#111: Madonna - Like a Prayer

Emily: Most pop music is here today, gone tomorrow. That bubblegummy, inane, so-bad-but-you-can’t-help-but-sing-along pop has been on the radio for years, but rarely does a pop hit equal a serious music career. Somehow, Madonna missed that memo. Like a Prayer is her fourth album, and her first foray into “serious” music. She tries on a bunch of different musical styles and controversial topics, tying them together with personal stories and real emotion that isn’t forced or pop-sanitized. Don’t let the serious label fool you though; it’s still a Madonna album through and through. She’s at her best with anything danceable – and double points if it pisses off the Catholic Church. I thought the most success came with funk and soul influences, especially a duet with the 80s funk prince (er, Prince) himself. It’s not exactly your typical pop music, but Madonna definitely isn’t your typical pop star.

Favorite Tracks: Like a Prayer; Love Song; Cherish

Zack: Listening to this album reminded me of this Family Guy skit. Normally, this would be enough to send me into a violent rage, what with my debilitating hatred of Family Guy and all. But I think the general upbeatness offset the murderous intent that normally settles in. They say that Lady Gaga is just hitting repeat on a Madonna album. After listening to Like a Prayer, I can certainly see where that belief is founded. But hey, if Lady Gaga can be as persistent in revolutionizing her image and still look as bangable at 52 as Madonna, then all the more power to her.

Favorite Tracks: Promise to Try; Like a Prayer; Oh Father  

#110: AC/DC - Back in Black (1980)

 

Zack: I’ve listened to Back in Black before, but I decided to re-listen to it for this post, mostly on the grounds that I would have to give up a man card if I passed on an opportunity to listen to AC/DC. They are the ultimate symbol of masculinity. In fact, one survey that I just made up asked 100 women to listen to Back in Black, and a week later 70% reported being pregnant. The album is a tribute to the late, great Bon Scott, who fronted the band through their first six albums. With that in mind, you may expect this to be a tender, emotional album for the band as they explore mortality and grief. You would be horribly, horribly wrong. They kept right on rockin’ right through their pain. Every song is dripping with alcohol and sex, which is just what one expects from these badass Aussie (redundant?) bastards. Back in Black has to top any list of best man albums, but it manages to top most best albums lists as well. That fact is what makes it a classic. AC/DC managed to carve out a masterpiece without changing who they are, even after their loss of their lead singer.

Favorite Tracks: Back in Black; Hells Bells; Rock and Roll Ain’t Noise Pollution 

Emily: Rock and roll ain’t noise pollution – just ask AC/DC. Back in Black is just plain good rock and roll music, precisely what AC/DC does best. They never pretend to be something they’re not. No synthesizers, no pretentious lyrics, no 20000 minute drum solos. It’s all sex, riffs, and throat-ripping vocals – hard rock at its headbangiest. Yes, headbangiest. Even I had to partake in some non-ironic-headbanging to this album. Clearly AC/DC has a formula that just works, which is why this album contains so many now-classic songs from the now-classic band.

Favorite Tracks: You Shook Me All Night Long; Back in Black; Rock and Roll Ain’t Noise Pollution

#109: Billie Holiday - Lady in Satin (1958)

Emily: I found it really difficult to pick out favorite tracks for this album. Why? Frankly, every song kind of sounded the same to me. Maybe I just don’t fully appreciate classic vocal jazz or something. That being said, Billie Holiday has earned her place as a jazz legend. The understated jazz instrumentation of the album lets Holiday’s vocal performance take center stage – as it well should. Her unique, raspy voice conveys emotion into songs of love and heartbreak. Because of this winning formula, Lady in Satin is a beautiful collection of jazz music.

Favorite Tracks: But Beautiful; I Get Along Without You Very Well; Violets for Your Furs

Zack: This album has to be in the running for one of the classiest recordings of all time, let alone on the list. From the vocals to the lyrics to the instrumentation to the name of the album, there is everything you could possibly require to convince people that you’re a member of the cultured part of society. If you want to get the most you possibly can out of this album, I recommend investing in a smoking jacket. It’s got more class than MTV has shows about underage baby mamas. Everything about Lady in Satin has a subdued, yet refined flair to it. All the instruments meld together to form a cohesive, big bandish sound in the vein of Frank Sinatra swing, but with a more pure jazz history. This is one of Billie Holiday’s final albums, and her voice isn’t quite as strong as in her earlier works, but she still manages to give an exciting and emotional performance on every track.

Favorite Tracks: The End of a Love Affair; But Beautiful; For Heaven’s Sake

#108: The Clash - London Calling (1979)

Zack: I’ve always considered myself a Ramones fan, which in my mind also meant that I had a general apathy towards the Clash as if there was some sort of hidden rivalry between the two, even though I’m like 99% sure that this beef only exists in my head. Despite all that, I was really curious to listen to London Calling, since my only Clash experiences have pretty much been via radio. I knew it was a highly decorated album with universal acclaim and that all CD versions naturally emanate a glorious orange glow, but that was about it. That orange glow part may be an exaggeration, but upon listening to the album you would swear it might as well be true. My interest was initially peaked by this Sporcle quiz (as per usual) where (spoiler alert) London Calling appears on the two lists that I actually trust. You know, not the one who incorporates two (spoiler alert) Oasis albums including the #1 spot. The Clash took there punkedness and infused it with a splash of just about everything. The result is a catchy but still edgy album that beats its message into your skull using a guitar like a hammer. Which I guess makes it like a reverse-lobotomy. Anyways, London Calling blew me away. Just 8 reviews ago, during our 100 Album Spectacular, I mentioned that it would take a magnificent album to unseat Are You Experienced? as my favorite album. I think it may have already been done.

Favorite Tracks: London Calling; Lost in the Supermarket; Train in Vain

Emily: The Clash are one of those bands I should’ve gotten into years ago. My friend gave me a couple tracks back in the day, and those tracks remain the only Clash songs on my iPod to this very day. I liked the songs well enough, but actually finding and listening to more of their music was not exactly a priority. Well, after today, I am definitely a converted Clash fan. They are so much more than their punk labeling makes them out to be. London Calling definitely has the rebellious spirit of punk, but incorporates different sounds of the time and place – ska (which of course I loved), soul, pop, reggae – to create a real, compelling interpretation of UK music circa 1979. Each song has a different feel to it, partly due to the wide range of musical influences, but also due to the subject matter. The lyrics deal with subjects as far ranging as the Three Mile Island accident (London Calling) to the Spanish Civil War (Spanish Bombs) to Joe Strummer looking back on his life (Death or Glory). But each subject is handled with passion and thoughtfulness. London Calling is simply a fantastic album, and one that I know I will listen to again and again.

Favorite Tracks: The Guns of Brixton; London Calling; Clampdown