Over on Facebook, a bunch of my friends have been doing this thing where they post a series of albums that influenced them significantly. Over the course of ten days, you post ten album covers, but offer no explanation as to how or why you chose the albums you did. I just finished doing it myself, but I enjoy explaining things and going into detail about why I’ve made the choices I made. So, for your reading enjoyment, I present my ten days, ten albums, with some explanation.
1. Tom Petty and the Heartbreakers, Damn the Torpedoes!
The first Tom Petty album I owned, and the one that I go back to time and time again. The damn thing plays like a greatest hits collection, and there’s not a bad song on there. I still think it’s the most essential Tom Petty album there is, even moreso than Full Moon Fever or Wildflowers (and I’ve already gone on at length about my love for Wildflowers).
2. The Flaming Lips, Yoshimi Battles the Pink Robots
This album was my introduction to the Flaming Lips (I mean, aside from “She Don’t Use Jelly,” which everyone had heard on 90210). The first song, “Fight Test,” just floored me. The mixture of weird electronic squiggles and beeps with the acoustic guitar and Wayne Coyne’s strained, heartfelt vocals . . . I was hooked.
3. The Beatles, Rubber Soul
If you didn’t think I was going to include a Beatles album on a list like this, you haven’t been paying attention. The Beatles are the alpha and the omega, the source of everything I love about music, and Rubber Soul is their best album, if you ask me. It’s the perfect balance between their earlier, more raucous work and their later, more deliberate and formalist efforts. They made more interesting and experimental albums after this one, but they never made another album as cohesive and awesome as it.
4. Bob Dylan, Time Out of Mind
And here’s the requisite Dylan album. Time Out of Mind might seem like an odd choice–there are definitely better Dylan albums to choose from–but it’s the one that had the greatest impact on me. Discovering that he could still produce music that was this visceral and heartfelt, even as his voice broke completely and he seemed well-past his prime . . . it was inspiring. And the songs are pretty damn good, too.
5. Queen, A Night at the Opera
Queen blew my tiny little middle school mind like nothing else. The obvious epic, “Bohemian Rhapsody,” is there, but so is the biblical apocalyptica of “The Prophet’s Song” and the nasty character assassination of “Death on Two Legs (Dedicated To…).” The sheer stylistic range on display is incredible, with heavy rockers, music hall goofs, and folky acoustic numbers with soaring harmonies. God, the layered harmonies. And don’t forget Brian May’s guitar work. The album kicks ass from start to finish.
6. Pink Floyd, Meddle
This little-known Floyd album is one of my all-time favorites. The pulsing bass of opener “One of These Days,” the dreamy quality of “Fearless,” and the laid-back fun of “San Tropez” and “Seamus” make for a varied, entertaining album that doesn’t get weighed down in the concept album pretensions that most Floyd albums have to deal with. And the closer, the epic “Echoes,” with the sonar ping and murky, underwater feel…classic.
7. Jenny Lewis & the Watson Twins, Rabbit Fur Coat
I had the privilege of seeing this album performed live in its entirety last year, and it was one of the best concert experiences of my life. The harmonies are the obvious highlight, but Jenny Lewis’s lyrics and songwriting are just as sharp and incisive as they were almost 15 years ago when this album came out.
8. The National, Boxer
My introduction to the National was through a bootlegged live show right after this album came out. The show was made up almost entirely of songs from the new album, and I was intrigued so I sought Boxer out. Now, they’re one of my favorite bands, and this record is the reason why. Personal favorites include “Slow Show” and closer “Gospel,” though there’s really not a bad song on the album.
9. Bruce Springsteen, Nebraska
Until the release of the likes of Ghost of Tom Joad and Devils + Dust, Nebraska was a weird outlier for the Boss. Solo acoustic, just his voice and guitar and a harmonica with a four-track recorder: that’s pretty much all there is to Nebraska. But it’s haunting, and glorious, and full of fire and brimstone and the sort of carefully-sketched character studies that Springsteen is known for. It’s the polar opposite of what Springsteen was known for: stripped down instead of piled high with overdubs, loose and slightly sloppy instead of precision-perfect.
10. Wilco, Yankee Hotel Foxtrot
My introduction to Wilco came when I was listening to a Glen Phillips (of Toad the Wet Sprocket fame) bootleg solo acoustic show. Folks in the audience were calling out what they wanted to hear next, and some dude kept asking him to play a Wilco song. And then he threw in a reference to them in one of his own songs, and I decided to check them out. YHF blew my mind, with its mix of acoustic instrumentation, weird blips and beeps and effects, and phenomenal songwriting. The fact that this album led me to so many other amazing bands–The Minus 5 and Uncle Tupelo being the two most prominent–and also led to me finding out about the Mermaid Avenue collections (Billy Bragg and Wilco play around with old Woody Guthrie lyrics? Hell yes!) is just gravy.