- Read the introduction and #'s 100 to #76 at this link
- Read #'s 75 to #51 at this link
- Read # 50 to #26 at this link
25. Bruce Springsteen – ‘The Rising’ (2002)
‘The Rising’ was birthed out of the pain and confusion of 9/11, for that reason alone it’s a remarkable document of a specific time where our fears got the best of us. When anxiety runs one’s life, we need to be reminded that love and fear go hand in hand, and that the former can overcome the latter. The first part of the album deals with the initial shock and horror and the characters are reeling in their emotions trying to make sense of what happened. The second part finds the voices at a crossroads wondering “where do we go from here”. The final side is the resurrection. They come to terms with the deathly blow and their faith guides them through the mess onto tomorrow. Tackling a subject so fresh in people’s minds was a tremendous task and at the time, I found it to be epic. The album hasn’t aged as well as I would have liked; the specific nature of the record doesn’t appeal to the world at large, but I still find it to be a sincere triumph that was as dour as a funeral but simultaneously as renewing as baptism. (Reflection review here and 2002 review here)24. The White Stripes-‘White Blood Cells’ (2001)
Rock writers, in the wake of Kurt Cobain’s death, have been foaming at the mouth for a new rock disciple to christen who will show us the way. The White Stripes (specifically Jack White) are a complete throwback to the meat and potatoes days of rock n’ roll where glorious noises arise from a few instruments with minimal overdubs. If you don’t believe me, see ‘It Might Get Loud’ and you’ll understand what he’s all about. So when you hear the distorted buzz that opens “Dead Leaves and the Dirty Ground”, you will understand it’s not about being a hipster but about evoking those who came before. White is a no-nonsense architect who believes the answers to making illuminating music can be found in the records from the past. Each of the White Stripes records has an edge to them, but is recorded as if it was 1966. “Fell In Love With A Girl” could have been ready-made for radio waves with the inclusion of a fist pumping organ or some overdubs, but that would go against what White knows. Instead it’s a furious two person attack that roars. The sweet sentimentality of “We’re Going To Be Friends” finds the twosome finding a spiritual place with a tale of childhood friendship. The song is such a treat that many listeners overlook the fact that the Stripes don’t just turn the dial back on our own clocks, but music’s as well to a time when everything was more macrobiotic. “Hotel Yorba” is a foot-stomping country song thrown on its head. Evoking the nostalgic world where country music, the blues and rock n’ roll was in its infancy, the sound of the White Stripes are not for everyone, but their intuition and drive to keep the music and the emotions laid out before them alive is more than admirable, it’s a powerful four-chord declaration.23. Jesse Malin-‘The Fine Art of Self Destruction’ (2003)
Painting vivid pictures in chilly New York apartments, cold city streets and bars where hearts break and memories shatter inside your psyche; Jesse Malin made a record that is completely and utterly compelling top-to-bottom. His friend Ryan Adams was in the producer chair for Malin’s solo debut where the songs are refined to the nth degree but they still house enough of an edge to feel raw. “Wendy” is a radio-ready song that sizzles, “TKO” ripples and “Xmas” provides a lucid flash of the past. The world is full of thousands upon thousands of sing-songwriter types who want to convey something and have interesting biographies where we look into their music like it holds some hidden meaning like scripture. But few have the songs to match the biography, but Malin stunned everyone with this disc that in the end is an intoxicating, refreshing and enlightening listen. This is one of the decade’s great discoveries; it is an album I have played constantly since its release. ‘The Fine Art of Self Destruction’ is full of romantic sincerity that ached with vulnerability largely disguised as rock anthems. These are near perfect rock manifestos for lost urban lovers. (2007 live review here)22. Dave Matthews Band-‘The Lillywhite Sessions’ (2000-01)/ ‘Busted Stuff’ (2002)
The second best story behind an album on this list (after Wilco’s ‘Yankee Hotel Foxtrot’), but this album is still technically unreleased. The Dave Matthews Band road tested much of ‘The Lillywhite Sessions’ and when it came time to record it, they had hit a wall mentally and creatively, so the sessions were abandoned. Dave Matthews teamed up with producer Glen Ballard and they wrote, produced and recorded the friendlier ‘Everyday’. However, someone managed to snag a copy of ‘The Lillywhite Sessions’ and it was leaked. Upon its leak, the reviews were unanimous; this was the DMB’s masterwork as it found Matthews at a crisis of faith (as demonstrated in his rich lyric writing) and the band showed more shades of their live performances than on any other record. The band continued to road test these songs to ecstatic enthusiasm everywhere and eventually in July of 2002, most of these songs were released on ‘Busted Stuff’, an excellent album produced by the band themselves, but as good as it is, it’s lacking some of the magic and more importantly, the innocence in their performances from those initial sessions. Now, what makes “Bartender” so epic on ‘The Lillywhite Session’s is the song passes the 10-minute mark, the band’s longest studio recording (even if it is unofficial) and in my mind, their preeminent. There is a renewal and a silver lining in the cloud in his solo which gorgeously partners with Matthews meditative and evocative lyrics. This is Matthews defining moment as a songwriter and the band’s tour de force performance on record. The song goes from being grand to immense in the last 4-minutes and it’s mostly because of Moore’s rumbling horns which are an essential character unto themselves. On ‘Busted Stuff’ Moore’s horns are more buried in the mix (as they originally probably had been intended), but on ‘The Lillywhite Sessions’ they make the song more imposing as his horns compliment the weighty lyrics. While there are not huge difference in the beginning of the song between the ‘Lillywhite’ and ‘Busted Stuff’ recordings, the ‘The Lillywhite Sessions’ feature LeRoi Moore’s career defining performance. The last 4-minutes of this 10-minute epic find Moore adding sonic and delicate touches of his horns that build up the song into a larger than life presence. On ‘Busted Stuff’ he ends the song and album with a delicate flute solo but on ‘The Lillywhite Sessions’ Moore’s horns bring an ominous almost God-like presence to the song that teeters between the spiritual and the nether worlds. Moore provides the rhythm (ba-ba-ba-ba-dah-dah-dah!) while a separate but stunningly penetrating solo is sprinkled and layered on top. There’s a battle between God and Lucifer and as the heavens thunder rapturously; Moore’s layered horns provide us with the darkness…and more importantly… the light. (2008 review here)21. Dixie Chicks – ‘Taking the Long Way’ (2006)
There are sly references to the infamous backlash the Chicks suffered in 2003 on the albums opening title track. However, by the time you hit the albums third track, “Not Ready To Make Nice” it’s apparent the band will not shy away from any controversial subjects on their bravest and most simplistic record to date. I never understood the Dixie Chicks until I was sent to review a concert of theirs a few years back. The Vegas style review was a blast and made me appreciate the arrangements of their songs, especially the material off their third album “Home”. However, Patty Griffin wrote their strongest material, so when I heard they would be writing all of their own songs for this album, I had my doubts. Despite my hesitation, with the guidance of producer Rick Rubin and some fellow co-writers, they may not have made an album as resilient as “Home” but an album that is far ballsier and more truthful than anything they have ever created. While it may shy away from their country roots, the songs are at the heart if the disc proving that home is where the heart is. (2003 live review here) 20. Johnny Cash- ‘American III: Solitary Man’ (2000), ‘American IV: The Man Comes Around’ (2002), ‘American V: A Hundred Highways’ (2006)
Without question, I’m cheating here. I couldn’t choose only one. ‘American III’ accompanied me right from the day of its release with mesmerizing covers of “One”, “Solitary Man” and “I Won’t Back Down”. ‘American IV’, best known for Cash’s haunting delivery of Nine Inch Nails “Hurt”, is a dour and ‘American V’ is downright celestial. And I didn’t even mention the ‘Unearthed’ box set. I can’t ever recall hearing a voice from beyond that was as thought provoking as Johnny Cash’s. It is rare to find a piece of art that has made me think about the preciousness of life as much as these three. During the last few years of Cash’s life, he worked with Rick Rubin and collaborated on what would be his final three studio recordings. What appears here on these three albums isn’t just astounding, but is as bone chilling as hearing a confession of a murder in Reno. One thing people continually don’t understand about voices is one does not need stunning vocal capabilities to astound. Sure Celine Dion can out sing anyone every day of the week, but can she express and put forth emotions? This is where American Idol fails year after year. I don’t care about ones vocal ability, but the ability to express emotions. What Cash accomplishes is nothing short of extraordinary as he was recording these songs knowing that the end was near. Immortality is prevalent on all three albums, which is not surprising since Cash was faced with death daily while recording these songs and he never knew how many breaths he had left in him. Cash’s spellbinding voice gives me an entirely different take on the song. I now view the road as a final destination in the promised land. The original composition “Like The 309” and the cover “I’m Free From The Chain Gang Now” represent a man who faced numerous demons throughout his life, overcame them, found and lost his partner in crime and was ready to meet his maker on the other side. (2003 piece on Cash after his death here).19. The Rolling Stones – ‘A Bigger Bang’ (2005)
“Once upon a time I was your little rooster, now I’m just one of your cocks”; those are the lyrics that flutter out of Mick Jagger’s infamous lips on the Rolling Stones only full length record released this decade. Let’s clear the air here. In my world, the Rolling Stones don’t make bad records. They make good ones and great ones. The absurdist cockiness from their late 1960’s and early 1970’s is on exhibit for all to revel in on ‘A Bigger Bang’, making it a remarkable record. Even at sixteen songs, the album is their dirtiest in three decades and their strongest set of songs since 1981’s ‘Tattoo You’. “Back of My Hand” is the most bona fide blues song recorded since their ABKCO days while “Streets of Love” is a compelling ballad featuring a throbbing vocal by Jagger. Then there’s the coarse and foul fuzz from the guitars of Keith Richards and Ron Wood. The pop luster on all their post ‘Tattoo’ recordings, the albums suffered in lieu of lead singles, whereas on ‘A Bigger Bang’ the songs work as an entirety rather than scattered chapters. I can only hope this isn’t their swan song, there’s still fight left in them. (2006 live review here).18. John Mellencamp – ‘Life, Death, Love & Freedom’ (2008)
‘Life, Love, Death and Freedom’ is one of John Mellencamp’s best albums…period. Its themes, lyrics and arrangements cut right through your soul. Even at fourteen-songs, Mellencamp has crafted a lean and reflective album with some of his most ingenuous and illuminating lyrics ever committed to tape. More importantly, he’s found a way to properly present them thanks to the guided hand of producer T-Bone Burnett. The poignancy of his lyrics hasn’t been this compelling in eons. One listen to “Longest Days” will leave you emotionally drained as his reedy voice reveals layers and elevates what is already magnificent poetry to art that is relevant to the here and now. These songs ring true to Mellencamp’s ideologies and the themes in his larger body of work. T Bone Burnett’s subtle production pulls you in and doesn’t let go. The entire album is bursting with divine lyrics which find a common ground of redemption. There’s a lot of life in these songs yet one can still see the same determination in Mellencamp from a quarter of a century back, he’s still full of piss and vinegar. (Read 2007 live show here). 17. Ryan Adams-‘Love Is Hell’ (2003-2004)
On “The Shadowlands” Ryan Adams very plaintively pleads, “God please bring the rain”. ‘Love Is Hell’ is more than a record of heartache; it’s a collection of prayers spoken from one’s knees. This album was to be the true follow-up to ‘Gold’ but was deemed “too depressing” by his label and as a result, Adams went back to the studio and came out with ‘Rock N Roll’, a loud and boisterous less polished record full of wailing anthems (if this list had been expanded to 150 albums, it would have been on it). But a deeper reflection and time has shown ‘Love is Hell’ to be the true heart wrenching masterpiece. Originally released as two separate EP’s and then later as a full album, ‘Love Is Hell’ explores the dark depths of Adam’s soul where he proves himself to be vulnerable in ways that are even weighty for Adams. My favorite rock albums are where the artists cut themselves open for the listener to hear, feel and see who they truly are. We’ve all been lost and discontented at some point in our lives and it’s during these times that we long to find someone who can understand how we feel inside. Adams excised profound demons on this record with stark declarations. This is a perfect record for a rainy day where you put it on and just let the music take you away. (2007 live review here).16. Everclear – ‘Songs from an American Movie, Vol. 1: Learning How to Smile’ (2000)
Everclear singer and guitarist Art Alexakis wrote about his second divorce in such a laborious and philosophical manner that this broken hearted exorcism took two volumes to encompass his vision, but ‘Volume 1’ is the true magnum opus. ‘Volume One’ finds the relationship awash in woozy hand-holding love where there is a silver line of optimism where love can conquer all. The cracks in the surface begin to creak in towards the end of the record (“Wonderful” & “Thrift Store Chair”) but even then, the instrumentation radiates such splendor, it’s hard not to fall in love with these songs and confuse their inner truths. The album houses eloquent compositions full of bright eyed sonic sunshine and is infused with irrefutable passion. Most records about betrayals of the heart cut deep from within the context of the relationship, but on this record, Alexakis stretches far back to his childhood (“AM Radio” & “Brown Eyed Girl”) to begin the story where he searches for that innocence we all yearn for through the empirical joys of love. The production on this record channels the spirit of Brian Wilson and Phil Spector (if he produced an alternative pop band) and is one of the reasons this album holds up a decade later. Finding a brilliant middle line between brashness and luscious melodies, this is a masterwork. Most albums full of anguish don’t have peaks and valleys, but Alexakis documents an entire life balancing the lightness and darkness. It wasn’t until my revisit to this album for this article, where I began to appreciate the immensity of the truthfulness and its wide ranging scope. (2003 live review here)15. Will Hoge-‘The Man Who Killed Love’ (2006)
With the release of “The Man Who Killed Love” Will Hoge finally made an album that matched the energy of his live shows and it’s not just good, but a mesmerizing masterpiece. The energy, aggression and immediacy of Will’s live shows are captured immaculately on these ten songs. There is an understated urgency in Will’s lyrics which are searching for meaning in this music business, his life and his world. For an artist who has seen some of the darkest sides of the business, it’s miraculous he is still creating and able to even have a sense of humor about it (showcased conspicuously on “Pocket Full of Change”). The no nonsense rock sound, with a bluesy edge, does not fit into any genre of rock music (alternative, emo, metal, etc). However, its lack of radio readiness is its blessing in disguise. This album will be timeless for decades to come. Will Hoge has an ingenious way of taking the best of the past and molding it into his own style. If you love any genre of rock n’ roll, this is an album that will endear itself to you. Despite all of the obstacles he has faced, he intertwined them into art and made the best album of 2006. (2006 live review here). 14. Butch Walker – ‘Sycamore Meadows’ (2008)
In the year leading up to the release of this record, Butch Walker’s life had been on a topsy-turvy ride and the doubt, anguish and desperation he has experienced has been crafted into his most mature and enduring work to date, ‘Sycamore Meadows’. Titled after the street where his house resided before a fire destroyed it (and everything he owned) in November 2007, it’s a somber, philosophical and ultimately invigorating record. “Going Back/Going Home” was written at the urging of his manager in the wake of the fire and it may be the best song Walker’s ever done. The discreet life-affirming reflective song where he offers up insight into his entire life and career but at the end it becomes apparent that he indeed is in tune with himself and where he needs to go. It’s true, you have to go home and acknowledge your past in order to go on with the future. The entire album is full of the same bedroom intensity and intimacy found on Bruce Springsteen’s ‘Nebraska’. For an artist who has made a career of creating rich melodic records made for radio, Walker finds the perfect fit for each of these tracks never overreaching and never under delivering; Walker always finds the perfect medium that showcases the song in the best light possible. Sycamore Meadows is a dreamy and raw vista full of insurrectionary rage finding a fine balance between innocence and experience and features an artist at a crossroads with his foot on the gas pedal full speed ahead towards redemption with a unified and assertive collection of songs. (Full album review here). 13. Arcade Fire –‘Neon Bible’ (2007)
I’m surprised many publications have held their debut ‘Funeral’ in such high regard. It’s an important and very good debut (on this list as well), but it doesn’t hold a candle to their tour de force sophomore release, ‘Neon Bible’. The Canadian indie band’s lush instrumentation and harmony vocals feel like a reviving prayer being sung to you as you are attached to the top of a car speeding along at sixty miles per hour. Melding non-traditional instruments with unbridled passion, the Arcade Fire chiseled away at my insides until I relented and embraced them and this album features eleven hymns one can live their life by. The track “Intervention” is maybe the most exquisite track I’ve heard in the last few years and listening to this group morph into entirely different bands from track to track is nothing short of superfluous as they deliver exultant pained crescendos. Pulling philosophical topics and layering them with imaginative arrangements make ‘Neon Bible’ one of the decade’s most inventive, integral and liberating records.12. Will Hoge-‘During the Before & After’ (2006)
Back in 2005, I was sent to review someone and the opener was Will Hoge. This one performance was my most defining of the decade, I had only known of Hoge before this and during the performance I watched him wallop an inebriated yuppie filled crowd into frenzy. I immediately went to the merchandise booth and bought this just released live album. No other live album in my collection has received more spins…ever. ‘During The Before & After’ seized me by the jugular and the live performances captured on this disc are some of the most magical since the Who recorded a few shows in Leeds after the mega success of ‘Tommy’ three decades back. The immediacy of the crowd mixed with the bands adrenaline took every song to a level the studio counterparts could not touch. It’s a shame the physical release of this album is out of print, because it’s a defining document of Hoge’s first half of this decade. The polish and sheen of his first two records is absent and in place, is a raw and revealing band ready to show the world that they’re as good as any live band on the planet. A soulfully stirring “Ain’t No Sunshine”feature Hoge’s southern flavored vocals that evoke pure soul. “Bible vs. Gun” and “America” had only been released on a EP before now, but here they are housed definitively. “Bible vs. Gun” may be the most in tune song with the American experience of the 21st Century. It evokes the Dylan of the 60’s and the Springsteen of ‘Nebraska’ and Hoge’s pleading prayer-like vocal, sung from the point of view of a soldier at war, is one of the greatest songwriting accomplishments of the last decade. There’s a nearly ten-minute “She Don’t Care” full of spunk while “It’s A Shame” delivers an avalanche of emotions in a vocal delivery full of brewing rage. Hands down, this is one of the greatest live documents the rock n’ roll era has ever produced. (Read "Will Hoge: The Redemption of Rock N' Roll" here). 11. Michael Franti & Spearhead-‘Yell Fire’ (2006)
There are days when I feel it is wrong for me to want so much from music. Asking artists to surpass potential and continually progress in not just their craft but as humans as well is almost as unrealistic as wanting every prayer answered. However, Michael Franti and Spearhead take their art as seriously and they demonstrate a group of musicians who put their life experiences hand in hand with their art. Franti has never been afraid to wear his heart on his sleeve and on ‘Yell Fire’, he does more than express his inner emotions but his politics as well while simultaneously being apolitical. ‘Yell Fire’ houses is fourteen potent pronouncements about the state of the world which he drew from the inspiration he had from a trip to the Middle East in 2004. Tackling worldly topics as war, love and communication, “Yell Fire’ is the record Bob Marley would have made if he were still alive. Songs like “I Know I’m Not Alone”, “One Step Closer To You” (featuring harmony vocals by Pink) and “See You In The Light” synthesize the best of what they are capable of. ‘Yell Fire’ is a testament to the art form of music as it reminds us that there are musicians who take their craft seriously and believe in it so much that it can be used as a tool to steer you through the rough roads of life where you may learn a thing or two in the process. (Read 2006 live review here). - Read the introduction and #'s 100 to #76 at this link
- Read #'s 75 to #51 at this link
- Read # 50 to #26 at this link
- Read #25 to #11 at this link
