Top 10 Films of 2016

(*Honorable Mentions: Captain America: Civil War, The Conjuring 2, Doctor Strange, Fantastic Beasts and Where to Find Them, Hush, Jackie, Kubo and the Two Strings, Star Trek Beyond, Zootopia, 10 Cloverfield Lane)  

10.) Sully: Polished, nuanced, and wholly engaging, Sully is the kind of movie you'd expect to be good, but not this good. As usual, Tom Hanks puts in a career-defining performance as Captain Sullenberger, the man behind the "miracle on the Hudson." In the director's chair is Clint Eastwood, who has given us plenty of modern classics (Unforgiven, Mystic River, Million Dollar Baby), and here has crafted another. This is a poignant and polished film, expertly made and very, very effective.

9.) The Jungle Book: Okay, okay, okay - I know what you're thinking. Why is this movie on here? Well, truth be told, I'm not really certain. But I saw this movie with literally zero expectations, and was riveted from beginning to end. It's a shot of pure pathos - adventurous, invigorating, cathartic, triumphant. The story is all well and good, the acting is fine, the direction is solid, the special effects are spectacular...but those aren't the only reasons why this is a great movie. Perhaps chiefest of all, is just how goshdarn fun it is. You'll laugh, you'll cry, you'll gasp, and you'll sing along. Trust in me, and give it a go.

8.) Arrival: I'm a huge fan of modern sci-fi think pieces. Children of Men, Moon, and Ex Machina are just a few that come to mind. And now? Arrival can be added to this list. It's a fairly straightforward narrative, with a compelling plot and some serious ideas worth grappling with. Then the third act hits, and there's suddenly so much more to think about, to chew on, to digest. This is not a film of whiz-bang action, or bite-your-nails thrills. It's not even an eye-popping visual effects spectacle. Instead, this is a film of scratch-your-head, reexamine-your-life, what-does-it-all-mean? ponderance.

7.) Green Room: Man oh man, is this one a ride. I don't want to say too much and spoil the awesomeness, but just know that Sir Patrick Stewart plays a sadistic neo-nazi who wants the four members of a down-and-out punk band dead. What more do you need to know? Fair warning, though: this is not a flick for the faint of heart. It is a bloody, barbaric movie; one that finds its brilliance in brutality. However, if you can stomach all the insanity, then you get what you came for - an over-the-top exploitation thriller, one with brains and balls. 

6.) Don't Breathe: This is what happens when you take a simple, no-frills concept, and ramp it up to eleven. The writing is concise, the acting is brilliant, and the direction - full of lethal energy, driven to a cunning conclusion - is incredible. This isn't the best horror movie of the year, but it just might be the most re-watchable, the one you put on during October to get you in the Halloween spirit. The third act, though a little absurd, is a masterclass in cinematic suspense. Don't Breathe truly is what its title suggests - breathless.

5.) Manchester by the Sea: I don't think this is as transcendent a film as everyone else. It's overlong, the tragedy is practically Shakespearean in its excess, and all that opera music is pretty laughable. Regardless, Manchester by the Sea is a beautifully acted, wonderfully written character study. Casey Affleck is the epitome of understatement, and it fits perfectly with the narrative. The supporting players are also great, especially the young Lucas Hedges, who manages to be charming and sincere. All in all, this is one that'll be remembered, and is definitely a contender for Best Picture. Is it deserving? I believe so. This is the kind of thing that critics love, but that's not necessarily a detriment. It is unbearably sad, yet also, strangely, uplifting.

4.) Rogue One: A Star Wars Story: This is the first Star Wars flick in 36 years that dared audiences to abandon their preconceived notions of the genre - to embrace the tragic and the bold. I'm not saying this is a perfect film (it's pretty low on character development, and made some questionable choices with its computer effects), but when it works, it works very well. From a design standpoint, it is a marvel - the sets, the costumes, and the vehicles are all wonderful to gape at. The story is simple and efficient, its character beats coinciding with larger plot points. And the tone? Dismal, challenging, yet sprinkled with hope. This is the first movie in the series to emphasize the "war" in Star Wars, and poignantly expresses the nobility, the goodness, in sacrifice for the greater good. Although this movie is unlike the rest of its kin, it is nonetheless expertly made and loads of fun.

3.) La La Land: As a starry-eyed dreamer, one with silly delusions of being a successful writer, I found La La Land to be one of the most powerful films I've seen in a long time. It's a Hollywood musical (in more ways than one), and centers on a wannabe actress and a washed-up jazz pianist. Their story is told through sharp dialogue, imaginative cinematography, and some of the year's finest performances. Emma Stone will break your heart; Ryan Gosling will have you in hysterics. Yet, I'd be remiss in my duties if I reviewed a musical and didn't talk about the score. Luckily, thankfully, it is divine. The music is terrific, and does a great job balancing wonderment and introspection. And it's catchy, too. I saw it a few days ago, and I'm still whistling its main theme. City of stars, are you shining just for me...? If you've seen the movie, chances are you just heard that lovely little melody in your head. And if you're a dreamer like me, you felt it in your heart, too.

2.) The Witch: Some movies are scary because of individual scenes, or unexpected moments. Some are scary thanks to a particularly memorable villain, one with a hockey mask or razor-tipped gloves. Others are scary because of mood and atmosphere - rolling fog, a pale moon. And then there are films like The Witch that seem to take all these components, stitch them together like discomfited body parts stolen from a graveyard, and bring them to life simultaneously. It is a haunting film, beautiful in its ugliness, triumphant in its emphasis on human failings. It's not a horror flick that'll make you scream, but will definitely make you peer over your shoulder, wondering what's trailing behind you in the dark. The writing is lovely, with characters and moments almost sublime in their failings. And though the pace is slow, the finale is a plunge you won't soon forget. This is a true original, totally without peer in the cinema of today. It's a horror film for the ages.

1.) Hell or High Water: Way out there in the wilderness of American cinema - beyond the friendly terrain of summer blockbusters, yet a little inland of the murky waters of art house - are the high-grassed, sun-bleached fields of the modern Western. This is a hot, desolate area. Characters who wander through are either sleazy gunslingers, beer-swilling sheriffs, or blends of the two. Everybody is out to kill everybody, and morality blurs in the heat. Typifying this ragged area are movies like No Country for Old Men, 3:10 to Yuma, and True Grit. They are uncompromising, bleak, and beautiful.

Hell or High Water is the newest, and perhaps best, of these uniquely wonderful films. On the technical side, it is superlative. The direction is insightful, the cinematography picturesque, the editing seamless, the music is wonderful, and the acting from everyone is heartrendingly real. On the thematic side, the film asks a lot of you: to examine the fragility of life, the bonds of brotherhood, the parameters of justice, even our definition of humanity. What would you do for your family? What would you do for your country? Are those things diametrically opposed, or intrinsically woven together? Do they even matter, or are they all that matter?

But abandoning the pseudo-philosophical for a moment (thank God!), I can honestly say that this is the best movie of 2016. Why? Well, for the reasons I just mentioned. But also because it is engaging, entertaining, and artistically resonant. If you like your heartbreak sprinkled with dark humor, your optimism tinged with ardent reality, then check this one out. You won't be disappointed.

100 Best Albums of All Time: 20-1

Wow. Have we finally made it? All the way to the top twenty? The top ten? I suppose so. This whole thing has been a fascinating experience for me. I've listened to far too many albums over the past year in order to prep for this. And was it worth it? Oh, most certainly. I've learned more about music and myself than ever before. I embarked on this journey just for the hell of it, and wound up with more than I dreamed of. This has been an exhausting, yet rewarding, experience.

If you look through this last entry in the series and completely disagree with me, that's terrific. Like what you like; feel what you feel; think what you think. Nonetheless, I hope you've gained a little perspective on music, on me, and perhaps even on yourself.

Read, listen, and enjoy. Thanks for playing along. 

20.) Led Zeppelin II - Led Zeppelin (1969): Folksy, frantic, furious, fantastic - Led's sophomore album is all of that and more. After their terrific debut, the boys decide to spread their wings a bit, soaring to heights never imagined. The individual performances are still amazing, but they mesh better here than anywhere else. Tunes like "Ramble On" displays their intimate chemistry, and their ability to switch genres on a dime. "Whole Lotta Love" is an eternal rock & roll staple. "Moby Dick" showcases the late great John Bonham, in all his thunderous glory. But my favorite track, and maybe the one that epitomizes Led Zeppelin's enduring legacy best of all, is "Heartbreaker." It's a bluesy hurricane, with a blistering vocal performance and one of the coolest guitar solos ever recorded. If you've never listened to these guys before, there's no better introduction than this. Give it a whirl.

19.) A Love Supreme - John Coltrane (1965): And then there's Coltrane. I shouldn't...I shouldn't have to write too much about this. Just put it on, and you'll understand why it's one of the best. This is jazz at its most gorgeous. Layered soundscapes echo for an eternity, with Coltrane's saxophone exploring the terrain, leading the way. The drumming is divine, the keys are lovely, and Jimmy Garrison's stand-up bass is to die for. More accessible than Miles Davis, boppier than Dave Brubeck, this is 60's jazz with some commercial appeal, yet holds its own as a unique, avant-garde experience. A Love Supreme is supreme, indeed.

18.) Bill Evans Trio With Symphony Orchestra - Bill Evans Trio (1966): Am I cheating, again? I said I wasn't going to include any orchestral albums on this list, but here...I just couldn't resist. Besides, it's mostly a jazz trio album. And a beautiful one, at that. Bill Evans is the king of the keys, soulfully plucking out melodies that are curious and carefree. It just so happens that here, he's accompanied by a gorgeous symphony orchestra. This is an unexpected album, imbued with a warmth and musicality that many jazz records were already starting to stray from by the late 60's. Even better? This is a unique album. Truly. Nothing else sounded like this at the time, and the imitators that followed have yet to capture the same starry-eyed wonderment as here (although 2003's Classical Brubeck gets pretty close). This might be the prettiest jazz record of the past 50 years. Check it out.

17.) Innervisions - Stevie Wonder (1973): Man oh man, do I love Stevie. He's a funky genius, a manically catchy songwriter, and a mesmerizing musical visionary. Innervisions is exactly what its name suggests - an intimate glimpse into this man's fascinating, multifaceted world. From the drugged-out swirls of "Too High" to the contemplative musings of "Visions," Stevie covers a lot of ground just in the first two tracks. And after that? It gets even better. "Higher Ground" is a snappy pop hit, "Golden Lady" is pleasant and chill, and "Don't You Worry 'Bout A Thing" is a fun (and funny) modern samba. But the best? "Livin' for the City." It's a challenging funk masterpiece that rolls on for seven minutes without breaking the spell. A terrific song on an even better album.

16.) Magical Mystery Tour - The Beatles (1967): For some reason, this album is often missing from "Best Of" lists like this. I can't for the life of me figure out why that is. Here, The Beatles poke around in previously uncharted territory, wandering hesitantly into jazz and all-instrumental tracks. There are classics practically etched in stone, like "Penny Lane" and "Hello Goodbye," as well as deep cuts that are equally impressive, like "The Fool On the Hill." But the LSD-fueled romps are most notable of all - songs like "Strawberry Fields Forever" and "I Am the Walrus" are conversation-pieces to this day. The Beatles are rarely underrated, but this is a largely-overlooked entry in their canon. Give it a listen. It kicks off strong with the title track, and ends with one of the greatest anthems of the 60's - "All You Need is Love."

15.) Stadium Arcadium - Red Hot Chili Peppers (2006): The individual records in this double album are named "Jupiter" and "Mars," and they truly communicate worlds. Stadium Arcadium is a musical powerhouse that delivers everything from momentous rock to sing-song folk, from bottomless funk to trickling lullabies. Each member of the band performs at his musical zenith, and the chemistry they share is kindred. Chad Smith's heavy-handed percussion lays a concrete framework, while Flea's virtuoso bass adds a surprising level of musical innovation. Guitarist John Frusciante does an excellent job smoothing over the arrangements, providing texture and depth with stunning vocal harmonies and counter-melodies. Singer Anthony Kiedis gives each track its heart and enthusiasm. The result? Stadium Arcadium is the best rock album of the decade, and perhaps one of the best ever recorded. (Check out my even fuller review here.)

14.) Sinatra at the Sands - Frank Sinatra and Count Basie (1966): From its whiz-bang opening to its delirious finale, Sinatra at the Sands is a fun, fascinating concert. Honestly, I can't get enough of this record. It's a tasty tableau, showcasing Sinatra's vocal talents and nonchalant charisma in equal measure. It's basically a run-through of his greatest hits, with a packed Vegas nightclub to clap and laugh along. And there's plenty of laughs, for sure. Frank is up there doing his thing, cracking jokes and tossing off-the-cuff zingers left and right. Behind him, the full intensity of Count Basie and his orchestra. What could be better than that? So dim the lights, pour yourself a little scotch, and settle in. This is your ticket to the quintessential Sinatra experience. Enjoy.

13.) Thriller - Michael Jackson (1982): Has 80's pop ever been better than this? I don't think so. MJ was king for a reason, and that reason is Thriller. Every song is a classic, and heck, those music videos are, too. The title track is funky and fun, "P.Y.T." will wiggle into your brain and refuse to let go, and "Beat It" is as catchy as it is musically impressive, especially with Van Halen's hypnotic guitar blazing through the whole thing. But my favorite? "Billie Jean." The groove is bottomless, and the hook is as smooth as a moonwalk. This is an all-time best-seller, and for good reason. Although it's lined with synthesizers and drum machines, it somehow avoids feeling dated. Instead, its 80's-ness gives it character, imprinting a peculiar zeitgeist to the timelessness of the tunes. Twenty-five years later, Thriller continues to thrill.

12.) Sgt. Pepper's Lonely Hearts Club Band - The Beatles (1967): What a weird, wild album this is. From the title, to the cover, to the leading conceit (that you're listening to a concert from a fake band), Sgt. Pepper is anything but ordinary. Most fans and reviewers say it's The Beatles' best, and maybe the best of all time. And while I don't agree, I understand why. Here, the Fab Four have embraced the surreal, and it's noticeable on almost every song. And where surreal ends, sincerity begins. The boys put their all into this one, so impressive musicianship and composition dominate the record. Gotta love it.

11.) Time Out - Dave Brubeck (1959): Brubeck was my first jazz hero, and Time Out was the first jazz album I ever loved. My dad used to put this one on a lot, and whenever I go back home, I can't help but hear echoes of "Take Five" or "Blue Rondo a la Turk" in the walls, lingering like the smell of cigarette smoke on some old leather jacket. But sentimentality aside, this is a phenomenal collection of songs. The melodies are enchanting, threaded through bizarre time signatures and sprinkled intermittently with impressive solos. If a friend wanted to get into jazz, but didn't know where to start, I'd burn them a copy of this. It has a way of filling a room, and certainly leaves an impression.

10.) Ella Swings Lightly - Ella Fitzgerald (1958): "The moon was all aglow, and heaven was in your eyes..." So begins Ella Swings Lightly, one of the sweetest, warmest jazz albums ever recorded. Few voices are as pure and perfect as Ella's, and here she sings with a commanding degree of musicality. Runs, motifs, and improvised solos are pulled off with such casual skill, you'll hardly notice how impressive it actually is. Although the instrumentation supporting her is wonderful, it's impossible to distract from Fitzgerald's clear-as-a-bell voice. Musical clarity is what she offers, and by the end of this 47-minute swing odyssey, you'll be hooked for life. No more noise, no pale imitation. Ella was, arguably, the greatest singer of the 20th century. Listen, and become enraptured.

9.) Rubber Soul - The Beatles (1965): The allure of Rubber Soul is how deceptively simple it seems. The songs are ripe with playful hooks and easy musicianship, and you'll hum along from beginning to end. Such is the siren song of this album; it's so smooth, you fail to notice how striking it actually is. McCartney's vocal grandstanding, Harrison's plucky guitar, Lennon's pained lyricism, Starr's effervescent cushion of percussion...they fuse together with a harmonious, sacred unity. It's also amazing how musically diverse these songs are. Pop, rock, folk, country, Indian influences, crunchy psychedelic guitar licks, baroque tambourines and sky-high harmonies somehow slot together as effectively as their musicianship. This record is essential.

8.) Kind of Blue - Miles Davis (1959): It's haunting. It's invigorating. It's a musical experience like no other, built on a rock-solid foundation of jazz instrumentation, and brought to life by Miles Davis's stunning trumpet. I wish I could describe the quality of the sound this album has, but words don't quite do it justice. There's a grainy fullness to it, like eddies of dust that swirl in sunlight. Each solo, every unison hook, every nimble tap against that ringing ride cymbal, is wonderful. This is a contemplative wanderer, that dares to venture as close to the bleeding edge as it can. If you're uncomfortable chewing on the ideas Davis is throwing out there, then give this one a wide berth. But if you can drink this stuff in, let it roll around your skull like a marble, then you absolutely should.

7.) The Rise and Fall of Ziggy Stardust and the Spiders from Mars - David Bowie (1972): I wasn't raised as a Bowie fan. I was transformed into one, piece by piece, song by song, thanks to Ziggy Stardust. I care less about the unhinged space-opera story, but more about the melodies, arrangements, and raw emotion of Bowie's voice. This is a put-on-headphones-and-take-a-long-walk album, the perfect soundtrack to watch the world come alive around you. The music is imaginative, and while it's decadent to the point of absurdity, Bowie is so damned heartfelt about the whole thing, it actually works. Highlights include the punky twang of "Moonage Daydream," the effortlessly groovy "Starman," and the powerful "Rock & Roll Suicide." With Bowie's passing earlier this year, his music has been getting a lot of replay. With this one, it makes sense why. This is an early experiment from one of our greatest songwriters, just beginning to comprehend all he could do. There's a somber optimism to every track, and it'll give you chills or bring you to tears. Either way, you'll be satisfied.

6.) OK Computer - Radiohead (1997): I don't care what anyone says - this is the best rock album of the 90's. Why? Well, there are a lot answers to that question. I'm not the world's biggest fan of Thom Yorke's whiny, warbling voice (sometimes I just wanna slap him in the face and tell him to sing with his diaphragm, for God's sake), but here it works. Maybe it's the quality of the music, how bizarre and fluid it all is, like a half-remembered dream. Maybe it's the ingenuity of the instrumentation, how it blends with whirring digital sound effects and random squelches of distortion. Who knows? But the track list is impressive, with melody and intensity rolling in and out like the tide. "Paranoid Android" might be the best rock tune of the past thirty years, and does a nice job containing the essence of this album in a 3-movement microcosm. Radiohead is, for the most part, an overrated band. Every record is praised to death, and every song seems to have some cult or critical obsession, especially when it doesn't make any sense. But here? They earn their keep. OK Computer is so much more than "ok." It is incredible.

5.) Modern Sounds in Country and Western Music - Ray Charles (1962): What a cool, ballsy idea for an album. To take country & western staples, and re-imagine them as swing or soul tunes? Brilliant. Of course Ray Charles is incredible - his lively fingers, his emotive voice. But this record's real success is how clever the arrangements are. From the first note to the last, these songs are fully, unarguably Ray's. Sparkling harmonies, vivacious orchestral arrangements, and sparrow-light drumming keep the background buoyant, while Ray Charles embodies center stage with unparalleled magnetism and charisma. This is a magnificent accomplishment, and should be heard and appreciated by everyone. Go and check it out as soon as you can.

4.)  90125 - Yes (1983): Prog-rock is back! Did you miss it? I know I did. On 90125, Yes manages to balance musical creativity with a pop sensibility, and what we get is a rounded, engaging, fun album. "Owner of a Lonely Heart" pretty much nails this right from the start, and the rest of the songs follow suit. I'm particularly enamored with "Changes," which is an anthemic puzzler, with unexpected shifts in meter, time signature, and melody. It'll make you giggle, scratch your head, then sit back and just take it in. Because what else can you do? This is a record that doesn't kowtow to conventions, but has sense to sprinkle them in just sparingly enough to keep you hooked. It is a smart, sophisticated rock & roll experience. These are few and far between, so cherish them when you can. Cherish this one, folks. I mean it.

3.) Dave Grusin Presents: GRP All-Star Big Band Live! - GRP All-Star Big Band (1993): As far as pure musicianship is concerned, Live! might just be the best album of all time. Seriously. Listen to the first track, which is a breathless rendition of "Oleo," and tell me I'm wrong. I dare you. Each solo is better than the last, and the overall consistency of this band is impressive beyond words. The trumpets soar, the saxes wail, the clarinet and flute are without compare, the piano is a towering presence, the vibes bustle and bubble, and Dave Weckl on the kit? Has there ever been better? In the first track alone, you hear all this and more. And you know the really crazy thing? This is a live album. They actually did all this in one take, in front of an audience. To me, that is...that is just insanity. Live! is alive in every sense of the word - musically, rhythmically, and emotionally. It is, in my opinion, the best jazz album ever made.

2.) Songs in the Key of Life - Stevie Wonder (1976): Well, ladies and gentlemen - here we are. The runner-up. And it's a big one. This double album clocks in at a hefty hour and forty-five minutes. I know that length doesn't automatically equal greatness, and usually, I find long run-times to be tedious and redundant. But not here. Like many of Stevie's ventures, here he boogies for minutes on end without skipping a beat, finding fresh territory in improvisation or minute melodic shifts. This is a record with a title that boasts a lot, suggesting that this music has somehow tapped into the very essence of existence, that music is life and life is music. This music, specifically. And you know what? It is. The emotion, the power, the melodies, the performances...they exist in a sphere all their own, somehow emulating and encapsulating all that life is. The hits, "Sir Duke" and "Isn't She Lovely," are wonderful, but don't stop there. Worlds of music are teeming like schools of tropical fish, flashy and bright and bustling. Dive in and discover for yourself. You won't be disappointed.

1.) Abbey Road - The Beatles (1969): I'm aware there are a lot of Beatles on this list, but I don't care. I've built much of my life around music - playing it, listening to it, studying it. And at the end of the day, The Beatles stand out on top. You can check out more of my thoughts on the band here. Feel free.

...but how do I even write about this album? Honestly, I have no idea where to start. I'm listening to it right now, as I struggle to get any of my thoughts down on the page. Maybe it's because I've already written 99 other music reviews, and I'm getting burned out. But I don't think that's entirely the problem. How does one write about a masterpiece? I've managed it a few times before as best I could, but now, my words are evaporating. I'll give it a shot, though.

The brilliance of Abbey Road hinges on a lot of things. First, there's excellent songwriting. The cool-as-a-cucumber hook of "Come Together," the frothy optimism of "Here Comes the Sun," the grimy groove of "I Want You (She's So Heavy)," etc. They're sublime. Second, there are impeccable arrangements and instrumentation. The mandolin pops of "Something," the trippy harpsichord of "Because," the bubbly percussion of "Octopus's Garden," etc. They all work so very well, not only for the songs themselves, but because they suit the artists. Which leads to number three: musical performances. McCartney's throwback roar on "Oh! Darling," Harrison's golden guitar on "Sun King," Lennon's massive strumming on "Polythene Pam," Starr's drum solo in "The End," etc. This is the best The Beatles ever were. But my favorite thing about this album? The aptly-titled "Abbey Road Medley," which strings several songs together and makes up the entire b-side of the record. "You Never Give Me Your Money," "She Came in Through the Bathroom Window," and "Golden Slumbers" are magnificent. Truly. And all these elements deliver a focused, yet diverse, experience. This album plays out like a perfect meal, with varying flavors and textures playing off of each other.

To me, Abbey Road is the best album of all time. It is iconic, innovative, insightful, and musically impressive. "And in the end, the love you take is equal to the love you make..."

100 Best Albums of All Time: 40-21

Welcome back to another installment of my 5-part list, The 100 Best Albums of All Time. This time around, we've got a real treat - numbers forty through twenty-one. These are, in my opinion, a handful of the best records ever made. And here's my constant reminder: When it comes to music, I'm (mostly) a formalist, so the stuff on here was ranked because of musicianship, composition, and arrangement.

Feel free the look back over the other entries in this series before diving into this one: #100-81, #80-61, #60-41. Read, listen, and enjoy!

40.) The River & The Thread - Roseanne Cash (2014): This down-to-earth country album is a career highlight for Roseanne Cash - daughter of the Man in Black, himself. Her vocals are warm and weathered, which play wonderfully off the record's quaint arrangements. These are high-summer songs - humid, hazy, gentle. And while there are a few tricks up Cash's sleeve, they're never more than you can handle. This is masterful musicianship, competent to the point of invisibility. It is the river, the thread, and everything we enjoy but take for granted.

39.) Unplugged - Eric Clapton (1992): In the 90's, few live albums had the success, the longevity, or the emotional resonance of Clapton's Unplugged. And it's easy to understand why. This is a concert of the highest caliber, notable for passionate musicianship and fantastic arrangements. Acting as the album's centerpiece is Clapton's searing, stunning voice. It elevates every song, perhaps even more so than his iconic guitar.

38.) Where the Light Is (John Mayer Live in Los Angeles) - John Mayer (2008): Blues, folk, pop, and rock delivered with such ease and expertise as to render the eclecticism all but invisible, this is definitely the best live album of the last decade. Mayer's melodies dance about your ears. Toe-tapping froth and heart-blazing soul cool and invigorate with equal intensity. Mayer proves his guitar-legend status, imprinting on every track a commanding degree of musicality. Highlights include the groovy "Vultures," a balls-to-the-wall rendition of Ray Charles's "I Don't Need No Doctor," and an acoustic cover of "Free Fallin" that is simply a revelation. Each song is a classic, every note is spot-on. What a concert.

37.) Led Zeppelin - Led Zeppelin (1969): "Good Times, Bad Times," "Babe, I'm Gonna Leave You," "Dazed and Confused," "Communication Breakdown" - when almost every track has a lasting rock & roll legacy, it's easy to understand why this debut is in the top 40. The band's chemistry is remarkable, and all those psychedelic musical breaks and swaggering solos are pulled off admirably.

36.) Chase - Chase (1971): When it comes to jazz-rock fusion, few bands have ever done it as well as Chase. With powerhouse vocals, a bustling rhythm section, and (of course) a trumpet sound that is still unrivaled to this day, it's an easy album to love. What about the composition? It's stellar. Rock melodies played with a jazz sensibility. Although "Get It On" is the crowd-pleaser that everyone remembers, the album's closer, "Invitation to a River," encapsulates all the awesomeness Chase had to offer during their tragically short run.

35.) Let it Be - The Beatles (1970): This is a divisive album. On one hand, it can be unduly criticized thanks to Phil Spector's pretentious arrangements. On the other, it can be overpraised for the wrong reasons ("It was their last album, man! Of course it's a classic!"). But all that aside, this is a lovely record, full of honest performances and lyrics. Although it was a real grind to release, and the recording process was riddled with more internal conflict than usual, the finished product manages to be heartfelt, graceful, and fun - a fitting finale for the Fab Four.

34.) American IV: The Man Comes Around - Johnny Cash (2002): Wow. This is an amazing record. It's so rich in character, so authentic in its imagery, that you half expect a plume of desert dust to puff out of your headphones every time you listen to it. Johnny Cash carries a certain weight, and on American IV you can hear it. There's a heaviness to each song, a palpable weariness that speaks volumes about mortality and experience. Cash's craggy vocals will stain your heart, and his sickly sweet arrangements will percolate in your brain. His rendition of "Bridge Over Troubled Water" is haunting, yet "Personal Jesus" is a toe-tapping firecracker. The overall range is phenomenal, and yet it all feels undeniably Cash. Which, of course, means it feels undeniably American, and undeniably classic. This is a stunning album of loss, love, and hopeful redemption. It is essential.

33.) The Miseducation of Lauryn Hill - Lauryn Hill (1998): In the 90's, hip-hop flourished. There were the g-funk stylings of Dre and Snoop, the rap-rock fury of Rage Against the Machine, Biggie and Jay-Z were keeping things fresh on the East coast, and a foulmouthed up-and-comer named Eminem was making a name for himself. And somehow, amidst all this clamor and noise, The Fugees and Lauryn Hill carved out a niche. Ms. Hill is the very definition of perfect hip-hop - liquid flow, captivating lyrics, organic instrumentation, and awash with memorable hooks (her voice is one of the best of all-time). This is a fascinating concept album, following our protagonist through a day at school, her "miseducation," as it were. This record is one of the most critically acclaimed of all time, and trust me - it's worth it.

32.) The Afterman - Coheed and Cambria (2012/2013): Prog-rock hasn't had the proudest showing on this list, and there's a reason for that. Regardless of how intricate the music or masterful the performance, it's often too esoteric, mathematical, and alienating. Thankfully, The Afterman is as emotionally grounded as it is musically impressive. There are a smattering of radio-friendly ditties to keep casual listeners engaged, but mostly? This is a balls-to-the-wall effort. The guitar-work is excellent, the rhythm section is breathless, and those vocals? Bizarre, sure, but mighty impressive. It's a double-album (Ascension and Descension), meant to be enjoyed as a single experience. The "Key Entity Extraction" series alone is enough to make you a hardcore fan of Coheed's sweeping story and unique vision. Give it a shot.

31.) Amazing Grace - Aretha Franklin (1972): Make no mistake - this is a Gospel album. And yes, I capitalized that "G" on purpose. Here, the Queen of Soul has truly outdone herself. Recorded in 1972 at the New Temple Missionary Baptist Church, it's a beautiful examination of faith, love, and religion. As always, Franklin's voice is the center of attention. But here, it never becomes marred in ostentatious flair as many of her later efforts would. She is also backed by a group of talented musicians, and the full power of the Southern California Community Choir. The arrangements meander a bit, but so did the church service in which they were recorded. Amazing Grace is a slice of (after)life. Its raw emotion and otherworldly aspirations will bring you to tears.

30.) Hamilton: An American Musical - Original Broadway Cast Recording - Hamilton Original Broadway Cast (2015): I'm not 100% sure if including this album is "cheating," (there are plenty of phenomenal Broadway soundtracks that I omitted) but I don't care. This is an impressive achievement in modern music, a hip-hopera that is musically rigorous and emotionally complex. The melodies and motifs sprinkled throughout this sprawling story are wonderfully written and expertly performed. Songs like "My Shot," "Yorktown," and "The World was Wide Enough" will make you rethink rap, musicals, and American history.

29.) The Dark Side of the Moon - Pink Floyd (1973): After this one, rock music (and college dorms) were never the same again. Dark Side is Pink Floyd's opus, their 5th Symphony, their undying legacy. Yeah - The Wall and Wish You Were Here are great, but nothing compares to this. Trippy, catchy, contemplative, silly...this one is whatever you want and more. It also has some of modern music's most memorable moments: the 7/4 bass lick in "Money," the vocal solo in "The Great Gig in the Sky," the whispery vocals of "Breathe," etc. With this, the band picked up where The Beatles left off 3 years before. And they delivered. Boy, did they.

28.) Deja vu - Crosby, Stills, Nash & Young (1970): Go out and buy this one, folks. You'll be glad you did. From rainbows of harmony to soulful performances, from the top-40 choruses to the challenging solos, this is a southern-rock stunner. Songs like "Almost Cut My Hair" and "Woodstock" conjure up that late-60's zeitgeist, with all its free love and big dreams in tact. "Our House" is a sing-along toe-tapper. And "Country Girl" is a pop tune in 3 movements. Best of all? The opener. "Carry On" is funky, folksy, and fabulous. Check it out.

27.) Illinois - Sufjan Stevens (2005): This incredible concept album (which focuses on, you guessed it, the state of Illinois) has a funny way of redefining pop expectations for those curious enough to listen. Stevens entrances you with hypnotic stories and flamboyant arrangements, ones that lace softly atop each other with a naturalism unrivaled in the decade. Its lilting melodic flirtatiousness, coupled with the slick production, is borderline sublime. The song "John Wayne Gacy, Jr." will chill and break your heart. "Jacksonville" is downbeat funk with a southern twang. "Come On! Feel the Illinoise!" will expose you to the outer limits of pop music, with fun time signature changes and intriguing chord progressions. If you have no reservations about an album that dares to take chances, and then dares to commit to those chances, look no further than this.

26.) Purple Rain - Prince (1984): I mean, really? Do I even have to explain this one? Prince is the emperor of the outlandish, and on Purple Rain, he proclaims it to the world. I've never seen the movie (who among us actually has?), but this album doesn't need it - the music speaks for itself. Those 80's melodies are addicting, the electro-pop percussion and keyboards are glorious, and Prince's vocals and lead guitar are edgy, unhinged, and endlessly emotive. There's been a resurgence of Prince adoration since his death, a lot of it disingenuous, but push all that aside when you take this one in. It's the genuine artifact. 

25.) The College Dropout - Kanye West (2004): Without question, this is hip hop's best record of the 2000's. With lively flow, engaging themes, grabbing beats, and incredible hooks, it's an extraordinary debut for West and a high note for fans of the genre. While sarcasm seems to ooze from every pore (tracks like "New Workout Plan" and "School Spirit" practically laugh in your face), there's sincerity in the delivery. Even through the farce, West is preaching his philosophy of downtrodden pride. Other songs, like "All Falls Down" and career highlight "Jesus Walks" utilize relatively complex arrangements to examine life in the new millennium. Regardless of how entertaining and over-the-top his latter albums turned out to be, I think The College Dropout is West at his absolute best.

 24.) Crash - Dave Matthews Band (1996): I can't describe how important this album is to me on a personal level. I heard it for the first time in 9th grade. My musical taste had been getting progressively "heavier" since the 6th grade - Weezer became Pearl Jam, which became Nirvana, then Rage Against the Machine, and then...? Well, this record crashed right into me. It showed me that pop music could have teeth, that folk could also rock, that violins and saxophones have a place in modern music. When you put this album on, you get the quintessential Dave Matthews experience - groovy licks, finger-snappy hooks, and some of the best drummers of all time doing his thang. I have So Much To Say about Crash, but instead, I'll end my review right here. Before it gets Too Much.

23.) Revolver - The Beatles (1966): From the barbed overconfidence of "Taxman," to the haunting refrain of "Eleanor Rigby," to the bubbly "Yellow Submarine" and "Good Day Sunshine," Revolver is one of the most successful, innovative, and influential albums ever made. For years, it was my favorite Beatles record. Thematically, it's a buckshot of different moods and motifs - the boyish optimism of "Got to Get You Into My Life" gives way to the far-eastern swirls of "Tomorrow Never Knows." And everything else? Wonderful. "I'm Only Sleeping" is a lethargic head-nodder, "She Said She Said" is a sarcastic stinger, "And Your Bird Can Sing" is a hefty scoop of 60's bubblegum pop, the list goes on. All in all, this album is simply classic; one of the greatest from a band of unparalleled importance.

22.) Nightbird - Eva Cassidy (2015): Man, this one should be higher on the list. Really. Nightbird is an album as sweet and sultry as its title. Its jazz is pure, swinging up there with Basie and Q and the best of them (I'm particularly enamored with the tickled ivories and holy skins). But, like many of the records on this list, it all boils down to the vocals. And Eva Cassidy? She's the most talented singer you've never heard of. She's fire and ice, the sky and the sea, sassy and soulful. Sadly, her life and career were extinguished too soon. This posthumous release showcases the full range of her exquisite talent. Her versions of "Ain't No Sunshine," "Fever," and "Son of a Preacher Man" are divine. Call it whatever you want - blue-eyed soul, lounge jazz, fiery folk - it doesn't matter. Nightbird is perfect.

21.) The Question - Emery (2005): This album is more than pop-punk, or hardcore, or post-hardcore, or whatever you want to label it. Instead, The Question is a monumental feat of modern music. What other contemporary rock bands sound like this? With arrangements and structures this diverse? With harmonies and counter-melodies used so effectively? With such accomplished, nuanced musicianship? While I know this album may not be everyone's cup of tea (from the screaming, to the frenetic energy, to the brash instrumentation), it at least deserves your respect. Emery took classical songwriting techniques and applied them to modern punk, like mixing Schubert with Green Day. Green Schubert - that's what this album is. Listen to the time-changes in "The Weakest," the unique rhythms of "Playing with Fire," the luscious harmonies in "In a Win, Win Situation." It's all there, waiting to be discovered, to be validated, to be adored. The Question is a beautifully unexpected masterpiece, vicious and vibrant.