#45: Janis Joplin - Pearl (1971)

Zack: Janis Joplin was an odd bird. While watching a documentary on the Monterey Pop Festival a few years back, some dude claiming to be an expert confirmed this by telling a story of a time when Janis met a record producer who wanted to sign her. She agreed to do so, but only if the man sexed her brains out. That’s a deal I would take in a second, but I’m sure it caught that lucky guy off guard. Behind all of that craziness, however, was an incredibly talented voice. To me, her voice is both soothing and sharp. These two contradictions don’t alternate, however, but somehow mesh together flawlessly. Her voice seems to beckon you forward but at the same time warn you of the world that you are entering. It’s almost like the song of the harpies, but that comparison doesn’t quite capture the majesty of her sound. The most haunting part of the album isn’t her voice, however, but rather the lack of it. This album was released about four months after she passed away from a heroin overdose. The day her body was found also happened to be the day she was to record the vocals for the song Buried Alive in the Blues. As if that song title wasn’t macabre enough, they included the song as it was. The quiet makes the listener feel as if the ghost of Janis Joplin is hovering right next to them, remaining silent as they are left to contemplate what Janis would have said. Through all her quirks and oddities and flaws, the time spent listening to that song is enough to make anyone miss the beautiful individuality that was Janis Joplin.

Favorite Tracks: Buried Alive in the Blues; Cry Baby; Get It While You Can

Emily: Janis Joplin’s voice is like no other. Pearl, which was Joplin’s last album before her untimely death, pays great homage to that. The instrumentation, although strong enough to stand on its own (as in the instrumental track Buried Alive in the Blues), takes a backseat to Joplin’s heartbreaking vocals. The listener can feel the pain and emotion with every word she belts. Janis Joplin was a troubled soul, but an amazingly talented one. This album is a testament to both her troubles and her talent.

Favorite Tracks: Trust Me; Cry Baby; Get It While You Can

#44: G. Love and Special Sauce - G. Love and Special Sauce (1994)

Emily: Two reasons to listen to G. Love and Special Sauce: one, they're from Philadelphia (gotta rep my hometown!); and two, they are one funky bunch of white guys. They infuse blues with soul, alt rock, and a laid-back sensibility. The combination of harmonica and guitar echo their blues predecessors, but they make it modern with their lyrics and G. Love's staccato delivery. To me this would be an ideal summer album - the relaxed vibe would be perfect for the beach.
Favorite Tracks: Cold Beverage; Garbage Man; Fatman

Zack: It’s difficult to define G. Love & Special Sauce’s sound. It’s very unique. There are elements of alternative hip-hop, blues, alternative rock, R&B, and just about everything else mixed into it. The one constant is the delivery of the lyrics by the one and only G. Love. It reminds me of spoken word poetry. The words aren’t sung or rapped, but simply stated. Despite this fact, emphasis and power is never lost during the entire album. There is a quiet forcefulness to way G. Love delivers his message. The instrumentation is well utilized to compliment the vocals. The bass is very prominent, but not overpowering. Overall, this is a well-crafted album by a very different and special band that deserves more than just a single listen by anybody and everybody.

Favorite Tracks: Baby’s Got Sauce; Eyes Have Miles; Shooting Hoops

#43: Johnny Cash - At Folsom Prison (1968)

Emily: More often than not, concert albums do not encapsulate the concert experience. Though the tracks are recorded live during an actual concert, the listener doesn't get the sense that they are in the crowd listening to the band perform. The instruments are overdubbed, mistakes are fixed, and stage banter and crowd interaction is filtered out, making it more of a sanitized studio album than a concert experience. I say all this because At Folsom Prison breaks all of these concert album norms. It is pretty much a straight recording from his 1968 concert for the prisoners at Folsom - bloopers, cheers, jokes, and all. It even includes announcements from the prison staff so that concert was kept in order. Cash really understood who his audience was, singing multiple songs about the prison experience and incorporating novelty songs to get the crowd laughing. He ends the concert with something truly unique - a song written by one of the Folsom prisoners. This personal connection from artist to audience is genuine and powerful, and rings true throughout the entire album.
Favorite Tracks: Cocaine Blues; Folsom Prison Blues; 25 Minutes to Go

Zack: Normally, I don’t enjoy country music, but Johnny Cash is iconic enough to earn an exception. In the first handful of tracks on this album, he displays pretty clearly why he is good enough to earn that special status. However, about halfway into the album, right after Orange Blossom Special, comes a section that he describes as full of ballads that is really just quite boring. When he slows everything down, he loses some of the oomph that makes him so entertaining in the first place. Once he gets those out of his system, however, the album picks back up with a pair of duets with June Carter and a few other terrific gems. But the real selling point, for me at least, was the beginning. To be more specific, Folsom Prison Blues and Cocaine Blues simply blew me away. Both songs are heavy on subject matter (a common theme for Cash, especially on this album) and dynamic in sound. Right there, in those two songs, it becomes very visible why Johnny Cash was such an important and influential musician in the first place.

Favorite Tracks: Cocaine Blues; Folsom Prison Blues; Green, Green Grass of Home

#42: Ravi Shankar - The Sounds of India (1968)

Zack: Well, readers, this is our first foray into the intriguing and somewhat intimidating world of global music. Fortunately for yours truly, Temple nearly held me at gunpoint and forced me to take a World Music class. It seemed so useless at the time, but it looks like I’ve finally found an outlet for the knowledge that was beaten into my cranium. Unfortunately for yours truly, I can’t really lord my knowledge over you because if you listen to the album, Mr. Shankar explains pretty much all you need to know about Indian music in a less-than-five-minute introductory track. That’s right, a less-than-five minute introductory track that basically sums up what we spent well over five HOURS learning. Indian music is driven by a system of ragas, which are rules that dictate what notes to ascend and descend in. The other engine that drives Indian music is improvisation. During the introductory track, Ravi Shankar points out that in this respect, it is similar to jazz, but the two genres are very, very different. Indian music is very dynamic and sounds like nothing else you will ever hear in your lifetime. Ravi Shankar, a master of the sitar, displays this very clearly in this album and also gives explanations of what exactly he is doing so that Western listeners won’t be confused and flustered. That’s what really sets this album apart from any other Indian music album. It attempts and succeeds in bridging the gap between West and East, and in the process becomes an album that can be appreciated by anyone willing to give it a chance.

Favorite tracks: Sindhi-Bhairavi; Bhimpalasi; Dádrá 

Emily: Unlike Zack, I took an acting class instead of world music for my art requirement. As such, I know next to nothing about Indian music (except from what I head when Zack was studying for his World Music tests last year, and from background tunes at Indian restaurants). This album was definitely a good introduction to this wide-ranging genre. It is a comprehensive overview of Indian music. Shankar explains the distinct musical techniques and tones of Indian music, making it much more accessible to the unknowing American listener. I liked having these explanations - they were much more helpful than intrusive, especially because I had never forayed into the genre before. Though it wasn't one of my favorite albums, The Sounds of India was an interesting peek into Indian culture. I can now appreciate the music along with the food.

Favorite Tracks: Máru-Bihág; Dádrá; Sindi-Bhairavi

#41: Merry Christmas!

Happy Holidays everyone! In the spirit of the season, we've reviewed a Christmas classic - Phil Spector's A Christmas Gift for You.

Emily: Even though I don't celebrate Christmas, I really enjoyed this album. Phil Spector's artists take classic Christmas songs and put a '60s Motown-style spin on them, plus a couple new songs of the season. Although the arrangements aren't traditional by any stretch, the fun and poppy sound of the album has made it a Christmas classic. I can see it being a great soundtrack to any Christmas party or celebration - even if your idea of celebrating Christmas is movies and Chinese food :)
Favorite Tracks: Christmas (Baby Please Come Home) - Darlene Love; White Christmas - Darlene Love; Winter Wonderland - Darlene Love

Zack: Well loyal readers, it is that time of year again and we thought we would celebrate by reviewing a certain famous Christmas album on the list. This album was made long before the so-called “War on Christmas,” in a time when the song White Christmas meant simply that minorities would be chased away by the neighborhood watch. This is America, the so-called land of the free, and I refuse to sing to people “and may all your Christmases be white!” Most of the songs on this album are well-known Christmas classics that really just make you want to sit down by a fire with a cup of hot cocoa and be exploited by rampant market-capitalism. After all, ‘tis the season. From both of us here at 1001 Reviews, have a happy non-denominational winter holiday season!!!

Favorite Tracks: Winter Wonderland - Darlene Love; Sleigh Ride - The Ronettes; Frosty the Snowman - The Ronettes

#40: The B-52's - The B-52's (1979)

Zack: The B-52’s are so cool I almost can’t stand it. Their music is always fun and upbeat. They may slow the tempo down in songs like Dance This Mess Around, but the lighthearted feel to their sound never changes. Whenever a song of theirs comes on I (and I’m sure a lot more people) need to fight the urge to either dance, party, or both. Their influence on New Wave music cannot be overstated, and yet no other New Wave band has a sound anything even remotely resembling the B-52’s.

Favorite Tracks: Dance This Mess Around; Rock Lobster; Downtown

Emily: New Wave can be very hit-or-miss - it is such a reflection of '80s culture that New Wave album's are either influential and classic, or imitative and terrible (see: Soft Cell). Luckily, the B-52's fall into the first group. They're New Wave, but they do their own thing. This album has such a great kitschy, retro vibe that it's impossible to not like it. All of their songs are upbeat and a lot of fun - and I too had to resist the urge to dance throughout this entire album. The band is still around and touring to this day - I can only imagine how much fun their concerts must be.

Favorite Tracks: Rock Lobster; Dance This Mess Around; Planet Claire

And now for something completely different! Introducing our first guest writer, Zack's younger sister Heather. She has absolutely adored the B-52's for years, and we thought it would be perfect for her to listen to the album and come on as our official B-52's expert. We're not sure how often we'll have guests on, or if we'll even do it again, but to hell with planning for the future. For now, just sit back and enjoy.

Heather: I came across the B-52’s a few years ago when my dad was singing their hit song, Love Shack, in the car. The song wasn’t on the radio or anything, he just started belting it out randomly. When put into his voice, the song seemed weird, but when I found it online I fell in love. My kind brother actually purchased their greatest hits album for me when he found me listening to Love Shack so many times. After experimenting with their hits I knew this band was one to be timeless and irreplaceable. The B-52’s are simply a band like no other. In this album they bring their intriguing sound to a completely different level. I really enjoy how some songs are predominately female vocals, and others are mainly men. They offer a change up with every track. No matter the song, when you hear a rhythmic beat like this you’ll know it’s a B-52’s original.

Favorite Tracks: Planet Claire; Dance this Mess Around; 6060-842

#39: Prince and the Revolution - Purple Rain (1984)

Zack: If you are going to listen to any music by Prince, there are two things you should know. One, he is a musical legend whose genius extends into a variety of genres including R&B, pop, dance, rock, funk, and even a little new wave. Two, he is a horny little man. His musical erection may not be as pronounced on this particular album, but the song Darling Nikki is still rumored to have been one of the songs that sent Tipper Gore into a tizzy and got those little parental advisory stickers slapped on the front of everything cool. Not bad for one of his tamer works. This Grammy-winning album is deep and complex both lyrically and instrumentally. The lush layers create more of a sensation of exploration rather than simple listening. In short, it is an awesome album by an awesome artist that will have you doing the uncommon combination of both dancing around the room and air guitaring.

Favorite Tracks: Darling Nikki; Purple Rain; Let’s Go Crazy

Emily: Prince is one funky, bizarre little man. He throws together so many disparate elements in his music, and they all interconnect wonderfully. He's one of the only musicians ever who can make badass guitar solos, R&B crooning, funk beats, and lyrics about a girl masturbating with a magazine sound amazing together. Although there's no distinct plot, there is a sense of a story throughout (perhaps because it is the soundtrack to Prince's movie of the same name). All in all, Purple Rain showcases Prince's genius talents as a songwriter, singer, guitarist, and creative mind.

Favorite Tracks: When Doves Cry; Darling Nikki; Let's Go Crazy

#38: Simon and Garfunkel - Bookends (1968)

Emily: This album is split into two halves - Part 1 is a concept album about aging, and Part 2 is unused songs from the soundtrack to The Graduate. Oddly enough, the outtakes are much more compelling than the new material. The concept part was just strange to me. I mean, there's an entire track of just old people talking. Although the second half is perhaps less cohesive than the first, the individual songs are strong enough to stand on their own as singles. Overall the tone is quiet and wistful, which is not too exciting but is the classic Simon and Garfunkel sound.  I much prefer when they up the tempo, adding musical interest to Paul Simon's clever lyrics.
Favorite Tracks: Mrs. Robinson; A Hazy Shade of Winter; Save the Life of My Child

Zack: My first inclination for this review was to have Emily’s and my own overlap in a beautiful harmony. But then I realized that that may be a bit hard on our readers because our words would be so soothing that when you doubled them up it would just be too much. When I think of Simon and Garfunkel, I think soothing. Well, that, and this clip from an episode of Futurama… Bookends is no exception. It will caress you down into a relaxed state and sing to you beautiful words that mean very little when actually contemplated. One of my favorite quotes of all time is from an interview between Paul Simon and Dick Cavett where Simon explains that the reference of Joe DiMaggio. “It's about syllables, Dick,” he said. “It's about how many beats there are.” The pair would later go on to claim that the shout-out was because they wanted to honor the great DiMaggio for his integrity, but we all know that the real answer is the simple one. Bookends ultimately comes down to simplicity. There is nothing terribly complex about it, and its beauty lies in that fact.

Favorite Tracks: Mrs. Robinson; A Hazy Shade of Winter; Old Friends

#37: John Coltrane - A Love Supreme (1965)

Zack: Well, dearest readers, this is our first recorded experience with the jazz genre so how about we try and make it memorable? There are two perceptions about jazz defined by two very different people: those who think it’s what you hear when you get into an elevator that makes you want to go at the speaker with a crowbar, and those who are casual listeners but wouldn’t say they love jazz. These people, best described by the term “aficionados,” won’t say they “love” jazz because jazz is too cool for emotions of that magnitude. In order to be a true jazz fan, you have to have a slight tinge of ambivalence towards jazz. Otherwise, it just doesn’t work. Once you find a jazz aficionado that matches that description, it is important to find out what their instrument of choice is, for that is the key to unlocking the secret of their true personality. Some people, like my mom, enjoy the saxophone. These people are classy individuals who have a bit of an inner freak. My reason for saying so? Funk music. A lot of the best funk bands around have a prominent saxophone blasting out the most ridiculous noises you’ll ever hear, but still with a smattering of jazz roots in there. If the person is a trumpet fan, watch out! They’re probably very masculine and virile. This dates back to European monarchies where trumpets introduced the king, aka the biggest badass in all the land. Personally, I love when a nice drum solo comes along, especially in the beginning of the track Pursuance of this album (don’t worry, I haven’t forgotten what I was writing about in the first place). People who favor drums in jazz instrumentation like to march to the beat of their own drummer but are still fond of hearing what others' have to say. At this point, you may be wondering what I have based this album analysis/horoscope on. Absolute speculation and nonsense is your answer. But seriously, jazz is a genre that is often thought of as being boring, but everyone should at least try it out and see what they think. This album is perfect for just that. There are plenty of instruments that are all given opportunities to shine, and hopefully one of them will connect with you.

Favorite Tracks: Pursuance; Resolution; Psalm

Emily: ...there's really not much I can say after that. What I liked about this album was the spirit of improvisation. Each instrument feeds off of the others, working together to create a multilayered sound that is the essence of jazz. Since it was recorded live in one session, the listener can truly feel the musicians interacting, organizing, and developing the sound of the album. Though I'm not usually a jazz fan, that feeling made the album exciting to me.

Favorite Tracks: Pursuance; Acknowledgment; Resolution

#36: Dead Kennedys - Fresh Fruit for Rotting Vegetables (1980)

Zack: If you want to know what punk is/should be, then you need not look farther than this album. Every single one of the criterion are met. It’s loud, fast, and anti-establishment. Their sound is somewhat a compromise of the punk rock sound of bands like The Ramones with the hardcore punk movement that formed in the 80s. The songs are short, averaging a bit more than two minutes apiece, but they pack those two minutes filled with rebellious goodies. Tracks like Let’s Lynch the Landlord and Stealing People’s Mail carry a sense of anarchy that is to the point of ridiculous, but other songs like When Ya Get Drafted contain a legitimate political message that isn’t lost amongst the cacophony of guitars and drums. The album ends with a punk rendition of Viva Las Vegas, which I took as an illustration of how the music scene has progressed through the years.

Favorite Tracks: Viva Las Vegas; Holiday in Cambodia; California Uber Alles

Emily: Dead Kennedys are punk with a sense of humor. This album doesn't have one cohesive message, which is a good thing. It allows them to vary the tone of the album between over-the-top calls for anarchy (Stealing People's Mail, I Kill Children, Let's Lynch the Landlord), tongue-in-cheek nostalgia (a cover of Elvis's Viva Las Vegas), and more serious political messages. Songs like Kill the Poor, When Ya Get Drafted, and Chemical Warfare are still relevant today, which can either show how progressive the Dead Kennedys were, or how little the country has progressed (but that's a rant for another day). What brings the album together, rather than content, is the sound. Dead Kennedys are classic punk, through-and-through. Through short, fast bursts of guitar-and-drum rage, their message(s) are conveyed with a sense of rage, urgency, and anarchy - the core mission of the punk movement.

Favorite Tracks: Kill the Poor; Viva Las Vegas; California Uber Alles

#35: Michael Jackson - Thriller (1982)

Emily: Thriller is the top-selling album of all time. Not of the '80s, not of pop music, not of Michael Jackson - but the best selling album, period. After a complete listen, it's easy to see why. Michael Jackson was truly a pop showman. He knew exactly what worked to appeal to the widest range of listeners. Thriller is neither a pop album nor an R&B album. Jackson pulls from both genres and many more to create a unique sound anchored by his distinctive, unmistakable falsetto voice. Because of this, its appeal spans across genres, races, cultures, and generations. Thriller is as relevant today as it was in 1982 - it is a quintessential example of pop music at its best.
Favorite Tracks: Billie Jean; Thriller; PYT

Zack: If Michael Jackson was the King of Pop, then Thriller has to be the biggest jewel in his crown. As Emily pointed out, Thriller is the best selling album of all time, but she didn't point out how big of a margin it wins by. It over doubles its nearest competitor. Thriller was and is a cultural phenomenon. Its something that can never be duplicated by an artist whose likes this world will never see again. What made this album really special for me was the fact that we decided to listen to it on vinyl. Listening to any great piece of music is awesome, but getting to do it on vinyl always enhances the experience.
Favorite Tracks: Beat It; Billie Jean; Thriller

#34: The Beach Boys - Pet Sounds (1966)

Have you missed us? School kinda took over our lives for the past two weeks. But finals are over and we're back with new reviews!

Zack: It’s not difficult to see why this album is on the list. Pet Sounds is one of the best classic rock bands of all time at their absolute best. Sure, it’s a little off balance as far as subject matter (an old teacher of mine once said that The Beach Boys knew three things and that’s it: surfing, cars, and girls). Every song seems to be a hit love song, but that may just be because the way The Beach Boys construct their songs is so poppy and fun that they all feel like love songs. There are a pair of instrumental tracks that help keep the flow of the album moving as a whole. Let’s Go Away for Awhile and Pet Sounds are both awesome on their own rights. But the best part of the album is, without a doubt, Wouldn’t It Be Nice. It’s just such a perfect example of what The Beach Boys are all about. You put that song and it doesn’t matter who you are, where you’re at, or what your day was like, you’re going to be smiling and bobbing your head and loving every second of it.

Favorite Tracks: Wouldn’t It Be Nice; Here Today, Sloop John B

Emily: The Beach Boys seem simple on the surface, singing pop songs about love, girls, and California, but beneath that pop mentality is complex yet beautiful melody. This really shines through on the instrumental tracks, which to me were two of the best on the album. They have a lush and romantic sound complemented by exotic instruments. This sound is reflected throughout the album, but by no means does that mean every song is the same. Each one is intricately crafted with unique instrumentation, melody, and lyrics - and each could stand on its own as a classic pop single.

Favorite Tracks: Wouldn't It Be Nice, Pet Sounds, God Only Knows

#33: Britney Spears - ...Baby One More Time (1999)

Emily: This album brings back fond memories of being 8 years old and dancing around my bedroom, and of singing and dancing around my dorm room with my roommates ten years later. Either way, this album is nothing more than it claims to be - fun, light, bubblegum pop sung by an innocent(?) 16 year old. The ballads are a bit bland, but the upbeat singles are a lot of fun to sing and dance like a fool to, especially the iconic title track. A hell of a lot has happened to Britney since then, and arguably her music got better, then worse, and then better again, but it's fun to look back at where she started.
Favorite Tracks: ...Baby One More Time, (You Drive Me) Crazy, Deep in My Heart

Zack: Well if we must discuss this album, I suggest we start with the cover. She's so cute but there's a clear gleam of brewing badness in her eye. Big props to everyone involved in that one because I'm a huge fan. Musically, this album is exactly what it says it is going to be: upbeat and poppy. It's pretty heavily sanitized, silly, and shallow, but that's what pop music was in the late 90s and, more or less, what it is like today. Britney is on this list not because of how talented she is but because of how influential she was. This album is arguably the most important of all from the teeny-bopper era and it earns its place because of that.
Favorite Tracks: ...Baby One More Time; (You Drive Me) Crazy; The Beat Goes On