40.Murder by Death, Who Will Survive, and What Will Be Left?
One might think that 2010, the year where weirdos like Mumford and Sons, Ray LaMontagne, and Iron and Wine got tons of visual press dressing like barbers from the 1880's, there might be a larger audience for Murder by Death. Their brand of Western Gothic Americana Rock isn't too far away from the Pastoral Indie movement we've seen in recent years, but it rocks harder and is a hell of a lot more interesting. Who wouldn't want to listen to a record about the Devil rising in Mexico and going toe-to-toe with the armed locals? I'm inclined to just shrug and say "that's the way the ball bounces" when a band doesn't reach the same popularity as some of their lesser-talented peers (I know the artists above aren't necessarily peers, but you get where I'm going with this), but MBD kicks so much more ass than those pussies with handlebar mustaches out there ever will.
(Revisionist Higher/Lower/About the Same: Slightly Lower)
39. Radiohead, OK Computer
I think of OK Computer a lot like I think of the Beatles' Revolver: I tend to think it's slightly overrated, until I listen to it again, and I remember why it's so great and wonder why I forgot about it completely (Revisionist Note: I'm going through a lot of this lately). OK is one of the few albums I can think of that is simultaneously brilliant, catchy, powerful, beautiful, and meaningful (except Fitter. Happier. I still think that it's their dumbest decision ever, and while I realize it was 1997 and it probably didn't sound as corny back then, I took note of it the first time I heard it, and now I just completely skip it. Every time). Radiohead ventured down every stylistic avenue they could think of since its release, but they've never topped OK Computer.
(Revisionist Higher/Lower/About the Same: Much Higher)
38. Beck, Sea Change
My favorite breakup album. I typically accuse Beck of putting style over substance, but while he may have been making a stylistic statement with this album as a whole, Sea Change is deeper and has more meaning than anything else he's done (For me, anyway). My biggest issue with Beck's discography deals with the same reason he's been such an iconic figure in rock history of the last 20 years: his chameleonic sound. Beck has been the Bowie of his day, shifting sounds and style, recreating himself each time, but that's where my bone to pick lies. I've always felt that the ever-changing sound has diminished the quality of the product (I'm probably solely alone in this camp). Not so on Sea Change, though. Without the jarring effect of unexpected sounds (maybe a country album was jarring enough), the album is free to build upon itself and create an overarching mood. By building a foundation upon shared principles throughout the album (country stylings, heartbreak), Beck concentrates on the songwriting more than he usually does, and it leads to the strongest and most consistent set of his career.
(Revisionist Higher/Lower/About the Same: About the Same)
37. Drive-By Truckers, Dirty South
This era of file-sharing, instant streaming, and the blogosphere has given birth to the distinctly post-modern joy of unparalleled media discovery. Sure, it's a joy that has always been around, lurking deep in the bottom of the used record bin, hanging on the tip of the tongue of a friend, buried on side two of the 25th mix tape someone made for you. But these time-honored traditions deeply rooted in the second half of the 20th century can't match the immediate, far-reaching joy of taking a band that you've heard of (or have been recommended), reading a review on each item in their resume, and having it all at your fingertips to listen to near instantly. Traditionalists cry foul at such acts, blaming such immediacy for both our collective musical ADD and lack of loyalty to artists (and, in essence, the downfall of the entire music industry). They are idiots.
The House recommended the DBT's to me about year ago. A few days after he did, I had already listened to three of their albums, knew all the words to a few of my favorite songs of theirs, could compete in a DBT song fantasy draft (though that didn't actually happen until much more recently), and was already searching for concert dates. Tradition can suck it.
(Revisionist Higher/Lower/About the Same: Higher)
36. Queens of the Stone Age, Era Vulgaris
What does it say when the second worst album of a band's is still in my top 50? Era Vulgaris is the soundtrack to the return of Josh Homme's mojo, after in-house shakeups clearly led to QOTSA's weakest (though still underrated) album, Lullabies to Paralyze. Even though I looked forward to Era's release, hearing it for the first time was a reassurance that not only were QOTSA "back", but Rated R and Songs for the Deaf also stopped feeling like a kick-ass party you went to years ago, but had faded into a happy memory. Homme mastered the technique of having tons of guests on his album, yet it always feels like his (he had tinkered with this on the other QOTSA albums, but this was the first successful album where he was seemingly the only constant).
(Revisionist Higher/Lower/About the Same: Lower)
35. System of a Down, Toxicity
System of a Down remains the only redeemable band from the nu-metal movement. Heavy yet playful, and always anthemic, Toxicity could make you scratch your head at it's weirdness on nearly every track, yet, you'd still find yourself humming some strange-ass rhythm from it later. The band clearly seems like it's done, and while Hypnotize and Mesmerize were both very good albums, Toxicity will undoubtedly remain the highest achievement from the greatest Armenian-American metal band of all time. "Chop Suey" will always have a home in my car's CD player.
(Revisionist Higher/Lower/About the Same: Lower)
34. White Stripes, Icky Thump
The Stripes always has a weirdness about them, but their last album is definitely the weirdest. Icky Thump has more eccentricity and eclecticism from a two-piece band than most albums have from a fully fleshed-out lineup. "Rag and Bone" may be the most White Stripes-ian song they've ever recorded: all in a few minutes, they giggle at you, punch you in the stomach, get maniacal, and blow out your subwoofer. It (and really, the White Stripes in general) sounds like a couple of young kids playing in the backyard of a house in the Midwestern suburbs, melting dolls and army men in the sun with a magnifying glass, narrating a movie only they can see as it happens. On drugs.
(Revisionist Higher/Lower/About the Same: Lower)
33. Weezer, Pinkerton
Has there ever been a pop/rock album that took longer to sink in? I was late to the Pinkerton party (sorry, that sounds pervy), so I missed out on the journey from maligned sophomore failure to unappreciated masterstroke of genius. I had my own similar mini-journey with it, though. I loved the Blue Album as a kid (when it came out), kind of fell away from Weezer when I got real into shitty nu-metal as a young teen, but came back after the release of the Green Album. Weezer was my first concert, and I bought a signed copy of Pinkerton from the merch stand at the arena, because it was the one I didn't have. The set list consisted of 8 songs from Blue, a large portion from Green, a couple from Pinkerton and 2 off of the unreleased Maladroit. When I got home and listened to Pinkerton for the first time, I thought I realized why. I liked "The Good Life" and "El Scorcho", but nothing else. It stayed that way for a while. Using those two as a center, back-to-back, I slowly ventured outward in each direction, listening a track or two in advance and after what I considered the only two good songs on the damned thing. Within a couple of months, however, I knew the whole thing inside and out. Maybe it just takes a while for everyone?
(Revisionist Higher/Lower/About the Same: About the Same)
32. Led Zeppelin, Led Zeppelin 2
There isn't a ton to be said about Zep 2 that hasn't already been beat to death. It's one of the best pure rock and roll albums ever. "Whole Lotta Love" was a revolutionary song. "Living Loving Maid" and "Heartbreaker" probably go together more closely than any other two song lineup in rock and roll history (can you really hear one without thinking of the other?). "Ramble On" is probably my favorite song, and a top 5 Zeppelin song to boot. The Brown Bomber (like the rest of Zep's first six albums) stands the test of time, and for our generation (those who were never alive when the band existed), these songs sound like they've been there forever and will never disappear.
(Revisionist Higher/Lower/About the Same: About the Same)
31. The Black Keys, Rubber Factory
Speaking of songs that sound like they've always existed, Rubber Factory's songs have always felt like they were written forever ago and merely covered by the Keys (much of their music does, which is a sign of greatness). Never afraid to be too heavy, or ugly, or traditional, the Black Keys may not have invented the wheel for garage band blues, but they do it better than anyone has outside of the 70's. Always serving the song, doing what is best for it, both members of the Keys sacrifice their own personal glory here. Dan Auerbach could bring his voice up to the front of the songs, or take more solos, but he doesn't. Pat Carney could definitely be flashier behind the kit, but he isn't. He just thuds away, dominating the groove. The Keys never disappoint with albums, but they haven't been able to top this one (This is a revisionist remark. I have one other album ranked higher, but I definitely overrated it).
(Revisionist Higher/Lower/About the Same: About the Same)
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