# 11 - Caedmon's Call - Caedmon's Call

I swore that I was through with terrible Christian subculture that had become part and parcel of existing in the South. I wasn't leaving the faith, but I damn-sure wasn't wearing the t-shirts or listening to the God-awful music. Then I found Caedmon's Call.

Caedmon's came to Union in February '96 when I transferred into Union. My roommate was a talented musician and had corresponded with the more ornery songwriter of the large group. I went to their show and was shocked at the sadness, or at minimum, the tempered expectations that filled their songs. This bunch sang about real things: Breakups, dealing with a friend's suicide, the oppressive expectations placed upon young believers. I could get with this.

Three vocalists (Derek Webb, Cliff and Danielle Young) nicely blend with an array of talented musicians. Acoustic-driven with plenty of B3 (I think) and Gwar-like stage theatrics (kidding).

Derek Webb remains one of my favorite songwriters, even more so after he left Caedmon's about 4 years ago. He continues to talk about racism, poverty, Darfur, torture, etc., in his solo work, and Caedmon's has never been the same since his departure.

They wrote sad songs, hopeful songs, but most importantly for a "pie in the sky" industry, they wrote sober songs. I needed that at 19 and probably still need that. Webb, Andrew Peterson, and others continue that tradition, but it was Caedmon's Call that saved me from the likes of both Ray Boltz and Sister Hazel, which is reason enough to rejoice.

# 12 - Faithless Street - Whiskeytown

Because I'm not as well-versed as many of this blog's participants, I was unaware of the concept, genre, what-have-you of alt-country. I found it in Whiskeytown, probably a few years after everyone else. "Faithless Street" has 21 tracks of pure country gold. Lots of drinking and heartache, plenty of references to Tennessee and baseball parks - what more do I need?

"Faithless Street" has accompanied me on every roadtrip I've taken to East Tennessee, and it is a near perfect, road-tested album.

Favorite tracks: Midway Park, Faithless Street, Lo-Fi Tennessee Mountain Angel.

You say "neato," take your libido and stroll to the church in your new tuxedo

# 13 - Stone Cold Rhymin' - Young MC

Forbes and I had this discussion many moons ago: "Stone Cold Rhymin'" is a great, not good, hip hop album. When I was in 7th grade it was unthinkable that Young MC would lose his status as a rap superstar, to say nothing of eventually appearing on VH1's "Celebrity Fit Club." Damn.

"I Come Off" sets the tone of 'Stone Cold,' which is not quite as hard as LL Cool J's "I'm Bad" but just as braggadocious. This first track could serve as the Cliff's Notes to a 1980s Trivia game, referencing Eddie Murphy, Freddy Krueger, and my two favorite lines:

I don't mean to brag or boast to try to tell you I'm great/but I can rock the microphone like Dorothy Hamil can skate/Yeah, I can say a funky rhyme like Greg Luganis can dive/Don't have to be "Saturday Night" for Young MC to get "Live".

"Yo I come off/Just like the clothes of a hooka/And I can fly like Jimmy "Superfly" Snuka."

This is followed up by "Principal's Office" and the eternal "Bust A Move." (I won a karaoke contest my freshman year in college by nailing "Bust A Move." It did not, however, afford me any additional opportunities to bust a move.)

Marvin Young from Hollis, Queens, might only be remembered for one wedding reception staple, but I still listen to this album front to back.

Hidden gem: "Know How" which brilliantly samples the Theme from "Shaft"

my bad...

In my excitement to wax on about "Aquemini" I skipped

# 16 - "Drunkard's Prayer" - Over the Rhine

I owe my six-year love affair OTR to Brandon Forbes, who drug me out of my ghetto apartment in early '01 (much love to Duke Manor) to head to Cat's Cradle for my first, but not my last, Over the Rhine show.

I'm certain that married couples hear an album about piecing a marriage back togehter far differently than a single guy, but it's no less a significant testimony to the power of fidelity (and good wine) that can speak to anyone. The simple arrangments from Karin Bergquist and Linford Detweiler's living room SOUND like a personal recollection of troubled days from the not-so-distant-past to say nothing of the actual words one hears on Drunkard's Prayer.

The aptly titled album is not an adolescent, rainy day kind of listen, but more so a stroll by present haunts with your loved one to consider what you nearly lost.

A few months ago I saw OTR in Nashvegas (with Hem), and I'm convinced Karin Berguist can own any venue in the world just by taking the mic. It's a stage presence you don't see in too many artists. Of course, I'm terribly biased and claim her as my favorite female vocalist of all time, so do with that what you will.

The line "My memory will not fail me now" has been highlighted by several journalists, but it is truly the prayer that drives this album.

Hush that fuss, everybody move to the back of the bus

# 14 - Aquemini - Outkast

The only Outkast entry on my list, Aquemini, (sorry, Brandon. you can be the ambassador of Stankonia) is the forerunner to the Bush-bashing, Grammy-winning hip-hop saving album, Stankonia. However, before Big Boi and Dre concerned themselves with foreign wars or baby-mamma drama, Outkast delivered the dirrty, psychedelic trip to the ATL: dice games, club fights, and getting fired from the post office. Put in context, hip hop was struggling at this time: Dre and Snoop had split; Biggie and Tupac had died; JayZ was not yet Jigga; Nas had fallen off after "Illmatic," and Marshall Mathers was living "8 mile."

Unless you count Puffy (which I don't) the land was barren, until Outkast brought forth a harvest of horns, synths, storytelling reminiscent of Slick Rick or Biggie, INCREDIBLE rhymes (remember when Andre 3000 rapped?), and a heavy does of 'erb. Move over Master P (and shut the hell up). The South now had its only voice in the rap game (until Toby Keith, of course).

Favorite tracks: Rosa Parks (to which I performed my famous "Double Dutch" dance at parties); Synthesizer featuring George Clinton; Spottieottiedogaliscious; Liberation (a precursor to "Love Below" only bluesier)

If you're an Stankonian immigrant, return to your roots and check your horoscope - Aquemini.

Ditto

# 15 - The Bends - Radiohead

Following Trey, I'll let those with encyclopedic knowledge of Radiohead offer a fitting tribute. A friend told me about 3 years ago that I would like "The Bends." I listened, and I loved it. I immediately bought "OK Computer" the same week.

I never saw the man who brought me to "The Bends" ever again. I think he was an angel.

Willie Nelson is a Commie...

as my grandfather would say, followed by the perfunctory, "he ain't country." Willie ain't being country is likely due to his long hair, a love of the sticky-icky, and more than likely a resemblance to my uncle, his second son.

I think my grandfather would like my # 17 - Jacksonville City Nights - Ryan Adams. Nothing much to say about it other than 2005 was like Ryan Adams' personal competition with the CSI franchise. Just as Chad Eggleston has pointed out that one day we will all have our own CSI, in 2005 it seemed as if we would all have our own Ryan Adams' album. My favorite bootleg of 2005: "Hey Justin Phillips! You're my West Tennessee buddy. Love, Ryan Adams." It's more of a concept album.

Favorite tracks: "Dear John" with Norah Jones, "September" and "A Kiss Before I go"

Best if listened to: At the beginning of (or end, doesn't matter) a bender on your grandfather's fronch porch with your Willie Nelson-hatin' grandfather.

A Fond Farewell

# 18 - From a Basement on the Hill - Elliott Smith

I discovered my favorite movie of all time "Good Will Hunting" and consequently Elliott Smith, while I was in my second month of cancer treatments during my junior year in college. "Miss Misery" and "Between the Bars" are still of my two favorite songs of all time.

Six years later I was preparing to drop out of a graduate program, leave Texas, and figure out what I wanted to do with my life, when I came across the Spin article detailing the last few months of Smith's life. I bought "Basement" shortly thereafter, and it served as the strangest of therapies for under $15.

It's unfortunate that faux depression is fashionable for all the young millionaires, who are trained to brood just a little bit more so they can exploit a few more kids who have real problems (e.g. Good Charlotte, Avril, and anyone remotely connected to Fred Durst).

During "King's Crossing" Smith sings the line "Gimme one good reason not to do it" a reference to taking his own life. It was said during live shows, his sister and friends would shout back at him "beause we love you!" Every time I hear it, I feel like he's going to listen this go-round.

Elliott Smith never used depression or addiction to sell a record; at least, that's my opinion. Being honest isn't all that profitable.

(I'm in no way the Elliott Smith afficionado, so if you have suggestions for future purchases please pass them on. I only own "good will hunting" and "basement.")

More than the LifeWay building

#19 Love & Thunder - Andrew Peterson

Greetings all. Took a bit of a hiatus dealing with a family emergency (dad) but all is well, and yes Brandon, he's still rockin' the 'stache. Much love to all the Dads out there rockin' the state trooper, porn star, bandito 'stache.

My Christmas present to my parents this year was to take them to the 12/6 show at the Ryman - Andrew Peterson's "Behold the Lamb of God," a full three hours of independent, un-hyped Nashville singer-songwriters, who happen to be Christians, or as we say in Tennessee (as most of you know) Chreesh-chin.

The first couple of hours are filled with original material from the likes of Derek Webb, Sandra McCracken, and others. The final hour is Andy P's concept album (Behold the Lamb of God) that narrates the birth of Christ, and it is the finest Christmas performance I've seen. He always pulls a special guest or two. Year's past have featured Allison Krauss, Mindy Smith, Phil Keaggy, Peirce Pettis, etc., This is my second year, and I would recommend a listen at

http://www.andrew-peterson.com/

Love & Thunder shows Peterson's folk, country, and bluegrass roots, his love for the Old Testament (Canaan Bound and Pillar of Fire), prophetic tradition (After the Last Tear Falls), and just regular life (Let there be Light and Family Man).

The other hallmark of an Andy P. record is his unflinching handling of death and grief. This bit of "The Silence of God" is classic Peterson, referencing Merton's Gethsemane:

There's a statue of Jesus on a monastery knoll
In the hills of Kentucky, all quiet and cold
And He's kneeling in the garden, as silent as a Stone
All His friends are sleeping and He's weeping all alone

And the man of all sorrows, he never forgot
What sorrow is carried by the hearts that he bought
So when the questions dissolve into the silence of God
The aching may remain, but the breaking does not
The aching may remain, but the breaking does not
In the holy, lonesome echo of the silence of God


All I know is that Michael W. Smith never talked about grief, war, politics, or well, anything important. I hope more kids find Andrew Peterson than whatever LifeWay happens to be pumping out at the moment. They might have a chance if they do.

There's far too many of you dying

# 20 - What's Going On - Marvin Gaye

This album doesn't need much, if any, commentary. Many popular, contemporary efforts at social commentary come off as insipid sing-a-longs, so filled with abstractions that they could just as easily pass for Nickelodeon theme songs.

John Mayer offers the perfect Gen X solution to the world's problems ("Waiting on the World to Change") or the Black Eyed Peas ask "Where is the Love?" in between jaunts to the Teen People's Choice Awards and the 40/40 Club. "What's Going on" could be released today and instantly say more about the world than recent trite attempts (this excludes, of course, Green Day, Bright Eyes, and probably several others that I haven't heard).

The title track and "Inner City Blues (Makes Me Wanna Holler)" are my favorite tracks; neither of which allows me wait on the world to change.

Am I buggin' ya? Don't mean to bug ya.

# 21 - Rattle and Hum - U2

Self-important? Yep. At times, self-righteous? You betcha. Blockbuster movie? Ehhhh...

To judge the album because of the movie would be to miss out on some enduring U2 favorites. Rattle & Hum enters as my #21 because it was the first U2 CD I owned. The mix of old songs, new songs, and sermonizing made it interesting enough for me to check out "The Joshua Tree" and really the rest is history.

It has a heavy dose of Memphis flavor to it with "Angel of Harlem" (recorded at Sun) and "When Love Comes to Town" with BB King.

[Side note: The torch-bearer of the "Memphis sound" is now Academy-Award winning Three-Six Mafia. I heard a local radio spot for Three-Six in September, hyping their appearance in Jackson, and the ad said, "Doors open at 10 PM for Oscar award-winning Three-Six Mafia!!!" Pretty awesome.]

Rattle and Hum includes new songs "Desire" and the classic "All I Want is You" - best if enjoyed at the end of "Reality Bites."

Live versions of "Pride (In the Name of Love)," "Bullet the Blue Sky," and the soulful "Still Haven't Found (What I'm Looking For)" with gospel choir are really great recordings. (The film version of this song is actually better, but WAY pretentious with the unidentified producer wearing shades in church while "directing" the choir. Even more hilarious is watching Adam Clayton sway to the angelic offering!)

It's not a cool pick, but Rattle and Hum referenced Memphis, had BB King (whom my dad loves), ends with an awesome ballad, and dropped a nice, hearty F-bomb in "Sunday, Bloody Sunday" on the movie version. I couldn't ask for much more.

Favorite track: Tough call, but because "Silver and Gold" doesn't appear on any other U2 album I'll go with it. "This song was written in a hotel room in NYC right about the time a friend of our's, Little Steven, was putting together a record of artists AGAINST APARTHEID."

Okay Edge, play the blues.

Now! That's what I call Soul!!

# 22 Maxwell - Now

D'angelo had his naked video. R. Kelly had record sales...and his own naked video (with a minor). Maxwell is just good, old-fashioned solid soul music. His 2001 release "Now" has been the last we've seen of him, but if it happened to be his swang song then it wasn't a bad way to go. Two dance tracks bookend Now: "Get to Know Ya" and "Now/At the Party," but the Kate Bush cover "This Woman's Work" seals this album as a very strong album. Though not as flashy or troubled as his contemporaries, Maxwell is far more talented, deftly offering the best of dance and "slow jams" (I love that phrase)than one could find on a greatest hits compilation of D'Angelo, R. Kelly, Nate Dogg, Clay Aiken and others.

In 1997, Maxwell made an MTV Unplugged appearance (who didn't?) and covered NIN's "Closer." The end result sounds something like a funked-out Gospel number. Strange, I know, but clearly indicative of Maxwell's creativity and limitless influences.

Best Track: "This Woman's Work"

Pretty sure I should get my ass kicked by Courtney Love and Marilyn Manson

# 23 New Radicals - Maybe You've Been Brainwashed Too

I'm hesitant to admit this in a quasi-public forum, to say nothing of including it in my Top 25, but I like the only release from New Radicals. There, I said it.

Gregg Alexander is the musical equivalent of former Yankee Kevin Maas. Subbing for Don Mattingly in 1990, Kevin Maas had 16 home runs by the end of August in only 167 at-bats (an insane average for the uninitiated). I view New Radicals similarly, because they (he) had a couple of singable tunes during a particularly meaningful season of life; however, this in no way meant I wanted a sophomore effort. Just at Mattingly's career was overall superior to Maas' brief outburst, my life was no different in a post-New Radicals world than it was prior to discovering Alexander's contrived angst, suburbanized prophecy, or ridiculous grievances against musicians who had hit the Billboard jackpot.

New Radicals' "You Get What You Give" owned the airwaves in college, but now has been assigned the coveted status of background music for NBC's Sunday Night Football highlight package. This little ditty ends with a diss-lite of Courtney Love, Manson, Beck, and Hanson. (Smart move on Alexander's part by not calling out the Wu Tang Clan. By the way, the Wu once beat a journalist unconscious, who had recently slammed their album. The Wu ended the beatdown with calling out "Wu Tang Clan ain't nuthin to f%^k wit." Just for the record, I say if you beat another person and punctuate it with your own catchphrase, you are a bad mamma-jamma, and certainly not someone to f%^k wit.) Alexander clearly read "The Art of War" before recording "Brainwashed" and knew which enemies he could and could not handle.

Back to my sentimental attachment to "Brainwashed": After I broke up with a college girlfriend (and then attempted, unsuccessfully, to reconcile with her), I needed to something to drag me further down into the abyss. Enter New Radicals. Gregg's middle class croonings about his hard-knock life as a non-conformist spoke to me. This guy knew love and loss of biblical proportions, as "Someday We'll Know" brilliantly posits "Someday we'll know why Samson loved Delilah/One day I'll go dancing on the moon/Someday you'll know that I was the one for you."

According to my college roommate I listened to this song EVERY morning for a month followed by the equally depressing "Crying (Like A Church on Monday)," which offers the chorus:

And I'm crying like a church on Monday
Praying for these feelings to go away
So do me a favor baby
Put down your new god
And love me like Sunday again

Wow. I can't believe I just typed that.

When I picture Gregg Alexander laying down tracks, the only thing that comes to mind is John C. Reilly in Boogie Nights encouraging a rocking n' rolling Dirk Diggler. "Hell yeah! That will show those music industry pricks! Take that Hanson!" I still laugh. I still listen. Where have you gone Kevin Maas?

Well I'm Mike D and I'm back from the dead

# 24 Beastie Boys - Paul's Boutique

Apologies for not introducing myself yesterday: Justin here. I live/work in Jackson, TN (hour north of Memphis) at a Southern Baptist school with college students, so be on the look out for Ray Boltz at #'s 18 - 15. But for now...

If "Liscense to Ill" was one big Natty Lite kegger, then "Paul's Boutique" was like the Federalis busting up the party...and then passing out the imported stuff. While I'll always have fond memories of "Liscense" - (I got in trouble on the way to church in 3rd grade for singing along to "Fight for your Right." I believe I shouted, "your mom threw away your best porno mag." I cried when told what a porno mag was, immediately repented, and redicated my life that morning for the 9th time.) - "Paul's Boutique" belongs in a hip hop time capsule. "Paul's Boutique" came out right before sampling became mega-expensive. The samples alone on this album could probably fill a Top 25 list, but it's the attention to detail that made this album great for me. My personal favorite is the gun cocking over and over in "High Plains Drifter."

Favorite line: From "Hey Ladies" - She's got a gold tooth you know she's hardcore/
She'll show you a good time then she'll show you the door/Break up with your girl it ended in tears/Vincent Van Gogh and mail that ear

"B-Boy Bouillabaisse" gives us a glimpse into the instrumental experimentation that was soon to come on "Check Your Head" and "Ill Communication"

# 25 - Public Enemy - Apocalypse 91...The Enemy Strikes Black

Though PE's "It Takes a Nation of Millions" or "Fear of a Black Planet" gets all the pub, "Apocalypse 91" brings rhymes that are still relevant today. "Can't Truss It" deals with the shadiness of 'da man' and has a great grimy video set in pre-Emancipation South...complete with slave girl giving birth to the slave master's white son. Classic PE imagery.

"Shut Em' Down" gives Chuck D yet another chance to talk about black empowerment in the hood. "By the Time I get to Arizona" was the closest thing I heard to a sermon on race throughout high school. Plus, "91" brings the noise with Anthrax, which is still a favorite headbanger.

Best time to listen? When you're an impressionable 8th grader!!!

Yeh boy!!!