Slant Magazine: 50 Essential Pop Albums

Slant Magazine: Vital Pop: 50 Essential Pop Albums

In picking what they consider the essential pop albums, Slant magazine chose to exclude hip-hop and rock in favor of what they called “pure, post-rock-n’-roll-era pop genres” including “pop/rock, pop-soul, synth-pop, dance-pop, electronic-pop, folk-pop, dream-pop, vocal-pop, Euro-pop, jangle-pop, alt-pop—basically anything with the word “pop” attached to it.” They also opted to exclude live albums and compilations, although they made an exception for Donna Summer’s On the Radio, explaining that disco was a singles-driven genre. There are some very deserving, if not painfully obvious, picks here (Rumours, Thriller) but some are head scratchers. I’m not sure how some of their more obscure choices really qualify as “pop.” I mean, who the hell is Vanessa Daou? Shouldn’t part of the definition of “pop” be that an album achieved a measured amount of commercial success? I also question the decision to choose less successful albums over more obvious juggernauts. Prince’s 1999 over Purple Rain? George Michael’s Listen Without Prejudice instead of Faith? U2’s Pop over The Joshua Tree? Alanis Morissette’s Supposed Former Infatuation Junkie instead of Jagged Little Pill? No Doubt’s Rock Steady favored over Tragic Kingdom? Oh well. This is their list. Here it is – as presented by them in chronological order. Check out other publications and organizations’ best-of album lists here. The Beach Boys Pet Sounds (1966) The Beatles The Beatles (aka “The White Album”) (1968) Marvin Gaye What’s Going On (1971) David Bowie The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) Stevie Wonder Innervisions (1973) Elton John Goodbye Yellow Brick Road (1973) Joni Mitchell Court and Spark (1974) Fleetwood Mac Rumours (1977) Billy Joel The Stranger (1977) Blondie Parallel Lines (1978) The B-52s The B-52s (1979) Donna Summer On the Radio: Greatest Hits – Volumes I & II (compilation, 1979) Talking Heads Remain in Light (1980) Michael Jackson Thriller (1982) Prince 1999 (1982) R.E.M. Murmur (1983) Culture Club Colour by Numbers (1983) Cyndi Lauper She’s So Unusual (1983) Chaka Khan I Feel for You (1984) Bangles Different Light (1986) Janet Jackson Control (1986) The Cure Kiss Me Kiss Me Kiss Me (1987) Madonna Like a Prayer (1989) Depeche Mode Violator (1990) Sinéad O'Connor I Do Not Want What I Haven’t Got (1990) Deee-Lite World Clique (1990) George Michael Listen without Prejudice (1990) Paula Abdul Spellbound (1991) Matthew Sweet Girlfriend (1991) Tori Amos Little Earthquakes (1992) Sophie B. Hawkins Tongues and Tails (1992) Annie Lennox Diva (1992) 10,000 Maniacs Our Time in Eden (1992) The Cranberries Everybody Else Is Doing It, So Why Can’t We? (1993) Sarah McLachlan Fumbling Towards Ecstasy (1993) Milla Jovovich The Divine Comedy (1994) Erasure I Say, I Say, I Say (1994) Jeff Buckley Grace (1994) Belly King (1995) Björk Post (1995) Vanessa Daou Zipless (1995) Beck Odelay (1996) Sheryl Crow Sheryl Crow (1996) U2 Pop (1997) Mariah Carey Butterfly (1997) Kylie Minogue Impossible Princess (1997) Heather Nova Siren (1998) Alanis Morissette Supposed Former Infatuation Junkie (1998) Nelly Furtado Whoa, Nelly! (2000) No Doubt Rock Steady (2001) Resources and Related Links: Dave’s Music Database: Best-of Album Lists by Publications/Organizations Slantmagazine.com (6/30/2003). “Vital Pop: 50 Essential Pop Albums” by Slant Staff First posted 11/21/2024.

Evanescence’s Fallen hit #1 in UK

Fallen Evanescence

Released: March 4, 2003 Charted: March 22, 2003 Peak: 3 US, 11 UK, 15 CN, 13 AU Sales (in millions): 8.0 US, 1.35 UK, 18.3 world (includes US and UK) Genre: alternative rock

Tracks: Song Title (date of single release, chart peaks) Click for codes to singles charts. Going Under (6/28/03, 49 RR, 26 AR, 5 MR, 8 UK) Bring Me to Life (with Paul McCoy, 1/25/03, 5 US, 1 RR, 4 A40, 11 AR, 1 MR, 1 UK 3 CN, 1 AU) Everybody’s Fool (4/10/04, 36 MR, 24 UK) My Immortal (11/29/03, 7 US, 2 RR, 19 AC, 1 A40, 7 UK, 1 CN, 4 AU) Haunted Tourniquet Imaginary Taking Over Me Hello My Last Breath Whisper Total Running Time: 48:45

Rating: 3.640 out of 5.00 (average of 23 ratings) Awards: (Click on award to learn more).

About the Album: “Fallen is the major-label debut of Evanescence, a Little Rock, AR-based quartet led by the soaring vocals of 20-year-old Amy Lee. Emboldened by the inclusion of its single Bring Me to Life on the soundtrack to the hit film Daredevil, Fallen debuted at an impressive number seven on Billboard's Top 40.” AMG “But ‘Bring Me to Life’ is a bit misleading. A flawless slice of Linkin Park-style anguish pop, it’s actually a duet between Lee and 12 Stones’ Paul McCoy.” AMG “Half of the album does include flashes of the single’s PG-rated nu-metal (Everybody’s Fool, Going Under),” AMG but the rest “are piano-driven ballads that suggest Tori Amos if she wore too much mascara and recorded for the Projekt label.” AMG “It’s the symphonic goth rock of groups like Type O Negative that influences most of Fallen. Ethereal synths float above Ben Moody’s crunching guitar in Haunted, while Whisper even features apocalyptic strings and a scary chorus of Latin voices right out of Carmina Burana.” AMG “Tourniquet is an anguished, urgent rocker driven by chugging guitars and spiraling synths, with brooding lyrics that reference Evanescence’s Christian values: ‘Am I too lost to be saved? / Am I too lost? / My God! My tourniquet / Return to me salvation.’ The song is Fallen’s emotional center point and defines the band’s sound.” AMG

Resources and Related Links: DMDB encyclopedia entry for Evanescence AMG All Music Guide by Johnny Loftus WK Wikipedia First posted 3/24/2008; last updated 5/3/2022.

 

50 years ago: Les Paul & Mary Ford “Vaya Con Dios” hit #1 for 1st of 11 weeks

6/20/1953:

Vaya Con Dios (May God Be with You) Les Paul & Mary Ford

Writer(s): Larry Russell, Inez James, Buddy Pepper (see lyrics here) First Charted: June 20, 1953 Peak: 111 US, 15 HP, 15 CB, 7 UK, 14 (Click for codes to singles charts.) Sales (in millions): 1.0 US Airplay/Streaming (in millions): -- radio, 1.6 video, -- streaming

Awards: Click on award for more details.

About the Song: “Vaya Con Dios” was given the parenthetical title “May God Be with You,” but the phrase translates literally to “Go with God.” It is considered a phrase meaning “farewell” or “Godspeed.” The song was a collaborative effort between Larry Russell, Inez James, and Buddy Pepper. James was also known for composing songs for film such as When Johnny Comes Marching Home and Pillow Talk. Pepper also worked on the latter and was known as the piano accompanist and arranger for Judy Garland, Marlene Dietrich, Margaret Whiting and others. The Western Writers of America chose this as one of the top 100 Western songs of all time. WK “Vay Con Dios” has been recorded over 500 times. WK Anita O’Day was the first to record it in December 1952. The most popular version was recorded by Les Paul and Mary Ford in May 1953. WK Theirs topped Billboard magazine’s Best Sellers, Disc Jockey Hits, and Jukebox Hits charts. It was also a #1 on Your Hit Parade and Cashbox. The two were a popular husband-and-wife duo who recorded for Capitol Records in the 1950s. They had several top-10 hits including “Mockin’ Bird Hill” and the chart-topping “How High the Moon.” Les Paul also recorded on his own and is known as a pioneer in electric guitar and studio recording techniques including multi-tracking and overdubbing. Other chart versions followed by the Drifters (1964, #43 US, #10 RB), Tony Orlando & Dawn (1972, #95 US), Millican & Nesbitt (1973, #20 UK), and Freddy Fender (1976, #59 US). It has also been recorded by Chet Atkins, Gene Autry, Jeff Beck, Chuck Berry, Pat Boone, Nat “King” Cole, Bing Crosby, the Fontane Sisters, Connie Francis, Julio Iglesias, the Lennon Sisters, Julie London, the McGuire Sisters, Anne Murray, Jim Reeves, Hank Snow, Mel Tormé, Jerry Vale, Slim Whitman, and Roger Whittaker among others. WK Resources and Related Links: DMDB Encyclopedia entry for Les Paul DMDB Encyclopedia entry for Mary Ford WK Wikipedia First posted 9/8/2021.

Michael Franti released “Everyone Deserves Music”

Everyone Deserves Music Michael Franti & Spearhead

Writer(s): Michael Franti, D. Shul, C. Young (see lyrics here) Released: June 17, 2003 (album cut) First Charted: 2003 Peak: 39 AU, 1 DF (Click for codes to charts.) Sales (in millions): -- US, -- UK, -- world (includes US + UK) Airplay/Streaming (in millions): -- radio, 0.26 video, 2.05 streaming

Awards: Click on award for more details.

About the Song: July 11, 2017. I discovered Michael Franti. My friend Paul and I were debating over going to a concert at the last minute – Robert Cray or Michael Franti? We opted for the latter because we knew nothing about him other than a handful of minor hits on adult alternative radio. It was the best concert I’ve ever seen. Franti completely encapsulates a throwback, “why can’t we all just get along?” hippy vibe. He certainly looks the part with his bare feet and dreadlocks, but the music is completely on point as well. Not only do his songs tirelessly incorporate that theme, but the concert experience is all about bonding with the audience. Franti brings kids up on stage with him. He wanders out in the audience to sing with fans. He implores fans to hug and dance. He hangs out and chats after the show. I’ve seen him twice in concert and, ironically, he didn’t play “Everyone Deserves Music” either time. The song is the perfect Franti mantra; the title says it all. It’s a celebration of the power of music to connect people – all people. The message that all human beings are worthy of dignity comes through vividly, thanks to lines like, “Even our worst enemies, Lord, they deserve music.” “In a perfect world, this would be a future classic played out of every car stereo, boombox, and apartment for generations to come.” AMG “Everyone Deserves Music” isn’t just the perfect representation of the diversity in Franti’s message, but in the music he uses to deliver it. In an All Music Guide review of the album, Rob Theakston says Franti’s “politically and socially charged hip-hop is a breath of pure, fresh air.” AMG However, Franti & company also make “a deliberate attempt to stray from the typical hip-hop beats and go for something a bit more organic and acoustic.” AMG Indeed, the song includes elements of reggae and funk while also sounding completely at home amongst adult alternative staples like Dave Matthews and Jack Johnson. Everyone deserves Michael Franti. Resources: DMDB Encyclopedia entry for Michael Franti Dave’s Music Database (7/11/2017). “In Concert: Michael Franti & Spearhead” AMG All Music Guide album review by Rob Theakston First posted 5/7/2020; last updated 2/24/2024.

Bob Walkenhorst released first solo album, The Beginner

The Beginner Bob Walkenhorst

Released: June 10, 2003 Peak: -- Sales (in millions): -- Genre: roots rock

Tracks: Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts. Life Can Turn [3:18] (2003, --) Call a Wrecker [2:44] She Don’t Love Me [3:01] Broken Down [1:56] Stolen the Moon [1:58] Jan Vermeer [2:33] Just Another Joe [2:48] The Day We Hung Up the Flag [3:11] Just Leaving [2:48] Punching Bag [3:17] Proof [3:38] J-Walkers [2:14] The Beginner [6:17] All songs written by Bob Walkenhorst.

Rating: 3.949 out of 5.00 (average of 7 ratings) Awards: (Click on award to learn more).

About the Album: “The debut solo release from the lead vocalist/primary songwriter of The Rainmakers. The Beginner, features Bob Walkenhorst paring down his signature elemental song arrangements to a skeletal acoustic guitar, bass, and drums, most often played by his one-man-band. Harmonica is the lead instrument of choice on this release with the notable exception of a honking sax solo on Jan Vermeer, and a lead guitar solo on the J-Walkers. Vocal harmonies appear on only one song, Just Leaving. From the sparse instrumentation to the early-60's style extreme-stereo production, the overall sound of The Beginner is as much about what has NOT been recorded, as it is about what you do hear.” AZ “The humor and irony that have been the trademarks of Walkenhorst's songwriting in The Rainmakers are abundant on The Beginner. However, rather than being applied to social and political subjects, Walkenhorst's new songs are about more universal themes of love, work, patriotism, age, and escape. The dense opinionated word avalanche of his Rainmakers songs has been refined and reduced to choice phrases, delivered with a lighter touch and a stronger sense of melody.” AZ “Like Cameron Crowe’s Almost Famous, The Beginner is Bob Walkenhorst's love letter to rock n’ roll. Echoes of garage bands learning Beatles songs, lonely boys in rooms with acoustic guitars, two minute blasts of youth coming from a blown car-radio speaker, are caught in an over-the-shoulder backwards glance at, not only where he has been, but where he is coming from.” AZ

Resources and Related Links: AZ Amazon.com Other Related DMDB Pages: First posted 3/11/2011; updated 8/9/2021.

Radiohead's Hail to the Thief released

Hail to the Thief Radiohead

Released: June 9, 2003 Peak: 3 US, 11 UK, 11 CN, 2 AU Sales (in millions): 1.12 US, 0.3 UK, 2.5 world (includes US and UK) Genre: experimental alternative rock

Tracks: Song Title [time] (date of single release, chart peaks) Click for codes to singles charts. 2 + 2 = 5 (The Lukewarm) [3:19] (11/17/03, 15 UK) Sit Down Stand Up (Snakes & Ladders) [4:19] Sail to the Moon (Brush the Cobwebs Out of the Sky) [4:18] Backdrifts (Honeymoon Is Over) [5:22] Go to Sleep (Little Man Being Erased) [3:21] (8/18/03, 32 MR, 12 UK) Where I End and You Begin (The Sky Is Falling In) [4:29] We Suck Young Blood (Your Time Is Up) [4:56] The Gloaming (Softly Open Our Mouths in the Cold) [3:32] There There (The Boney King of Nowhere) [5:25] (5/10/03, 14 MR, 4 UK, 12 CN) I Will (No Man’s Land) [1:59] A Punchup at a Wedding (No No No No No No No No) [4:57] Myxomatosis (Judge, Jury & Executioner) [3:52] Scatterbrain (As Dead as Leaves) [3:21] A Wolf at the Door (It Girl. Rag Doll) [3:21] All songs written by Radiohead. Total Running Time: 56:35 The Players: Colin Greenwood (bass) Jonny Greenwood (guitar, keyboards) Ed O’Brien (guitar, effects, backing vocals) Philip Selway (drums, percussion) Thom Yorke (vocals, guitar, keyboards)

Rating: 3.845 out of 5.00 (average of 29 ratings) Awards: (Click on award to learn more).

About the Album: “Radiohead’s admittedly assumed dilemma: how to push things forward using just the right amounts of the old and the older in order to please both sides of the divide? Taking advantage of their longest running time to date, enough space is provided to quench the thirsts of resolute Bends devotees without losing the adventurous drive or experimentation that eventually got the group into hot water with many of those same listeners. Guitars churn and chime and sound like guitars more often than not; drums are more likely to be played by a human; and discernible verses are more frequently trailed by discernible choruses.” AMG “So, whether or not the group is to be considered ‘back,’ there is a certain return to relatively traditional songcraft. Had the opening 2 + 2 = 5 and Sit Down, Stand Up been made two years before, each song’s slowly swelling intensity would have plateaued a couple minutes in, functioning as mood pieces without any release; instead, each boils over into its own cathartic tantrum.” AMG “The spook-filled Sail to the Moon, one of several songs featuring prominent piano, rivals ‘Street Spirit’ and hovers compellingly without much sense of force carrying it along.” AMG “Somewhat ironically, minus a handful of the more conventionally structured songs, the album would be almost as fractured, remote, and challenging as Amnesiac. Backdrifts and The Gloaming feature nervous electronic backdrops, while the emaciated We Suck Young Blood is a laggard processional that, save for one outburst, shuffles along uneasily.” AMG “At nearly an hour in length, this album doesn’t unleash the terse blow delivered by its two predecessors. However, despite the fact that it seems more like a bunch of songs on a disc rather than a singular body, its impact is substantial. Regardless of all the debates surrounding the group, Radiohead have entered a second decade of record-making with a surplus of momentum.” AMG

Resources and Related Links: AMG All Music Guide review by Andy Kellman WK Wikipedia Other Related DMDB Pages: First posted 10/15/2009; last updated 6/2/2022.