provide a refreshing change of pace, but the song itself isn’t as complete and compelling as others. “Chemo Limo” brings more of Spektor’s singular character to piano balladry, but the drawn-out pacing makes the song lose some steam by its close.

Still, “Soviet Kitsch” is a singular expression of a truly compelling vision. Spektor’s gift as a songwriter and gravity as a performer makes this more than worth a listen.

Rating 7/10

18. “Through Being Cool” by Saves The Day from 1999

This pop-punk gem isn’t very ambitious or theatrical. Most of these songs sound virtually identical, with the instrumental palettes and dynamic levels following the same meat-and-potatoes structures. But because of Save The Day’s strong songwriting and performances, “Through Being Cool” remains a delightful listen that has aged gracefully, especially compared to some other emo and pop punk classics.

There’s no better place to find the appeal of this record than the run from track three to track six, where every member of the band locks in and delivers the most pure and catchy emo possible. “Shoulder to the Wheel” feels like a stone-cold classic tune from the very first listen, with the driving bass, propulsive drums and chugging guitars providing a perfect foundation for Chris Conley’s belted tale of youthful escapism, glorifying the joys of rocking out to your favorite tunes and striking out on the open road. Even tunes without frequently repeated anthemic choruses of like “Shoulder to the Wheel’s” have moments that get stuck in my head, like on “Holly Hox, Forget Me Nots,” which takes a more narrative approach, but is just as sticky thanks to some excellently written riffs and vocal melodies.

Save The Day brings so much youthful energy to every song that none of them are worth skipping, but there are tunes that stand out much less than others. By the time you get to tunes in the back half like “The Vast Spoils of America” or closer “Banned from the Back Porch,” it’s easy to feel a bit fatigued with the same full-throttle onslaughts of drums, bass and guitars, even if Conley’s vocals do plenty of heavy lifting to sell each tune.

Despite the album not feeling as cohesive and dynamic as I hoped, “Through Being Cool” still more than earns its reputation and influence on emo music. Saves The Day are an awesome band, and I can’t wait to dig into more of their work.

Rating: 7/10

17. “What’s Going On” by Marvin Gaye from 1971

This 1971 soul record is legendary for its standout songs. From the bittersweet conscious crooning title track to the mellow and melancholic “Mercy Mercy Me (The Ecology),” Marvin Gaye’s emotive tunes have stood the test of time, functioning not only as catchy pop tunes, but as vulnerable performances. But despite how cohesively much of the record flows into and reinforces each other, the rest of “What’s Going On” just isn’t as impactful as its most recognizable songs.

That’s not to say there isn’t a lot to love about this album, and those key tracks demonstrate exactly what has made Marvin Gaye’s music stand the test of time. The title track’s lush instrumentation with layered strings, percussion, chimes and guitars perfectly complement Gaye’s layers of bittersweet, pleading vocals. “Mercy Mercy Me” is a simpler, but just as powerful song, with the repetitive structure hammering home the existential weariness of it all. “Inner City Blues (Make Me Wanna Holler)” is excellent as well, with some of Gaye’s most directly socially conscious lyrics delivered through instantly catchy melodies over a smoky and foreboding funky instrumental, complete with a melodic callback to the opening track.

That callback and the seamless flow of the album’s first half make “What’s Going On” seem more conceptual than it is. The fact is, songs like “What’s Happening Brother” and “Save The Children” aren’t developed enough to satisfy as individual songs, despite contributing to the overall flow of the record. I wish the concept of the record was pushed further to make these moments really resonate.

“What’s Going On” is a good album, but one I’ll remember for Gaye’s standout tracks more than the overall experience.

Rating: 7/10

16. “Gods Father” by Lil B from 2012

Berkeley native and notoriously online rapper Brandon McCartney gives listeners plenty of reason to dismiss “Gods Father.” Lil B has a pretty heavy comedic streak on this project, from his one-liner filled lyrics to his cartoonish delivery. But despite running for 34 songs and almost two hours, “Gods Father” keeps things fresh, hilarious and genuinely impressive for most of the tape’s runtime.

From the breakneck trap anthem “I Own Swag,” where Lil B took a beat used to diss him and absolutely kills it, to the soulful chops and boom-bap drums of “Tropics,” McCartney more than holds his own on some colorful and infectiously energetic beats. And the BasedGod’s performances truly take these songs over the top; the insane ad-libs on “Breath Slow” are a perfect example.

The quality doesn’t just stop at turning your brain off and vibing along either; plenty of songs here bring hard bars and compelling songwriting to the table. Over the woozy beat of crisp trap drums, chill guitars and strings on “Remy,” Lil B raps a compelling tribute to fallen friends, along with delivering some standard rap bragging about being “real,” but with writing so slick and charismatic that it really sells it. Closing track “I Love You” is a very different kind of song, with its ethereal strings and sing-song piano melodies, but again, Lil B sells it, with his at-times awkward but endearingly straightforward lyrics about his love for his friends and family.

There are moments where “Gods Father” gets bogged down by songs that are generic or just in bad taste. Both “See Ya” and “Turn Me Cold” are cutthroat tracks about Lil B holding his own in the streets that just come off as offensive, especially with the gay slurs and unflattering violence in the lyrics.

But when Lil B is on, he is on fire. For a two-hour mixtape to have only a few stinkers is quite an accomplishment, especially for an artist usually considered a joke.

Rating: 7/10

15. “Ready To Die” by The Notorious B.I.G. from 1994

Even if this album doesn’t come together as cohesively as I hoped, especially after the first stretch got such strong momentum going, “Ready To Die” is still an undeniable classic. The Notorious B.I.G. really shows why he’s always in the greatest-of-all-time conversation, with hard-hitting flows, effortless rhymes and topically focused songs.

After the sample-heavy intro that sets the scene from Biggie’s birth to his adult life, “Ready To Die” wastes no time getting to some of its best songs. “Things Done Changed” is a heavy, visceral song, with Biggie painting a dire picture of inner city life over thickly layered horns, harps and drums. As well as Biggie pulls off the posturing and bragging you might expect from classic ’90s rappers (“Juicy” and “Big Poppa” are just as infectiously confident as their reputations suggest), his deeper songs hit just as hard. “Everyday Struggle” is a melancholy expression of Biggie’s exhaustion with the life of drugs and violence, and the same punchy writing and dense rhyme schemes that make you want to be him on one song can make you sympathize on the next.

The issue with “Ready To Die” comes down to its bloat. I think the album would be dramatically improved by cutting out its sexually explicit, painfully awkward skits, along with songs near the end like “Friend of Mine” and “Suicidal Thoughts,” which retread the same topics better songs already tackled. If the album ended after the incredible one-two punch of “Big Poppa” and “Respect,” the album would be all the better for it.

But despite my gripes, the highlights truly are incredible. Biggie definitely earned his place in hip-hop’s upper echelon before his life was cut tragically short. “Ready To Die” is a classic for a reason.

Rating: 7/10

14. “Hot Rats” by Frank Zappa from 1969

Frank Zappa is weird. I’ve enjoyed plenty of the random bits and pieces of his music I’ve heard over the years, and it doesn’t take much exposure to recognize his signature style: virtuosic jam band performances blending everything from blues and jazz to progressive rock paired with nonsensical lyrics and cartoonish vocal performances. So Zappa is usually weird, but 1969’s “Hot Rats” is a weird record for him: it’s actually relatively approachable.

For anyone looking for some loose, virtuosic jamming, this album is a godsend. From “Willie The Pimp’s” nine odd minutes of blues rock shredding to the catchy doubled string and horn melodies broken up by more electrifying guitar solos on “Son Of Mr. Green Genes,” “Hot Rats” delivers plenty of stunning musicianship, allowing time for different members of the band to shine. The noodling gets even more indulgent on “The Gumbo Variations,” stretching on for almost 13 minutes, but Zappa is able to rein in the band for some more tightly composed and focused songs too. “Peaches En Regalia” piles on the layers of flutes, guitars and horns, making for an earworm of a tune with a truly singular sound, and “Little Umbrellas” keeps things short and sweet as well, using the album’s jazziest instrumental palette, which could probably slide right into the soundtrack of a sleazy film noir.

Despite all the lush (especially for the time) production and impressive playing, I end up missing some of the zany charm Zappa weaves into his other songs and albums. Aside from “Willie The Pimp’s” vocal appearance by Captain Beefheart, the album is purely instrumental. It helps that the band’s performances are so damn good, but I miss the cartoonish flair that Zappa’s oddball lyrics and vocals can bring.

This is a solid album and I can see why it would be many people’s favorite from Zappa. But for me, it doesn’t quite check every box.

Rating: 7/10

13. “Are You Experienced” by Jimi Hendrix from 1967

This is one of my first listens that felt most overdue. As a classic rock fan, I obviously already knew that Hendrix is one of the most talented and influential guitarists to ever live. And opener “Purple Haze” is so iconic that I couldn’t escape it, even if I hadn’t done my homework on Jimi’s discography. But now I finally know from personal experience that “Are You Experienced” not only shows Hendrix’s virtuosity on his instrument, but also his versatility as a songwriter and singer.

Obviously, straightforward rockers like “Purple Haze,” “Fire” and “Stone Free” are thrilling, with killer riffs and passionate vocals delivering infectious youthful energy. “Hey Joe” is a very different experience, with the content of Hendrix’s murder ballad making for an odd counterpoint to the band’s cathartic swells of drums and licks, backed by an angelic chorus of background vocals. Hendrix’s cries definitely sell the drama of the song, especially at the end. The softer and more psychedelic songs on the album go down easy too, with the slow and soothing “May This Be Love” easily standing out as a personnel favorite, featuring some of Jimi’s most tuneful and gorgeous guitar work on the entire record.

There are a few moments where the songwriting doesn’t quite keep up the same high bar of quality. The jazzy and meandering “Third Stone From The Sun” and the repetitive “Highway Chile” both wear out their welcome by the time they fade away. But it’s hard to hold these weak spots against the album when it wraps up with the fantastic run of “Can You See Me,” “Remember” and “Red House.” I could wax poetic about every one of these songs, but the closer stands out and hits especially hard, serving as a perfect example of just how compelling blues rock can be when performed with such flair, groove and passion.

“Are You Experienced” is a foundational piece of the history of rock music for good reason, and I can’t wait to catch up with the rest of his short but sweet discography.

Rating: 7/10

12. “1999” by Prince from 1982

This infectiously joyous and passionate album is just as catchy, fun and danceable as its apocalyptic, escapist title track promises. “1999” is Prince at the peak of his showmanship and songwriting, which this record makes more than obvious even for someone who has only just started digging into his discography.

The opener perfectly sets the tone and starts things out with a bang. The production’s perfect blend of bright synths, quirky drum machines, funky guitars and driving bass lines would already make this stand out as an all-time great pop song before even getting to Prince’s charismatic vocal performance and the song’s lyrical content, responding to existential dread by tearing up the dance floor. And the hits keep coming with “Little Red Corvette,” with its buttery smooth guitar licks and shimmering synths providing a perfect foundation for Prince’s seductive but self-conscious crooning. The dynamic swell on this tune, with the guitar solos and backing vocals reaching their peak before the last chorus, easily makes it just as essential as “1999.”

It would be easy to see an album like this running out of steam after opening with its biggest singles, but “1999” refuses to fall off. From the quirky synth rock ’n’ roll of “Delirious” to the cultish funk jam “D.M.S.R.” and the unstoppable groove and instantly sticky hooks of “Lady Cab Driver,” Prince keeps the irresistibly charming and romantic songs coming until the grand finale of “International Lover.” This epic ballad takes all the raunchy escapism that came before it and shoves it all into a theatrical and genuinely moving climax, with the thickly layered, syrupy vocals and sultry R&B instrumentation making for a perfect send off.

“1999” is just as fun as its concept promises. Finally sitting down with one of his records and appreciating it in full has me so excited to work my way through the rest of Prince’s discography.

Rating: 8/10

11. “Stratosphere” by Duster from 1998

For years, I’ve been hearing about this album and this band. Duster is from my hometown of San Jose and this album perfectly fits into the niche that online music communities I’ve participated in love.

What I wasn’t ready for is just how comforting Duster’s debut record is. The band’s music is infamous for its slow sadness, but there are so many moments of intimate beauty to appreciate. The album consistently reinforces a context of solitude, but not always loneliness. Songs like the gorgeous and twangy “Gold Dust” convey a cathartic and contemplative setting without having to say a word. Plenty of these tunes can score watching a sunset alone just as easily as a dark night in your room.

Another surprise from the album is just how important the vocals and lyrics are to the album’s experience. On songs like “Echo, Bravo” and “The Landing,” the vocals are soft and somewhat buried by the guitars, bass, drums and atmospheric effects, but the quietness of the words draws you closer, inviting you to lean in and pay attention. And on songs like the heartbreaking “The Twins / Romantica,” that effort is definitely rewarded. The less-is-more approach of Duster’s lyrics hits hard.

More surprises: Although Duster is a slowcore band, “Stratosphere” delivers some true rock songs. From the energetic opening and eventual slow resolution of “Heading For The Door” to the dynamic builds of layered guitars and drums on “Reed to Hillsborough,” the band displays songwriting chops far beyond a group you put on only for the vibe or atmosphere. But oh, that atmosphere. On songs like the patient and eerie title track or the unsettling lullaby of “Constellations,” it’s so easy to drift away into the world the band creates.

Duster delivered everything I expected and more. I expect I’ll be returning to this one quite a bit, whether I’m happy or sad, when I have a moment to myself for quiet contemplation.

Rating: 8/10

10. “Paranoid” by Black Sabbath from 1970

Listening to “Paranoid” is a thrilling look into the roots and DNA of heavy metal, one that I absolutely loved. It’s so easy to see how Black Sabbath was influenced by and incorporated elements of blues and rock ’n’ roll into these songs, and equally easy to hear how much this album has influenced so many metal records since, some of which I heavily connect with, even if heavy metal isn’t usually my genre of choice.

Overall, “Paranoid” is special because of the band’s songwriting and performances. “War Pigs / Luke’s Wall” is absolutely legendary, with its sprawling structure and visceral guitar solos delivering a core song that feels just as connected to a classic Bob Dylan song topically as it is to any other hard rock or metal song. This nearly eight-minute epic stands not just as the best song on the album, but as one of the better opening tracks on any album.

Fortunately, “Paranoid” doesn’t nosedive in quality from there. The title track is just as iconic as “War Pigs,” with its doubled guitar and bass riffs along with Ozzy Osbourne’s cries making for an anxious banger. Deep cuts don’t disappoint either, with “Hand of Doom” delivering a gripping dynamic push and pull along with lyrics directly facing the inevitable terror of death that make this a highlight.

The album’s one weak point is Osbourne. Mostly, he pulls his weight in selling the adrenaline and drama of Black Sabbath’s incredible songs, but there are several moments where the rhythm of his vocals or the wording of lyrics can feel a little awkward.

But still, anyone who thinks they don’t like metal needs to hear this album. “Paranoid” is a classic for a reason.

Rating: 8/10

9. “Aquemini” by Outkast from 1998

This 1998 southern rap staple is a luxurious and laid-back experience, packed with catchy flows and clever writing without ever seeming like Outkast is trying too hard. “Aquemini” is made so much better by the palpable chemistry between MCs Andre 3000 and Big Boi, along with the soulful and varied production, providing the perfect foundations for these rappers’ storytelling and swagger.

Even though 3 Stacks and Big Boi have intimidating reputations as writers and performers, easily standing a cut above as some of hip-hop’s most respected artists, “Aquemini” easily proves the quality of their work never keeps them from letting loose and having a good time. With its acoustic guitars, harmonica solo and instantly catchy hook, “Rosa Parks” is one of many short-but-sweet, toe-tapping bangers on the album. “Return of the ‘G’” is another highlight, opening with Andre 3000 dropping triple entendres before the beat even kicks in, along with “Skew It on the Bar-B,” featuring a fantastic, speedy hook from 3 Stacks and a gritty guest verse from Wu Tang’s Raekwon.

The slower tracks can be compelling as well. “Da Art of Storytellin’ (Pt. 1)” seems soothing at first, with its watery keys, singsong chorus and warm bass, but Big Boi and Andre’s tragic stories make for a quite a bittersweet impact. “SpottieOttieDopaliscious” is downright epic, with seven-plus minutes of syrupy guitars, crisp drums and thick horn leads, with both MCs giving their all and perfectly matching the track’s smoky vibes.

If anything, my only complaint is that this record never quite reaches the intensity of other highlights I know from Outkast (nothing on this album is quite as catchy as “Hey Ya” or as off-the-walls as “B.O.B. — Bombs Over Baghdad”), but that doesn’t stop “Aquemini” from being a joy to turn on and chill out to.

Rating: 8/10

8. “The Black Saint and the Sinner Lady” by Charles Mingus from 1963

Even after repeated listening, I feel like I’ve only begun to scratch the surface of this album. Legendary bassist, pianist and composer Charles Mingus and his band created a jazz record of epic proportions on “The Black Saint And The Sinner Lady.” This album is an impressive and intimidating display of orchestration and arrangement, with a huge big band passionately performing grand pieces with repeated motifs tying the whole thing together.

One thing that really surprised me about the record is that Mingus never really takes over as a player. Aside from one or two moments where the piano and/or bass are spotlit, Mingus’ personal touch is felt through the whole band’s performance, not in solos where he steals the show. Maybe I don’t have the context yet, with this record being my introduction to Mingus’ music, but his emphasis on the unified voice of the whole band strikes me as something special about his style, and boy, does it pay off. Individual instruments still have some room to shine, like the space left to spotlight acoustic guitar and trumpet in between the movements of the closing medley, but the album is at its best when the band comes together as one and executes Mingus’ avant-garde, extravagant vision. The horns are especially intense and incredible, with some trumpet and saxophone performances resembling someone yelling at you through their instrument.

The overall flow of the album is simple enough on paper (three tracks on Side A setting up their own motifs, then an 18-minute monster medley connecting them all on Side B), but the band packs in so many moments of unique performance and sheer grandeur that it’s still hard to wrap my head around.

Even if I’m still soaking this album in, I know I love it. I can’t wait to appreciate “Black Saint” more deeply with more repeated listens and explore the rest of Mingus’ discography.

Rating: 8/10

7. “Damaged” by Black Flag from 1981

This album is pretty much everything you could possibly want from a classic punk record. It has the furious performances. The confrontational lyrics. The raw recording and production that make it feel more like a live record than a studio album at points.

But besides checking all the punk boxes, “Damaged” has even more to offer. Black Flag’s songs are much more than undirected outbursts of energy and rage; they all play into the album’s focus on how society’s injustices push people to numb the pain or completely break down. “TV Party” is one of the most upbeat and fun tracks on the album, with the hand claps and gang vocals bringing the party energy, but it doesn’t take much extra attention to hear how the track judges those who escape reality by turning their brains off in front of their TVs.

Especially for an album from the early ’80s, “Damaged” directly addresses mental health way more than I expected. Although it’s a loose concept at most, the album tells the story of the horrors of the world pushing someone into the depths of depression and isolation. “Depression” and “Life of Pain” are both furious outpourings of hopelessness, and closer “Damaged I” is the nail in the story’s coffin, with its heavy, slow waves of tortured guitars and guttural vocals bringing the album to a crushing end.

If I have one complaint, it’s that the first two tracks can’t compare to the rest of the album’s quality. The opener feels uncharacteristically optimistic in a way that undercuts the album’s tone, and “Spray Paint” is too short and messy to make much of an impact. But from “Six Pack” onward, “Damaged” is a masterpiece.

Rating: 8/10

6. “The Velvet Underground” by The Velvet Underground from 1969

The Velvet Underground’s self-titled third album is spellbindingly beautiful in its restraint and simplicity. While “The Velvet Underground & Nico” and “White Light/White Heat” stand out for their chaos and energy, this album sees the band focusing on the songwriting first and foremost. And while the band’s debut record still reigns supreme as my favorite (along with being one of my all-time favorite albums), “The Velvet Underground” has a unique, relaxed elegance that is completely unlike their earlier material.

Another refreshing aspect of the record, especially compared to the previous “White Light/White Heat,” is that legendary singer-songwriter Lou Reed is more than happy to share the spotlight with his bandmates. Opener Candy Says is all the more mystical and soothing because of bassist Doug Yule’s tender vocal performance, and drummer Maureen Tucker delivers a charmingly innocent and longing performance on closing folk number “After Hours.”

But oh man, when Reed has the spotlight, he delivers all the songwriting greatness you could possibly hope for. On “Pale Blue Eyes,” Reed’s portrayal of a hopeless affair is heartbreakingly romantic and tragic, pairing perfectly with the band’s understated guitars, bass and organ. “Jesus” sees Reed begging for guidance over gentle, twangy guitars and warm bass alongside haunting harmonies, and “I’m Set Free” is a glorious revelation, with soft guitar arpeggios building into waves of euphoric chords as harmonies proclaim newfound freedom.

Even if I find other Velvet Underground releases even more compelling, I would never wish the band hadn’t gone in this more folksy, laid-back direction. The simple emotion and vulnerable performances make this album a cathartic experience, front to back.

Rating: 8/10

5. “Gunfighter Ballads and Trail Songs” by Marty Robbins from 1959

This iconic 1959 country classic is such a good example of what closed-minded country haters are missing. Classic country’s emphasis on storytelling makes each song a satisfying, self-contained journey. And Marty Robbins more than earned his status as one of western’s most respected songwriters with “Gunfighter Ballads and Trail Songs,” delivering catchy tunes with simple, but captivating stories keeping you hooked from the album’s first moments to its last.

Despite the focus on storytelling, there’s absolutely nothing wrong with the production and melodies on these songs. From the catchy vocal harmonies on the breezy and carefree “A Hundred And Sixty Acres’’ to the touches of Spanish guitar that enhance the story of our hero’s doomed romance with a Mexican maiden, the performances by Robbins and his band not only make for easy listening, but complement the content of each tune.

The songs on “Gunfighter Ballads’’ are all so complete and dramatically satisfying that it makes a full listen feel like sitting down and poring over a collection of riveting short stories. From the dramatic miracle told on “The Master’s Call” to the tragic tale of a simple mistake and the acts of heroism that led to the death of a good man on “Utah Carol,” Robbins’ episodic songs have so much vivid imagery and compelling characters that it’s hard not to get caught up in all, even if the old west setting is anything but relatable for the average modern listener.

Loving this album is just another step down the road of becoming a full-blown country fan, and I couldn’t be happier to appreciate this genre more and more.

Rating 8/10

4. “LONG SEASON” by Fishmans from 1996

There’s really no way to take you step by step through the experience you can have listening through the 35 odd minutes of this one-track album. Japanese psychedelic rockers Fishmans crafted a singular journey on “LONG SEASON,” one that all at once feels just as epic as its gargantuan length would suggest and surprisingly lighthearted. And language barrier be damned; anyone can enjoy the real potent moments of meaningful beauty on this album.

“LONG SEASON” is a very patient composition, giving you time and space to appreciate each layer of looping sound as they’re introduced. It takes at least a full five minutes before a steady drum beat and a full verse from the late singer Shinji Sato come in; the band is perfectly happy to let you digest a bass line, then a looping guitar, then a cycling piano riff, spotlighting each element before they all come together into the core song. The collage of warm, thick sound the band puts together, paired with Sato’s delightfully airy and boyish vocals, is just impossibly welcoming.

But at the album’s midpoint, the warmth seems to fade, leaving only watery sound effects, jangling chimes and distant whistling. This abstract midsection, featuring an incredible stretch of solo drumming Kin-Ichi Motegi, is the winter to the opening’s summer. But this cold stretch only serves to set up the catharsis of the finale, where everything slowly builds up once again, and resolves with even more joyous theatricality than before, featuring even more of Sato’s soaring singing and an achingly beautiful string section.

There’s something so primal about the message of “LONG SEASON,” that even in the dark of winter, you can take comfort knowing the warmth you’re nostalgic for is on the way once again. It’s a theme I expect to grow even more potent as I listen again and again and again.

Rating: 8/10

3. “Kenya” by Machito from 1958

This 1958 latin jazz masterpiece caught me so off guard. Machito’s “Kenya” grabs me by the lapels and just won’t let go, from the first second those propulsive horns and bongos come in on opener “Wild Jungle” to the fiery duet of saxophone and trumpet solos on the finale, “Tururato.” Machito and his band create such irresistible joy through these lively, lush and easily replayable Afro-Cuban jazz tunes.

Now I have to admit: my strong reaction to this album could be very closely related to my lack of deep understanding in the world of jazz. As much as I love a select few classic records from artists like Dave Brubeck, John Coltrane and Miles Davis, I’m keenly aware of how much I still have to catch up on, especially the classic records from countries other than the states.

And if there’s more latin jazz out there that sounds anything like “Kenya,” I have been shamefully depriving myself. At least on the 2000 remaster that’s readily available through streaming services, Machito and his band sound so full, bright and energetic. From the title track’s seamless switch from easy-going dance to a thrilling rush of African rhythms to the unforgettable trumpet and sax lines of “Holiday,” “Kenya” is filled with instantly catchy and joyous tunes, never outstaying their welcome, but still allowing room for some incredible improvisation that breathes life into the whole affair. The whole band comes together in such a satisfying harmony of electrifying rhythm and gorgeous melody, from the breakneck dual horn and double bass lines on “Frenzy” that sound like ancestors of my favorite moments of the “Cowboy Bebop” soundtrack to the wall of overwhelming big band brass at the end of “Blues a La Machito.”

I can’t wait to keep listening to this record over and over. It might not be as lengthy or ambitious as the classics from other jazz masters, but to me, the pure joy and energy of Machito’s band makes this an undeniable opus.

Rating: 9/10

2. “Pink Moon” by Nick Drake from 1971

English singer-songwriter Nick Drake’s third and final album is a masterpiece. “Pink Moon” doesn’t have to do too much to draw me into the colorful, bittersweet world of Drake’s songs, with just his gentle voice and deft guitar picking coming together into an overwhelmingly beautiful experience. Albums like these are what have made me fall so deeply in love with folk music, and Nick Drake deserves to stand beside legends like Bob Dylan, Joni Mitchell and Leonard Cohen as one of the best to ever pick up a guitar and sing into a mic.

I had already listened to Drake’s previous album, 1970’s “Bryter Layter,” so I knew the power of his breathy vocals and tuneful guitar, but that record is more dressed up and produced than this one. On “Pink Moon,” other than a few bright and breathtaking piano lines on the title track, nothing gets in the way of Drake’s simple, devastating performances. The album gets its emotional weight and compelling flow not only from the strength of his performances themselves, but also from the versatility he displays as a songwriter. If one man and a guitar sounds a bit dull, you’ll be pleasantly surprised by how much Drake can pull from those strings and draw out of his voice.

It’s difficult to pull highlights out of this nearly perfect album, but I do have to talk about “Which Will.” After a drop-dead gorgeous opening run from the title track to “Road,” this achingly pretty song is where the emotional weight of the record fully hits. Drake’s twangy strumming and quiet lyrics about not knowing the intentions of one he loves, slowly seeming more and more like a reluctant goodbye, have brought me to tears most times I’ve heard them.

Don’t let the mythos around this album, Drake’s mysterious image and his depressive tendencies distract you from what a lovely and comforting experience this is. The darkness is there, but Drake’s heart and hope couldn’t be any more clear. RIP.

Rating: 9/10

1. “Third Eye Blind” by Third Eye Blind from 1997

San Francisco-based rockers Third Eye Blind put together a genuine masterpiece with their self-titled debut. From the mellow but dynamic ballads to the straightforward power pop of the album’s hits, songwriters Stephen Jenkins and Kevin Cadogan pack so many ideas, hooks and emotions into every single song. For a record that’s nearly an hour long, “Third Eye Blind” flies by, never making you wait for another unforgettable chorus, cinematic swell of instrumentation or impactful lyric.

Despite its depth, if you want something to put on in the car and rock out too, “Third Eye Blind” won’t disappoint. I knew nothing about the band, but I instantly recognized the carefree vocalizations, almost-rapped verses and instantly sticky chorus of “Semi-Charmed Life.” This song checks every single box for power pop perfection, with little embellishments and guitar licks bursting at the seams. Opener “Losing a Whole Year” delivers the same blissful rush of alt rock goodness, from the shrill backing vocals over heavy guitars on the hook to the shouty nostalgia of Jenkins’ lyrics, which hit especially hard when playing off the syncopated drum fills.

Jenkins’ strength as a singer stands out even more on the slower songs, which give him space to show off his range and emotive touch. On “Jumper,” Jenkins’ bittersweet best wishes to a troubled friend pair perfectly with the instrumentation’s gradually blossoming blend of acoustic guitars, electric licks and light drums. “How’s It Going to Be” lays down a mellow foundation of watery licks and acoustic strumming, before Jenkins completely sells the climax, jumping up an octave and launching into some of his most powerful performance on the album. The entire four-track closing run is just as beautifully melancholic and dynamic, making for a moving ending.

If you even begin to tolerate alternative rock and power pop, I can’t recommend Third Eye Blind’s debut enough.

Rating: 9/10

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