#rs500albums

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Album #34: Stevie Wonder “Innervisions” (1973)

I have never heard of this album before. I don’t recognize any of the titles of the tracks so it’s possible this all may be new music to me.

The opening track “Too High” is a funky jazz piece. Wonder’s vocals are okay on this track. I like the background vocals and the instrumental break with the harmonica, electric piano, and bass. “Visions” has a darker sound with a slower tempo and lower vocals from Wonder. The guitar on this track gives it a Latin sound. There is a crazy, impressive guitar solo around the 3:00 mark. The album finally gets going with the track “Living For the City.” This is the kind of soulful sound I want to hear from Wonder. His vocals are amped up.There is a nice break on this track featuring background vocals and hand claps. The interjected audio creates a different dynamic shift within this track, and continues with grittier vocals from Wonder after the audio interjections. “Golden Lady” features a smoother sound elevated through the use of a lot of instrumentation. The horns are especially impressive on this track. 

I lied. I have definitely heard “Higher Ground” before. It has an awesome groove. It is crazy that Stevie Wonder produced every sound on this track. The only one I could have produced is the hand claps, and even that may be a stretch. I love the soulful sound of “Jesus Children of America.” This is another track on which Wonder does it all. The track “All In Love Is Fair “ is a slow yet soaring ballad. Wonder’s vocals are nice on this track. I may have heard this song before. I have definitely heard “Don’t You Worry ‘bout A Thing” before. You can hear how this track influenced future R&B artists. The percussion gives this track a Latin flair. There is a bit of chaos on this track, but it is incredibly controlled. Wonder never seems to get too crazy with his music. The final track “He’s Misstra Know-It-All” has a big sound reminiscent of gospel music with a full backing chorus. It’s an upbeat closing track. 

Rating: 7/10

How I Listened: Spotify

Takeaway: I knew Stevie Wonder could do a lot, but he does nearly everything on this album. I like a couple of the songs, but most of them had me thinking “ehhhh.” As a side note, I had no idea that Wonder nearly died after getting hit with a log squarely in the forehead during a motor vehicle accident. That he even lived through that is a miracle. That he could still produce this kind of music is a wonder. Stevie Wonder. 

[bocajmusic]

Top 500 Greatest Albums Of All Time. @rollingstone @eminem #RS500Albums #Eminem #TheSlimShadyLP #TheMarshallMathersLP #SlimShady #MarshallMathers #FBT #FunkyBassTeam #8MileStyle #BassBrothers https://www.instagram.com/p/CFd7YcSDHnH/?igshid=ha7qmmfsa83g

[la-updates]

Tweeted

Our list of the 500 Greatest Albums of All Time was originally published in 2003. But no list is definitive, so we decided to remake it from scratch. The voters included Beyoncé, Stevie Nicks and many more. Here we present our new #RS500Albums: https://t.co/nv9ePSZ6Pg pic.twitter.com/smVdTSCrLL

— Rolling Stone (@RollingStone) September 22, 2020

[audreysmusicaljourney]

Album #81: Beyoncé “Beyoncé” (2013)

I remember when this album was released, but I never listened to it. 

I like the vibe of the opening track “Pretty Hurts.” Beyoncé’s vocals are incredibly strong on this track, but the music is also strong. I am not surprised that Sia co-wrote this song. “Haunted” is haunting. Beyoncé drops some rhymes at the beginning of this track, which has a heavy electronic beat. I could easily dance to this track at a club, although I would be exhausted beyond all belief by the end of it. “Drunk in Love” is a track I have heard before, but I have never really analyzed it. It begins with a Middle Eastern sound that segues into electronic hip-hop. Who knew Beyoncé could rap like this? There are a lot of double entendres on this track, but that is to be expected as it is a duet with her husband, Mr. Hova. This track features the trap style of having the beat drop in and out. “Blow” begins as a jazz-inspired ballad before exploding into an electro-funk jam. She sounds a lot like Mariah Carey on this track. “No Angel” sounds like an electronic version of something by Erykah Badu or D’Angelo. “Partition” has a nice hip-hop sound. Beyoncé can deliver rhymes with the best of them. I really like the sound of “Jealous.” It reminds of Nicki Minaj’s softer side. 

“Rocket” is a slow, sultry jam reminiscent of D’Angelo. Listen to Drake making an appearance on “Mine.” I do really like the tone of his voice; he sounds good with Beyoncé on this track. I have heard “XO” before. This is a really good song. Beyoncé’s vocals don’t need anything extra, but the background vocals really elevate the sound of this track. This is probably the most commercial of any track on this album. “Flawless” is definitely a female-empowerment track. I like the vibe of it with the overlap of sampled audio over a haunting beat. Beyoncé has as much swagger as any of the males emcees that I have heard on this journey. Yes, even Kanye! The background vocals on “Superpower” sound like something from Glee. I like the mixture of Beyoncé’s vocals with those of Frank Ocean on this track. She definitely works well with others! “Heaven” is a nice ballad on which Beyoncé sings over a piano. It’s nice that the closing track is a tribute to Beyoncé’s daughter Blue. I guess I did not realize that it was that long ago that Blue was born. You can hear the love in this track, which is different from the love in most of the other tracks. 

Rating: 9/10

How I Listened: Spotify (Music) + Youtube (Short Films)

Takeaway: There’s a reason they call her Queen B. She is really talented. She may even be the second most talented member of Destiny’s Child. This was a really good album. I should not have waited nearly eight years to listen to it. I should probably check out her other albums.

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Album #134: Fugees “The Score” (1996)

I have heard of Fugees, and I have heard of this album. I have never listened to it though.

The opening track “Red Intro” has a slower, R&B style beat but the lyrics are pure hip-hop. One difference between this album and the other hip-hop albums on this List that is immediately obvious is the appearance of a female emcee, Lauryn Hill, on “How Many Mics.” She can drop lyrics with the best of them. I have heard “Ready or Not” before. I never realized it was by Fugees. All the emcees kill it on this track. Their lyrical delivery is relaxed yet still incredibly steady and confident. It’s nice to hear Hill sing on this track as well. There is a reggae vibe on the track “Zealots.” I don’t recognize the sample on this track, but I really like it. “The Beast” has a playful opening sound, but it definitely is more serious in content as the track progresses. All three emcees throw it down on this track. The skit at the end of this track is a little bit of a mess. I have never heard “Fu-Gee-La,” but It is a definitely a ‘90s rap song, and a pretty good one at that. The track “Family Business” has more of an R&B sound. I like the sample with the Spanish guitar on this track. 

“Killing Me Softly” is probably one of the best covers ever. Lauryn Hill kills it on this track. As great as Lauryn Hill is on this album, I feel as though I need to recognize Pras Michel and Wyclef Jean, the other members of Fugees. Pras has a deeper rap tone; I’ve never heard any of his stuff before, but he’s a good emcee. I am familiar with Jean’s style and sound as I have listened to some of his solo stuff. All three emcees are incredible and their rhymes and styles are well balanced on this album. “The Mask” has a harder hip-hop sound, but it is not a gangster rap track.  “Cowboys” features a sample from a soul song. This song actually reminds me of “Old Town Road” by Lil Nas X. I have heard Fugees’ cover of “No Woman, No Cry” before. It’s another really good cover. Wyclef Jean kills it on this track. This is a nice tribute to the influence that reggae music had on this album. “Manifest/Outro” is the most aggressive track on this album. 

Rating: 8/10

How I Listened: Spotify

Takeaway: Fugees are incredibly talented. It’s refreshing to hear this style and sound emerge in the midst of the East and West Coast rap wars. They keep it fresh, steady, and soulful on this album. I especially love how a female emcee took front and center many times on this album. 

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Album #401: Blondie “Blondie” (1976)

The first time I ever heard the name “Debbie Harry” was when my mother told me the name of the person playing The Old Woman Who Lived In the Shoe in the 1990 film Mother Goose Rock ‘n’ Rhyme. Since then, I have heard some of Blondie’s music, but I don’t think I have ever made it a point to sit down and intentionally listen to their music.

The sound on this album surprises me. It is definitely more that of a ‘60s female pop group than a ‘70s rock group fronted by a female lead singer. That being said, there is a hint of garage rock sound on the track “Little Girl Lies.” The organ is the dead giveaway for that. Harry has a backing female chorus on the track “In The Flesh,” which makes it sound like something produced Phil Spector and his Wall of Sound. There definitely appear to be some double entendres within the lyrics of this album that make it a little more provocative. The opening track “X Offender” was originally titled “Sex Offender” but had to be changed in order to get some radio play. That track as well as the track “In The Sun” have a surf rock vibe to them. This sound is still a little out of place on an album released in late 1976, but the band makes it work.

“A Shark In Jets Clothing” has an edgier sound to it, demonstrating the power of Harry’s vocals over a synthesizer. There’s some pretty impressive whistling worked in to this song as well. I don’t know why, but I haven’t heard much whistling on any of the albums thus far. The track “Man Overboard” has a reggae vibe to it. I have heard “Rip Her To Shreds” many times before, but I never realized how much of a garage rock song it is until now. “Kung Fu Girls” is a pretty solid rock song with strong garage rock influence as well. “The Attack of the Giant Ants” is kind of a crazy song with a Caribbean influence and female howling, but I like it. Quite a unique way to end this album. 

Rating: 8/10

How I Listened: Spotify

Takeaway: This album feels like a throwback with how much it is influenced by ‘60s pop and rock sounds. However, some of the tracks are forward-looking with the new wave sound. I get how there was so much commercial appeal with Blondie’s sound.

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Album #314: Aaliyah “One In a Million” (1996)

I have heard of Aaliyah. I actually did not listen to much of her music, but I do remember when she died. I have never listened to this album before.

The intro to this album is okay; Missy Elliot does a good job with it. “Hot Like Fire” has too intense of a beat; it is way too overpowering as the listener has to strain to hear Aaliyah’s vocals. “One In a Million” has a pretty good sound; it is definitely a mid-90s R&B track. I appreciate Treach’s vocals on the track “A Girl Like You,” and Aaliyah holds her own with him. The next track “If Your Girl Only Knew” is a really catch track; I like the effect on the male background vocals. I do not know that I have ever heard “Choosey Lover” by the Isley Brothers before. Aaliyah’s cover is super soulful. “Got to Give it Up” has a good intro by Slick Rick before Aaliyah takes over with a sound reminiscent of ‘70s soul singers. 

“Everything’s Gonna Be Alright” gets the album going with a faster tempo and a legit party attitude. The sass is really amplified on the track “Never Comin’ Back.” The track “Ladies in da House” has a really good ‘90s hip hop vibe with Missy Elliot and Timbaland lending their vocals talents on it. 

Rating: 7/10

How I Listened: Youtube 

Takeaway: Why is this not available to stream anywhere online other than Youtube? Aaliyah’s family must have gotten that on lockdown after she passed away. Good album though. She definitely could sing and had incredible mainstream appeal. Wikipedia compares Aaliyah to Janet Jackson. I get the comparison but Jackson had a much greater confidence to her vocals. If given more time in this world, Aaliyah probably would have surpassed Jackson. 

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Album #372: Big Brother and the Holding Company “Cheap Thrills” (1968)

I had no idea that Janis Joplin was part of a band before breaking out as a solo artist. This was the band. I’m excited to listen to this one.

The album starts off with a really good rocking vibe on the track “Combination of the Two.” It has a bit of the surf rock feeling to it on the first part of the track. The electric guitar comes in a little over halfway through this track to change the tone, all the while keeping the energy moving. On the track “I Need a Man to Love,” Joplin takes the lead vocals with the soul of a Motown artist and even has her own backing chorus. The guitars continue to rock on this track as well. The cover of “Summertime” is unexpectedly powerful, with Joplin’s signature raspy vocals over really good guitar instrumentation. It sounds like Santana could be playing those guitars! It definitely has a ‘60s psychedelic rock vibe to it.  

“Piece of My Heart” is an amazing song. I always thought it was a Janis Joplin song; I had no idea it was first released when she was part of this band. She does something pretty incredible on this song. “Turtle Blues” is a good blues song on which Joplin sings over the piano before the acoustic guitar joins in. There is a bit of a distorted sound to this song, which makes it seem like a song from decades earlier than the late 1960s.  

“Oh, Sweet Mary” is a unique track with many different tempo changes. It sounds like a few songs all mashed in to one. The album ends with the track “Ball and Chain,” which is a cover of a blues song by Big Mama Thornton. This song, which is slower and softer than the other tracks, solidifies Joplin’s ability to perform as a blues artist. Hers is a voice to behold on the final notes, which are sung a cappella. 

Rating: 9/10

How I Listened: Spotify

Takeaway: Although this album sounds like it is a live performance album, it is not. The crowd applause was added later on every track other than “Ball and Chain,” which is a live recording. The production level is so good that they could have fooled me in to thinking it was a live album. And how good was Janis Joplin?

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Album #492: Bonnie Raitt “Nick of Time” (1989)

Bonnie Raitt is an artist whose name I know, but the only song of hers that I could name before listening to this album is “Something to Talk About.” Truth: When I hear that song, I picture Julie Roberts instead of Bonnie Raitt.

The first song on this album showcases Bonnie’s pure voice, but the second song “Thing Called Love” is when this album really gets going! The use of the slide guitar on this track is incredible and carries over in to the next track. "Love Letter” takes me back to the days when I would listen to Sheryl Crow’s albums as a kid. No doubt that Bonnie blazed the rail for Sheryl and many other female rockers who came after her. Some of the tracks on this album don’t stand up to the test of time, in my opinion, but whenever the album starts to lose a little energy, Bonnie comes back with a punch on songs like “Real Man” and “I Will Not Be Denied.” There are a few of the songs on this album that remind me of the sound created by Huey Lewis & The News, which is fitting as this album was released in the late 80s. 

This is Ms. Raitt’s first sober album. After she was dropped by her record company, Prince offered her a contract for Paisley Park Records, but she got in to a skiing accident and was hospitalized for two months. During that time, she reflected upon her life. She became sober, and when the deal with Prince fell through, she hustled a bit with acoustic gigs until she landed the recording contract to make this album. Talk about perseverance (and talent)!

Rating: 7.5/10

How I Listened: Spotify

Takeaway: The final track is titled “The Road’s My Middle Name.” Thank you, Ms. Raitt, for giving me my new catchphrase. 

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Album #389: Mariah Carey “The Emancipation of Mimi” (2005)

I listened to Mariah Carey a lot in the ‘90s because my sister had most of her albums on cassette tape and we shared a bedroom and cassette player. That changed in the 2000s as I no longer lived with my sister, and I had developed my own musical taste by then. There was little time to listen to Mariah Carey then. This album is Mariah’s comeback from her comeback album “Charmbracelet” following her breakdown on the heels of the catastrophic failure of her debut film Glitter. To date, one of my greatest accomplishments is that I have not seen that film. 

I remember the opening track “It’s Like That,” which features Jermaine Dupri and Fatman Scoop. I remember thinking that Mariah was trying to be like J-Lo on this track. To this day, I am still amazed by how high Jermaine Dupri’s voice is; it almost sounds like a female voice. Fatman Scoop’s voice is the complete opposite. Whatever happened to Fatman Scoop? Mariah Carey has a beautiful voice, and is probably one of the best vocalists of all-time. This is displayed on the track “We Belong Together.” It’s a beautiful ballad. I like the finger snaps on it. “Shake It Off” is the third track on this album, and the third one that I recognize. Maybe I did listen to this album when it was released?!?! I like the edgier tone in this track as Mariah even raps during part of it. If nobody ever did a mashup of this track and Taylor Swift’s track by the same name, then I call dibs on making that.

The track “Say Somethin’” is good. I appreciate Snoop Dogg’s vocals on it as much as, if not more than, I appreciate Mariah’s vocals. Pharrell’s brief appearance on this track signals that The Neptunes produced it. The track “Get Your Number” is heavily synthesized, which actually showcases the purity of Mariah’s vocals. Twista shows up on the track “One and Only.” Whatever happened to Twista?

Mariah’s voice does lose a bit of its power on the track “Circles.” She seems to have to work harder to hit and sustain some of the higher notes than she did during the earlier part of her career. She can definitely still sing though. I was really happy to hear Nelly joint the party on the track “To The Floor,” which is another track produced by The Neptunes.  

Rating: 7/10

How I Listened: Spotify

Takeaway: I’m glad that Mariah made a comeback after the failed comeback after her career took a nosedive. No doubt that she is talented. She was smart to work with so many other artists and producers on this album as it gave it a diverse sound to appeal to most listeners. It’s no “Daydream,” but it is good!

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Album #396: Todd Rundgren "Something/Anything" (1972)

I feel like I have heard of Todd Rundgren before, but I cannot place him. Upon further research, I found that he was a member of the band Nazz, which had a track on the Nuggets compilation album (#405) from this List. That is not how I have heard of him, but it is good connection to make. I have never heard this album before, but according to Wikipedia, Rundgren wrote and recorded every track on this album by himself with the one-two punch of Ritalin and cannabis. Rundgren seems like the predecessor of Trent Reznor.

I think I have heard the track "I Saw the Light" before. It has a good early '70s rock sound to it. I also think I have heard "It Wouldn't Have Made Any Difference" before. It definitely is a pop ballad, which is not my favorite kind of music. "Wolfman Jack" has a funky groove to it; Rundgren really rocks on it. Hands down, this is my favorite track on the album.

Rundgren has a bit of fun explaining the effects of poor production of an album on the informative "Intro" piece that segues in to an instrumental electronic piece. I can't help but wonder if the track "Marlene" was written about my Aunt Marlene; the ages add up.

The track "Song of the Viking" has a playful tone to it with a piano melody and vocals that hop along to keep it light. The track "Black Maria" does not seem that impressive at first listen, but when you stop and think that one man produced every sound on that track from the instruments to the vocals, it is quite the masterpiece! There is so much working together on that track. I don't know if I have heard the track "Couldn't I Just Tell You" before, but it is my second favorite track on this album. Rundgren is at his best when he gets rocking. The track "Little Red Lights" sounds like ELO.

The final side of this double album consists of songs Rundgren completed with other artists. It's held out at as pop operetta. "Piss Aaron" has a bit of a country vibe to it. This side of the album includes the track "Hello It's Me," which is the Nazz song that was included on the Nuggets compilation album. Rundgren does well with a backing band, but these tracks show he can do just as well performing all by himself.

Rating: 7.5/10

How I Listened: Spotify

Takeaway: Rundgren is an incredibly talented musician. Not only can he sing, but he can also play a variety of instruments. Crazy how one person can be so talented.

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Album #400: The Go-Go’s “Beauty and the Beat” (1981)

I know the Go-Go’s. I have not listened to a full album of theirs, but I definitely know their singles. I am a fan of Jane Wiedlin as she portrayed Joan of Arc (”Noah’s Wife?”) in one of my favorite films, which is Bill and Ted’s Excellent Adventure.

The first track on this album is “Our Lips Are Sealed.” There is definitely a female pop sound to this album which serves as a subtle introduction to this band. The track “How Much More” has much more of a punk rock sound to it, while still maintaining an upbeat lightness. This band had to be quite revolutionary as an all-female new wave punk band in the early ‘80s. The track “This Town” has a surfer rock vibe to it during the instrumental break.  That vibe continues on the track “We Got The Beat.” I feel like most people know this song. The instrumentation is pretty good on it, especially considering that none of the Go-Go’s knew how to play an instrument until just three years before this album was released. This is definitely an upbeat rock song that has endured the test of time.

“Automatic” is a weird track that is haunting in how slow and melodic it is. It seems out of place compared to the other tracks on this album. “You Can’t Walk In Your Sleep (If You Don’t Sleep)” picks the tempo back up, returning to the upbeat surfer rock sound. The instrumentation is at its best on the final track “Can’t Stop The World.” The drums are really rocking and the guitars are really strumming. 

Rating: 7/10

How I Listened: Spotify

Takeaway: This album reminds me more of the Beach Boys than anything else I have listened to thus far. Their harmonies are pretty spot-on, which I think is a large part as to why I think this. 

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Album #474: Big Star “#1 Record” (1972)

I have never heard of the band Big Star before, but I immediately recognize their music from the opening guitar riff of the first track on this album. This album has an incredibly polished sound somewhat unique for a rock album from the early ‘70s. “The Ballad of El Goodo” has a unique instrumental sound. I think it is from some sort of electric piano, but I honestly cannot tell. The most surprising song on this album is “In the Street.” This is the original version of the theme song from That ‘70s Show! I always thought this was a Cheap Trick song, but turns out I was wrong about that as Cheap Trick actually covered a Big Star song. “Thirteen” is an incredibly beautiful acoustic ballad that still packs a bit of a punch. I could listen to that song on repeat for a while. 

This album is all over the place, but in the best possible way. It packs in all of the best sounds of the ‘70s musical genre, and the best part is that there is no disco sound anywhere within earshot. Just when I start to get comfortable comparing this band to Simon and Garfunkel or Crosby, Stills, Nash, & Young, they come out sounding like a slightly tempered-down version of Kiss on the track “Don’t Lie to Me.” The unison vocals on this album are solid, but they are especially a wonder to behold on the track “Give Me Another Chance.” 

Rating: 9/10

How I Listened: Spotify

Takeaway: This band broke up in 1975, just three years after this album, which was their debut album, was released. They reunited in the early ‘90s. I can’t help but think about how much music could have been made by this band in the 18 years that they were broken up, but maybe I should just be grateful that they gave us this album. This is definitely one worth owning and spinning.

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Album #475: Sheryl Crow “Sheryl Crow” (1996)

I listened to this album a few times as a child. This album starts with the rock sound that I most often associate with Sheryl Crow highlighted most by the sound of an electric guitar and Crow’s steady, confident vocals. She’s an artist who can fool me in to thinking that she is singing even when she is speaking. I did not realize it until now but the style and sound of “A Change” and “Everyday Is a Winding Road” foreshadow Crow’s evolution from a rocker-girl in the ‘90s to a surfer-girl in the early ‘00s. To this day “If it Makes You Happy” may be one of the best rock songs ever. 

Crow shows her versatility on this album by tackling the country rock genre on the protest song “Redemption Day.” Johnny Cash’s cover of this track in 2010 may be better than Crow’s version. “Love is a Good Thing” seems like a fairly upbeat track but its controversial lyrics about children killing each other with guns bought at Wal-Mart ultimately helped get this album banned from the store. Don’t worry, the sales for this album were still through the roof, probably in large part due to the Columbia House Record Club. 

Ultimately, this album would get a higher rating if it ended after the 9th track. The track “Oh Marie” seems like nothing more than a space filler on this album, which is the nicest thing I can say about any of the final four tracks.  

Rating: 7/10

How I Listened: Compact Disc

Takeaway: Something pretty incredible about this album is that it was produced entirely by Sheryl Crow, who also wrote most of the songs. I never realized until now how amazing it was to have women like Sheryl Crow and Alanis Morissette who were so successful in the music industry while I was growing up. Making my way through this list has shown me how much of a trail they blazed for female artists today but also how much the trail had been blazed for them by so many talented female artists from the ‘60s, ‘70s, and ‘80s. Women can rock just as much as if not more than the men can. 

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Album #477: Howlin’ Wolf “Moanin’ in the Moonlight” (1959)

Based solely on their stage names, blues musicians have to be some of the coolest people in the music industry.

As cool as Howlin’ Wolf’s stage name is, his music is just as cool. With a gruff voice, he howls with an intensity that would have been rivaled only by his physical presence on stage. Standing at 6′3″ tall and weighing over 300 pounds, he was described as someone who could “rock the house down to the foundation while simultaneously scaring its patrons out of its wits.” The gruffness of his voice is softened a bit by the smoothness of the harmonica that he plays on each of his tracks. “Smokestack Lightnin’” is a pretty incredible showcase of his talent as both a vocalist and a harmonicist. The piano underlying each of these tracks keeps the beat moving while creating a cohesive sound throughout each of his tracks. The track “Evil (Is Going On)” is an exceptionally emotional track in which he warns the listener of the wayward ways of his woman at home, advising the listener to knock on his front door to catch the evil running out the back door. I can’t help but wonder if the Howlin’ Wolf ever had to knock on his front door. If so, I feel for the unfortunate soul running out of the back door because I have no doubt that this Wolf would have been able to knock that house down. 

Rating: 8/10

How I Listened: Spotify

Takeaway: According to Wikipedia, Howlin’ Wolf, who was from Mississippi, moved to Chicago and became a successful blues artist. He rivaled Muddy Waters. I can’t help but be jealous of anyone who was able to catch a live performance by both Howlin’ Wolf and Muddy Waters in the Chicago blues scene. Before starting this project, what little I knew about the Chicago blues scene came from the film Adventures in Babysitting. With the influence of these two musicians, no wonder that Chicago still has clubs in which “nobody leave this place without singing the blues.” 

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Album #483: Muddy Waters “The Anthology” (2001)

There is just something inherently cool about a person whose name is a sentence. Muddy Waters is no exception. 

This album is the third compilation album that I have listened to on this list, and it is the first album from just one performing artist. The best blues songs are the ones that take a listener on a journey. The cadence of a good blues journey comes from the strumming of the guitar, the humming of the harmonica, and the impassioned pleas of the vocalist. The music of Muddy Waters is no exception.

Muddy Waters can play the guitar and sing the blues like few others. I really love the music of Son House, and the music of Muddy Waters is nearly just as good! For me, his guitar skills really shine on tracks like “Mean Red Spider” and “You Gonna Need My Help.” I love the use of the harmonica and the piano  throughout the songs on this compilation as well. There’s a variation of tempo throughout this album that makes each song different from the next. I especially enjoyed the upbeat tempo of “Got My Mojo Working.” Muddy’s vocal tone on a few of the tracks sounds a bit like Randy Newman. “I could be wrong now, but I don’t think so.” The track “Mannish Boy” is a blues song that most people would recognize. The recording of his performance of “I Feel So Good” at the 1960 Newport Jazz Festival showcases his ability to wow and entertain anyone who was lucky enough to catch one of his live performances.

Rating: 8/10

How I Listened: Spotify

Takeaway: Although not the strongest track on this album, the song “Rollin’ Stone” has a lasting legacy in the music industry. The Rolling Stones named themselves after it. It also inspired the name of the magazine that created the list underlying this project. Not too shabby of a legacy, and that’s just a tiny part of it.