Somewhere, I got the idea to list the ten albums that have meant the most to me. So, here they are, in approximate order of appearance (to me):
Bon Jovi – Keep the Faith (1992). A little bit embarrasing, perhaps, and it have not stood the test of time too well, but I still enjoyed much of it when I gave it a spin last week. Bon Jovi was my first proper favorite artist. Keep the Faith was the first album that really meant something to me and with it I discovered that an album can have more to offer than what one discovers during the first twenty listens. Keep the Faith was the soundtrack of my life for years and made me curious to explore new music. It made me take a deep-dive (to the degree that a fourteen-year-old can take a deep-dive) into the solo career of Richie Sambora.
Motorpsycho – Timothy’s Monster (1994). Five of the albums on this list could have been Motorpsycho albums, but I will settle for only one and then Timothy’s Monster is the one. It was the first Motorpsycho record I went really deep into and it swept me off my feet. It contains so much, is so varied, and moves from snappy singer-songwriter stuff to pure noise within the first four tracks. That I discovered Neil Gaiman’s Sandman around the same time adds to the legend this album is to me. And I still love it, I don’t know why I don’t listen to it more.
Mogwai – Rock Action (2001). I didn’t really get post rock before Rock Action. Post rock has later given me so much great listening. Mogwai has continued to amaze me and is still a favorite in the post rock genre.
Neil Young – Tonight’s the Night (1975). I’ve listened a lot to Neil Young and his presence on this list is obvious. For this list, I am divided between Everybody Knows This is Nowhere and Tonight’s the Night. Tonight’s is so profound, in rock history and in the life of Neil Young. Neil had won everything and lost everything. Then he made Tonight’s the Night. It moves me.
More on Tonight’s here.
Radiohead – Kid A (2000). While I never understood what was so great with OK Computer, Kid A made me understand what a great band Radiohead is and that they are devoted to their music in a very profound way. And it made me realize that electronic music can be really great and provided a piece to the puzzle it was to understand that great music, or art for that matter, has nothing really to do with genre or form but with heart and soul and having something to tell.
Motorpsycho – Angles and Daemons at Play (1997). Ok, I had to put two Motorpsycho records on my list. Last week, I thought I would put Blissard, but then I realized that AADAP means much more to me. Motorpsycho made this record in relief after trying to adhere to certain ideas on Blissard (failing gloriously, I might add). AADAP has everything — it is full of life and creativity — and is a hodgepodge of seemingly unrelated tracks (was first released in secrecy as three EP’s and only later appeared as an album). With the Neil Youngish idea to put different versions of the same track on the same album (Sideway Spiral), the noise wall Heartattack Mac back-to-back with the pop tune Pills, Powders + Passion Plays, a part played on saw(!), a piano ballad (Stalemate), the mythical Un Chien d’espace, and the wild closer Timothy’s Monster, which nods both to Sun Ra, as does the album title, and their own master piece and namesake album, it has everything. Oddly enough, my impression of it is that it is a relatively hard and heavy album, but when I listen to it I realize that mellow parts abound and may well make up the lion’s share of it. In addition, I got it’s texture mixed up with the texture of Erik Fosnes Hansen’s novel Beretninger om Beskyttelse, and this mix makes both more vivid.
Fireside – Elite (2000). The reviews on Firesideometer [which seems to be down, I hope it gets back up, great site] says everything I have to say about this record, and says it better. The title track is just epic, as is the closer. But what makes the album legendary are not it’s tracks but everything inbetween (if that makes little sense, check it out, discover and understand). Fireside was hard core punk that turned psycho and I bet their fans had a hard time getting to grips with Elite. So did the band, I guess, they poured everything they had into it and ran dry. They never return to the same heights later.
Ornette Coleman – The Shape of Jazz to Come (1959). I have listened a lot to jazz music in my life, but few jazz-albums makes it to this list. Shape, however, finally made me appreciate and understand free jazz, both as an idea and as a mean of expression. Miles’s In a Silent Way would have been the next jazz record if I could make ten last longer.
The Mars Volta – Frances the Mute (2005). Frances was, and is, my gateway into, and is perhaps also the crown jewel of, the world of the Mars Volta. The way leads further to At the Drive-In, Omar Rodriguez-Lopez, Life Coach, and the full force of progressive and experimental music at it’s best.