1988:
N.W.A.-Straight Outta Compton
Strangely enough, the only real competition for this year is Public Enemy. However, the power and cultural impact that Compton had more than merits its place over PE's It Takes A Nation of Millions. While the first three tracks are so well known for being these in-your-face gangsta tracks, the rest of the album does have some “diversity” to offer. Two of the best tracks are Ice Cube fronted “I Aint Tha 1” and “A Bitch iz a Bitch” which really talk about the same thing. I didn’t say it offers much diversity. Also, Eazy completely tears it up, as his verses are easily the most entertaining on the album. And “Express Yourself” is one of the best songs in hip-hop.
1989:
Beastie Boys-Paul’s Boutique
This album is the perfect picture of what a sophomore album should be. While on License to Ill, the Beastie’s really got into their trademark rhythm, Paul’s sees them rarely breaking into that, as each songs different vibe dictates a different rhyme scheme. And who can forget all of the sampling controversy this album caused? It’s ridiculous to think that what they did here was legal, but it definitely adds a bit of a gimmick to the album that guys like Girl Talk are employing today.
1990:
Primus-Frizzle Fry
To me, Frizzle Fry may be the most entertaining and memorable Primus albums. While the later Seas of Cheese and Pork Soda both offer their fair share of gems, this album is the sort of thing that just takes the entire idea of what they stood for and throws it in your face. Claypool has some of his best basslines here from “Groundhog’s Day” to “John the Fisherman” to “Too Many Puppies.” Just an awesome funky album.
1991:
Red Hot Chili Peppers-Blood Sugar Sex Magik
The Peppers at their best. While everything following this album sees them trying to capture the glory of this, they never have been able to come close to it. Although the mixing is a bit too low as far as the master volume is concerned, the content of the album more than makes up for the lack of loudness. Before Kiedis was doing his “Zephyr Song” style swooning he was ripping it up with tracks like “Mellowship Slinky in B Major” and “Sir Psycho Sexy” which are highlights of the album. And the rhythmic cohesiveness of Flea, Frusciante and Smith is stunning.
1992:
Rage Against the Machine-Rage Against the Machine
This album is perfect to me. It’s chaotic, it’s beautiful, it’s scary, and it never backs down. Zack de la Rocha’s sharp lyrics, combined with the master rhythm section of Tom Morello, Brad Wilk and Tim Commerford equal an incredibly fresh sound that has yet to be matched as far as quality is concerned. The ten tracks bounce off each other very well, moving the moods with ease. Morello plays some downright badass solos too, shame he didn’t continue them during the bands later years. And the mix is just spot on, making it great in every single aspect.
1993:
Wu-Tang Clan-Enter the Wu-Tang: 36 Chambers
“Bring Da Ruckus” is just a track that grabs you by the collar and says “Don’t you ever fuck with the Wu-Tang Clan because we will kill you.” That’s a damn strong first impression. RZA’s intricate beats are near flawless from track to track, and the youth and hunger of the emcees is unmatched. Method Man, Ghostface Killah, Raekwon and the GZA show both their chops as well as their desire to be famous. And that hunger, that drive, is what sets this album apart from every other Wu album.
1994:
Weezer-Weezer (The Blue Album)
Rivers Cuomo is a genius and he was so smart when he made The Blue Album. It’s ten tracks of pop glory that’s just stemming with nerdy imagery. While Rivers appeals to the mainstream, he also keeps those like him close with slightly more obscure tracks. And while Rivers’ “creativity” has proven to be the downfall of more recent Weezer albums, bassist Matt Sharp kept his mind honed in on this one.
1995:
Smashing Pumpkins-Mellon Collie and the Infinite Sadness
While ’95 packed a punch with GZA’s Liquid Swords and Presidents of the U.S.A’s self titled album, Mellon Collie still takes the cake as it’s best in my humble opinion. Corgan and the crew deliver a powerfully epic two disc masterpiece here, choc full of memorable tracks, perhaps the most memorable of the groups recorded history. Singles like “1979” and “Tonight Tonight” pad out the bittersweet classic, giving it the perfect tracks to send to the radio.
1996:
Cake-Fashion Nugget
Cake is a great band because they are so aware of how cheesy they are. And this album is really the epitome of that cheesiness. With tracks like “Italian Leather Sofa” and “Nugget” we see the boys toss and idea of seriousness to the curb. While tracks like “The Distance,” “Frank Sinatra,” and “Friend is a Four Letter Word” keep the crazyness down, the downright funkiness of the instruments, especially the bass take this to the next level. A great listen from start to finish.
1997:
Incubus-S.C.I.E.N.C.E.
Just like the Peppers, Incubus is one of those bands that absolutely rocked before they became rock mainstays, and S.C.I.E.N.C.E. is like getting kicked in the balls by someone who happens to be telling you are great story. You are in complete shock by the absurdity of what’s going on, but you can’t help but appreciate the greatness of what you are hearing. While B.I.G’s Life After Death seems to be the only other contender for ’97, Incubus’youth and energy take the prize of the year in my mind.
1998:
Pitchshifter- www. pitchshifter .com
’98 was somewhat of a barren year for albums that have had a lasting impact on me, but the more I think back, the more Pitchifter’s .com is the album that stands out for me. This was one of the first CD’s I ever purchased, and although it seems to epitomize the worst puberty-ridden years of my life, I can’t help but still enjoy the thrash/industrial vibe the U.K. boys send out. Tracks like “Microwaved,” “Please Sir,” and “WYSIWYG” have rocked for the past decade and I’m not tired of them yet. We’ll see how they fare in the future.
1999:
Mr. Bungle- California
10 tracks of sheer genius. When Mike Patton put out the prior two major label Bungle albums, their self titled debut and the twisted masterpiece Disco Volante, it was hard to grasp what the band really stood for because they went to such bizarre places. On this album they don’t appear to alienate anyone, and as strange as the songs are, they’re all sort of welcoming. I recommend this album to every rock fan I meet, and if I haven’t to you then here’s your invitation.
2000:
Jurassic 5- Quality Control
The rapping harmonies! They seem so absurd when you’re just talking about them, but when you pop in Quality Control, you understand completely how J5 has solidified themselves as hip hop icons. The diversity between each member, combined with their unified desire to entertain and be original makes this a near perfect album, chock full of memorable tracks. Jurassic 5 definitely prove that they are up to par with great hip hop groups such as A Tribe Called Quest and The Beastie Boys.
2001:
Oysterhead-The Grand Pecking Order
Another band I love pimping out. This super group made up of Primus’ Les Claypool, Phish’s Trey Anastasio and Police drummer Stewart Copeland mesh together in an oddly fantastic album that works incredibly well. Each member shines with their playing as well as their songwriting skills, as neither Claypool or Anastasio dominate the tracks with their trademarked sounds. And that’s not to say Copeland isn’t a focal point, as his drums add the perfect framework to the two string players chaotic tracks.
2002:
Queens of the Stone Age-Songs For the Deaf
With the catchy singles “No One Knows” and “Go With the Flow” Queens launched their careers into superstardom with this album, giving them fame they had never witnessed before. The already established chemistry of guitarist Josh Homme and bassist Nick Oliveri is only enhanced by the addition of Nirvana drummer and Foo Fighters frontman Dave Grohl behind the skins. His heavy hitting beats only add more energy to the already stoned out power rock that Homme and the boys spew out. The album not only sounds good, but it’s radio interludes add cohesiveness to an otherwise disjointed album. This year was one chock full of greats, but Songs definitely rings the most.
2003:
Yellowcard-Ocean Avenue
Pop music at it’s finest to me. Ocean Avenue is an album that will bring me up no matter how down I may end up (and living the super-stressful, anger inducing life I love, that’s pretty stressful). Every track is memorable and it’s not hard to end up singing along whether you want to or not. And the musicianship’s not that bad either, especially for such a poppy group, the vocal harmonies especially add to the mix. So you can say I have no balls, or that I’m a pussy for liking this CD, but my response to you haters is that you are too afraid to admit how catchy this is.
2004:
Chronic Future-Lines in My Face
What I like the most about this hip-hop/pop-punk hybrid is the fact that it works. So many of these bands that try and fuse genres whilst staying marketable fail, that or they get caught up in the label game and end up tweaking their sound to the point that it becomes marketable. Chronic Future really seems to have a catchy sound that doesn’t seem like some executive told them to play a certain way. It’s a greatly underrated album that has a few gems, and the rest of the album is a good listen too.
2005:
System of a Down-Mesmerize/Hypnotize
Can I just saw that 2005 was ridiculous? We had Common’s Be, Kanye’s Late Registration, Gym Class Heroes’ Papercut Chronicles and Gorillaz Demon Days! But there is not much in music that can do what the sibling System albums did that year. Rick Rubin honed in System’s already lucrative sound and accentuated it, giving Daron Malakian a front row seat alongside frontman Serj Tankian. While some fans dislike Daron’s more prominent role in singing, I feel like it gives a different layer for the band to play off of. Tracks like “Hypnotize” feature beautiful back-ups from Tankian, which works surprisingly well. The chaotic aspect of this album also makes it a memorable one. With tracks like “Revenga,” “B.Y.O.B,” and “Attack!” just raping your earholes. I enjoy these albums so much it’s not funny. It’ll be awkward singing “Cigaro” when I’m like 40.
2006:
RX Bandits- …And the Battle Begun
Two years ago I would’ve definitely said the Chili Pepper’s Stadium Arcadium was the best album, but as the time has passed Stadium has kind of gotten stale and RX Bandits’ Battle has only become greater. The Bandits are so intricate, yet they are so accessible. The rhythmic chemistry amongst the players is so awesomely original that every time I listen to this CD I find something cool that I didn’t recall from the last time. But just like ’05, this year had a whole tone of winners. The Roots’ Game Theory is among my favorites, and John Mayer’s Continuum and Gnarls Barkley’s St. Elsewhere are definite contenders.
2007:
Just go down and read my blog.
2008:
Well that is yet to be said isn’t it?
But as of now I’ll say this. Vampire Weekend put out one hell of an album, Atmosphere’s When Life Gives You Lemons You Paint That Shit Gold is absolutely brilliant, The Cool Kids emerged as the new kings of hip-hop, Flight of the Conchords managed to translate their quirk to a record and Scars on Broadway rocked from front to back. Maybe if you come back in early 2009 you’ll have a clear answer. Until then…stay tuned!
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