Elvis Presley is probably the most polarizing figure in 20th century popular music. To a significant number of people, he’s “The King,” a hip-swiveling icon from rock & roll’s early years who represented a generation of young people ready to throw off the sexual and racial shackles of the previous era. To others, he’s a hollow culture-thief, an overrated musical charlatan who profited off of music some feel he had no business recording in the first place.

A quick run of the man’s history and you could see validity in both sides’ arguments. But if you dig a little deeper, you begin to realize that both of these “Elvises” are largely fabrications—variations on a musical superstar; created to help both sides come to terms with the duality of his legacy.

Growing up, I was conditioned to loathe Elvis Presley. The lightest criticism I heard of Elvis was that he ‘stole Black people’s music.’ The harshest criticism I heard was that he was a blatant racist who felt that all a Black man could do for him was ‘shine my shoes or buy my record.’ I heard this from several family members and casual acquaintances—a sentiment that was forever immortalized in Public Enemy’s classic single “Fight the Power.” Elvis was no hero. And he certainly never meant shit to me.

I viewed White folks’ obsession with him as evidence of their inherently racist preference for Black music without a Black face. Even as I became a fan of 1960s British Invasion bands, part of my praise of the Beatles, Stones and Who was that they openly acknowledged the Black influence in their music–”unlike Elvis Presley.”

But, it wasn’t until years later that I had to really learn about Elvis—beyond what I’d been told. I was working on a piece about his supposed racism and racist legacy and started doing research for ‘proof.’

You can’t imagine my surprise at what I eventually discovered.

I learned that the infamous “shine my shoes” quote was never verified; and was told second-hand to what basically was a 1950s tabloid rag out of Boston called Sepia. During the same time that Elvis supposedly gave this ‘quote,’ he did an interview with Jet (yes, the Black-owned Jet magazine) where he spoke openly about the controversy and the origins of rock & roll as Black music. “I never said anything like that, and people who know me know that I wouldn’t have said it,” he told Jet. “A lot of people seem to think I started this business. But rock n roll was here a long time before I came along. Nobody can sing that kind of music like colored people. Let’s face it: I can’t sing like Fats Domino can. I know that.”

I found quotes from notable Black musicians and celebrities, detailing their experiences with Elvis, which ranged from respectful to affectionate. James Brown said “I wasn’t just a fan, I was his brother.” B.B. King was also close to Presley throughout his life and Ike Turner reportedly let Elvis carry his band’s gear early on and claimed he was the first man to put Elvis on a stage. Muhammad Ali, who let Elvis live with him while he trained for a bout against Joe Frazier, said, “Elvis was my close personal friend. I don’t admire nobody, but Elvis Presley was the sweetest, most humble and nicest man you’d want to know.”

Additionally, though artists like Fats Domino, Big Joe Turner and Jackie Brenston had been recording rock & roll long before Elvis, the painting of Elvis as no more than a White culture thief of Black music, while not being completely erroneous, was at the very least overstated. I’d always been led to believe that rock & roll was a sea of Black faces until this one, gyrating White guy came along. But Elvis wasn’t the first White man to sing rock & roll; Bill Haley was charting two years before anybody’d heard of Elvis. I also believed icons like Chuck Berry, Little Richard and Bo Diddley had made their mark prior to Elvis ‘stealing’ all of the credit—Elvis first single “That’s Alright,” was a year before Chuck’s first [“Maybelline”], Diddley’s first [“Bo Diddley”] or Richard’s breakthrough [“Tutti Frutti.”] Of course, it would be naïve and wrongheaded to pretend that Elvis’ race did not make the path to superstardom much easier for him in 1950s America; but it wasn’t just his race that made him popular. Elvis was a good-looking kid. Chuck Berry was thirty singing to teenage girls, Little Richard’s ‘flamboyance’ made him unlikely to be a teen idol to anyone in 1956; and even the White Bill Haley looked more like a math teacher than a rock & roller. Elvis had looks and charisma—in addition to being a young White guy. So, is it blasphemy to call him “The King” of a genre he didn’t invent? I don’t believe Michael Jackson invented pop music; and I don’t believe Aretha Franklin invented soul. So are they also not allowed to lay claim to their royal titles?

Elvis having a much bigger hit with “Hound Dog” as compared to its original singer, Big Mama Thornton, is also often cited as evidence of his benefitting solely from being a White face. But in the 1950s, hit songs would be recorded by several artists; and while there were many blatant examples of “White washing” Black hits for White audiences (see: Pat Boone), it wasn’t automatic that the White artist would have the bigger hit or the definitive version. “Blueberry Hill” is considered by many to be Fats Domino’s signature song, but it had been written by Vincent Rose and recorded by several artists prior to his much more well-known 1956 version. There is more nuance in the discussion of who-recorded-what-first-and-why than many like to consider.

I’d even been led to believe that Otis Blackwell, the man who wrote many of Elvis’ early hits, died penniless largely because he was screwed financially by the nefarious Presley. But Blackwell received royalties for his songs for years, and was at one point substantially well-off due to those royalties. He died in 2002 having lived under tremendous financial straits in his latter life, but that was mostly due to tax issues and years of alcoholism—neither of which had anything to do with Elvis.

The idea of Elvis as an iconic rebel leading the charge into a bold, new age is also patently false. Elvis craved acceptance from the establishment and the older generation. His rebellion was mostly in the hearts and minds of his audience; not in the intent of Presley himself. He wanted to make music, and reacted with an ‘aw-shucks’ chagrin whenever discussing the disdain that older, mostly White people had for his image and the fact that he sang sexually-charged ‘race’ music. When he was dismissed by the elder statesmen of the recording industry, like Frank Sinatra, it crushed him. That need for acceptance is what led Elvis away from his early R&B/rock & roll sound and towards middle-of-the-road pop heading into the 60s.

He also came to resent rock’s second generation; a generation that existed largely because of him. He scoffed condescendingly during his 1969 comeback special while discussing ‘new groups’ and their ‘long hair.’ He also famously penned a letter to Richard Nixon asking to be given the title of “Federal Agent At-Large” in the fight against drugs; as he bemoaned the influence he felt acts like The Beatles had had on the younger generation.

There will never be a time when Elvis doesn’t spark discussion and debate. He should. His musical legacy is a defining moment in our history; that moment when Black music, vernacular and culture became the driving force in how all American youth began to see themselves. The trickle that had begun with jazz as far back as the 20s was, by the late 1950s, a flood that couldn’t be denied. Which is why the White establishment fought so hard against it. But its important to ignore the hearsay and conjecture surrounding this “King of Rock & Roll,” and look at the reality of who he was as a man and a musical figure. Before we rush to tear him down or build him up.

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There are lot of things to love about the R&B of the 1990s: tons of great singles, more than few ridiculously talented vocalists, the New Jack Swing, neo soul and hip hop soul movements. There are a lot of things to loathe about the R&B of the 1990s: a lack of singer/songwriters, cookie-cutter vocal groups, half-baked, overlong albums. Nonetheless, it was a decade that saw the streamlining of ‘urban’ music (what does that mean, anyway?) and the decade when R&B fully embraced hip hop and vice-versa–no small feat considering the two genres seemed to be mortal enemies during most of the previous decade. And yes, thanks to the neo soul movement of the mid-to-late 1990s, singer/songwriters began to re-establish themselves by decade’s end. So while history may fawn over the hip hop and alternative rock that dominated the decade, R&B was just as important and influential on what was to come in the new millennium.

So, for our final “10 Greatest” entry,  we decided to take a look at ten of the most important albums in urban contemporary, neo soul, New Jack Swing and hip hop soul from the “Whatever” Decade.

#10. Funky Divas by En Vogue (1992)

Proof positive that a ‘manufactured’ group isn’t always a bad thing, En Vogue was one of the greatest vocal groups ever put together by a team of producers. And on their second album, producers Denzil Foster and Thomas McElroy gave Cindy, Terri, Maxine and Dawn a wide range of songs to showcase their abilities. Funky Divas was one of the most genre-hopping R&B albums of the last two decades, with the quartet trying on sexy urban contemporary (“My Lovin (You’re Never Gonna Get It”), hard-edged pop/rock (“Free Your Mind”), a sophisticated & sassy spin on the Supremes sound (“Give It Up, Turn It Loose”) and two excellent covers of Aretha’s “Giving Him Something He Can Feel” and the Beatles’ ubiquitous “Yesterday.” The album proved to be the pinnacle of En Vogue’s somewhat-surprisingly short run as a chart-topping act, but is still one of the most listenable albums to have been released at the tail end of the New Jack Swing era.
Recommended Tracks: “My Lovin’ (You’re Never Gonna Get It),” “Free Your Mind,” “Giving Him Something He Can Feel”

#9. Enter the Dru by Dru Hill (1998)

The most complete R&B album released by a male quartet in the 1990s didn’t come from Boyz II Men. It didn’t come from Jodeci. It came from the group fronted by the high-kicking guy with a bad dye job. Scoff all you want, but Dru Hill’s second album was, track-for-track, one of the most fully-realized albums of its kind. In an era when most male vocal groups were so preoccupied with balladry that they forgot how to make you dance, Sisqo, Nokio, Woody and Jazz (worst collection of names ever, by the way) proved that they were as comfortable with smoky bedroom numbers as they were with hip hop-influenced club bangers. And for those of you turned off by his subsequent turn as a back-flipping novelty act, this album is not “The Sisqo Show.” Overweight lover Jazz is almost as omnipresent as Sisqo, and Woody has his requisite showcase on “Angel.” Nokio is the least spotlight-ready member of the group vocally, but his songwriting and production talents are evident all over the record. And there’s a stellar cover of The Dells’ “The Love We Had (Stays On My Mind).”
Recommended Tracks: “How Deep Is Your Love,” “Beauty,” “These Are the Times”

#8. One In A Million by Aaliyah (1996)

There are few pairings of a producer and established artist in recent memory that created such kinetic chemistry as when urban pop starlet Aaliyah teamed with production maestro Timbaland. Though he was eight years her senior, Timbaland was the one with the shorter resume, having studied under the tutelage of Jodeci mastermind Devante Swing for a few years before producing singer Ginuwine’s debut. Aaliyah had hits, but was eager to prove she was more than R. Kelly’s ingenue. The combination of her sultry vocals and his percussive backdrops (not to mention Missy Elliott’s songwriting) proved to be a winner, as Aaliyah reinvented herself as a smooth, sexy vocalist with some of the most trunk-rattling beats ever heard on an R&B record holding down the album’s melodic grooves. After hits like “4 Page Letter” and the title track, Aaliyah became one of the biggest stars in hip hop soul. And while its hard to not be reminded of her shocking death just five years later, its important to remember the remarkable run that preceded it.
Recommended Tracks: “One In A Million,” “4 Page Letter,” “If Your Girl Only Knew”

#7. Baduizm by Erykah Badu (1997)

Whether or not you care for the term ‘neo soul,’ its hard to overstate the impact Erykah Badu’s debut album had on the burgeoning subgenre in 1997. It wasn’t the first LP to carry the ‘neo soul’ tag, (see below) but it did much to establish the genre’s aesthetic. As inspired by the classic soul singer/songwriters of the 1960s and 70s as she was by 1990s alt-rap acts like A Tribe Called Quest and the Roots, Badu added nods to Afro-Beat, jazz and embellished it all with her own quirky sensibility. This album felt like nothing else in the mid-90s, not even the neo soul albums that had preceded it. With one foot planted firmly on the ground, (“Otherside of the Game,” “Next Lifetime”) and another somewhere closer to her own Badu-verse (“Appletree,” “On & On”), Erykah announced to the world that an artist had arrived with her own unique sensibility and approach. While some of her ‘Baduizms’ could justifiably be dismissed as gimmicky, she was–and is–undeniably compelling.
Recommended Tracks: “On & On,” “Otherside of the Game,” “4 Leaf Clover”

#6. CrazySexyCool by TLC (1995)

Yet another stellar sophomore album that defied the expectations set by a remarkable debut (there are a lot of those on this list), TLC’s second album was a blockbuster. TLC’s debut album was one of the first albums by a female R&B act that openly embraced a hip hop aesthetic, and the trio of T-Boz, Left Eye and Chilli’s appeal was centered on a playful street sensibility, themes of female empowerment and sisterhood. Their second album stripped away their cartoonish elements, and Dallas Austin, Organized Noize and Puffy (as he was known then) Combs pushed the ladies into more sophisticated territory without ever foregoing stellar pop hooks. Songs like “Creep” and “Red Light Special” were slow-burners that were inescapable in 1995, and the mega-hit “Waterfalls” became one of the defining singles of the decade. The album cuts followed in the same vein and the album has the feel of a pseudo-concept record. And guest appearances by Dre 3000, Phife Dawg & Busta Rhymes don’t hurt, either.
Recommended Tracks: “Creep,” “Red Light Special,” “Diggin’ On You”

#5. Groove Theory by Groove Theory (1995)

The forgotten classic of the first wave of neo soul albums, Groove Theory’s debut was as important, influential and flat-out brilliant as any of the more critically-acclaimed albums released by their peers. Urbane, streetwise and polished; yet somehow also earthy and organic, the music here speaks for itself. Amel Larrieux’s  voice was immediate and arresting over Bryce Wilson’s hip hop productions. This was Mary J. Blige-with-a-Masters of Fine Arts degree, and the album’s cohesive feel made it the perfect soundtrack for a million late-night conversations about life, love and youthful expression. This is the sound of greatness that isn’t trying to be great. “Tell Me” might be the most underrated single of the 90s, with “Keep Tryin” almost equaling it. Larrieux would move on soon after to pursue a critically-acclaimed solo career, with Wilson attempting to continue the Groove Theory name in various incarnations before eventually settling into a production career. But this album stands as one helluva landmark for an act that helped introduce neo soul to the masses–despite never receiving much credit for it.
Recommended Tracks: “Tell Me,” “Didn’tCha Know,” “Keep Trying”

#4. Maxwell’s Urban Hang Suite by Maxwell (1996)

Concept albums have been few and far between in contemporary R&B, but it seems like almost everything about Maxwell’s debut album sought to defy conventional expectations of what an R&B LP could do and be. Using classic, flowing albums by Marvin Gaye as an obvious jumping-off point, the Brooklyn-bred crooner crafted a gorgeously lush record that told the story of the typical adult romantic relationship. With that as the premise, Maxwell proceeds to lay down some of the smoothest grooves heard since Marvin and Al were gettin panties droppin’ in the mid-70s. The concept enhances the songs without ever robbing them of their individual potency, from the mesmerizing “Ascension (Don’t Ever Wonder)” to the I-might-make-a-baby-to-this bedroom anthem “Til the Cops Come Knockin’” there isn’t a wasted musical moment. Maxwell may have never bettered the inspired excellence of his first album–but hey, very few artists could.
Recommended Tracks: “Ascension (Don’t Ever Wonder),” “Sumthin Sumthin,” “Til the Cops Come Knockin’”

#3. My Life by Mary J. Blige (1994)

Mary J. Blige’s 1992 debut What’s the 411? could be considered the first ‘hip hop soul’ album, but it was on her sophomore set that the term and style really came into public consciousness. The album’s sound and Blige’s aesthetic was rooted in round-the-way girl rawness, but injected with a healthy dose of classic soul that echoed Aretha Franklin at her most gut-wrenching. The production, (arguably the best that Sean Combs has ever been associated with), was rooted in classic soul samples, which provided the perfect, moody backdrop for Blige’s almost painfully sincere lyrics. Her vocal shortcomings were still evident at this early stage, but on My Life they work to her advantage, adding resonance to the lovelorn lyrics. Songs like “You Gotta Believe” and “Don’t Go” practically crackle with hurt, passion and frustration. After this, Blige began her metamorphosis into more middle-of-the-road territory; but on this album she made the strongest artistic statement of her lengthy and acclaimed career.
Recommended Tracks: “My Life,” “Be Happy,” “I’m the Only Woman”

#2. Brown Sugar by D’Angelo (1995)

D’Angelo’s been gone a while (thankfully that sabbatical may be ending soon), so it may be easy to forget how much of a game-changer his classic 1995 debut really was. Early 90s mainstream R&B was a mix of funky New Jack Swing acts and glossy urban pop balladry, with the Mary J. Blige/TLC/Aaliyah-led hip hop soul movement just beginning to really find its voice in 1994. D’Angelo’s debut brought the long-forgotten aesthetic and approach of classic 70s soul back to the forefront of Black music. Being an instrumentalist, writing your own songs, developing your own artistic voice; all of a sudden these things began to matter again. And it didn’t hurt that the songs were flat-out great. The entire album sounded like it was recorded at 2am in some almost-empty lounge somewhere, and its success, as we all know, set the stage for the neo-soul boom that would last well into the 2000s. For a generation too young to have witnessed Stevie and Sly at their peak, it provided a benchmark for what it meant to be an auteur in urban music.
Recommended Tracks: “Brown Sugar,” “Lady,” “Shit, Damn, Motherfucker”

Is the anticipation killin’ ya? No? Okay, let’s just get it over with…

#1. The Miseducation of Lauryn Hill by Lauryn Hill (1998)

She’d become a star as a member of the Fugees, but there had been little to indicate that Ms. Lauryn was capable of a masterpiece quite like this. Following the group’s breakup, her bandmate Wyclef Jean had emerged with his critically and commercially-successful solo debut The Carnival, and many were beginning to think Clef was the sole genius behind the Fugees’ success. Then, in the fall of 1998, Lauryn emerged with this stirring combination of soul, hip hop, reggae, pop and gospel and pushed critics and audiences back on their behinds. Every song is addictive and resonant and the range of musical styles and confessional songwriting was stupefying even for fans of the Fugees’ wide-ranging eclecticism. Hill sang & rapped about motherhood (“To Zion”), fame (“Lost Ones”), heartache (“Ex-Factor”) and seemingly everything in-between with a clarity and focus that belied her youth. Miseducation… still stands as one of the most brilliant albums ever released and a towering statement from one of the most beloved artists of her generation.
Recommended Tracks: “Doo Wop (That Thing),” “Ex-Factor,” “Everything Is Everything”

So that’s it. The final Top Ten. It’s been fun sparking debates and hatemail over the past year. And maybe some folks discovered some music they hadn’t heard before. More than anything, these lists were intended to maybe inspire folks to seek out more music. If that was the case with you, well…MISSION ACCOMPLISHED.

Honorable Mentions: II by Boyz II Men, Velvet Rope by Janet Jackson, 112 by 112, The Future by Guy, Mary by Mary J. Blige, Another Level by BlackStreet, The Bodyguard (original motion picture sdtk) by Whitney Houston, The Show, The Afterparty, The Hotel by Jodeci, Pronounced Jah-Nay by Zhane, For the Cool In You by Babyface, Where I Wanna Be by Donell Jones, Intro by Intro, Toni Braxton by Toni Braxton, What’s the 411? by Mary J. Blige, Never Say Never by Brandy, 12 Play by R. Kelly, Born To Sing by En Vogue, Home Again by New Edition, It’s About Time by SWV, Secrets by Toni Braxton, Forever My Lady by Jodeci, The Boy Is Mine by Monica, My Way by Usher, Butterfly by Mariah Carey, Poison by Bell Biv Devoe, janet. by Janet Jackson, Sons of Soul by Tony! Toni! Tone!, Lose Control by Silk, FanMail by TLC

‘Those who can’t sing, sing rock.’

That’s an old joke–and there’s some truth to it. (Does anybody wonder if Kurt Cobain was singing leads in a boys choir as a kid? Probably not.) But the idea that rock singers can’t really sing is a myth. While Tom Waits may not be hired to sing “At Last” at anyone’s wedding anytime soon, there are several rock vocalists who can hold their own with any singer in any genre. Here are the ten best voices in the history of rock & roll, classic rock, hard rock, heavy metal, alternative and everything in-between.

#10 Corey Glover (Living Colour, solo)
There are names on this list that are more well-known, but those fans of the funk-metal outfit Living Colour are well-versed in the vocal pyrotechnics of Corey Glover. Living Colour guitarist Vernon Reid was compelled to recruit Glover for his band after hearing the singer give a scorching rendition of “Happy Birthday”–a testament to Corey’s ability to inject passion into any performance. His gospel roots show through in every performance, and Glover sings with a power and intensity reminiscent of a guy fronting a mass choir. From Living Colour’s blistering debut, the classic Vivid to his solo records, Glover is one of the best rock singers of his generation. And he’s definitely the most underrated.

Great Performances: “Cult of Personality,” “I Wanna Know,” “Type”

#9 Steve Perry (Journey, solo)
Steve Perry can sang. No matter how cheesy Journey’s music can be, you can’t deny the guy’s talent. A Sam Cooke disciple if ever there was one, the former frontman and solo star has some of the most recognizable pipes of the arena rock era. Perry’s ridiculous range gave Journey’s anthemic songs dramatic weight and his solo career yielded some of the 80s most memorable pop rock radio hits. A rock singer who’s soul roots show every time he takes to the mic, Perry was probably the most recognized voice in rock music in the late 70s, early 80s. And anyone that’s ever tried to sing along to “Don’t Stop Believin’” can appreciate the guy’s powerhouse vocals.

Great Performances: “Don’t Stop Believing,” “Lights,” “Oh Sherrie” (solo)

#8 Rob Halford (Judas Priest, solo)
Except for maybe Ozzy Osbourne, there is no more recognizable voice in heavy metal than the iconic Priest frontman. And while Ozzy remains one of hard rock’s most celebrated vocalists, no one in metal has the force and pipes that Halford has displayed over the last four decades. Much has been made about Halford’s influence on metal’s aesthetic, but his approach as a vocalist provided a template for future 80s power-wailers like Axl Rose, Sammy Hagar and Skid Row’s Sebastian Bach. His talents as a vocalist could lend themselves to a variety of genres, but (aside from a brief foray into industrial music) Halford has remained devoted to his metal fanbase throughout his career–both with and without Priest. He remains the genre’s most celebrated singer.

Great Performances: “Painkiller,” “Freewheel Burning,” “Blood Red Skies”

#7 Chris Cornell (Soundgarden, solo)
Soundgarden boasted some of the most murky riffs of 90s alternative rock and their slightly-psychedelic approach to grunge provided the perfect sonic backdrop for frontman Cornell’s otherworldly pipes. A singer that could topple Everest with his voice, Chris Cornell became one of the most celebrated rock singers of his generation–in a decade more remembered for baritone Eddie Vedder-wannabes and rap-metal rhymers than for high-powered vocals. His post-Soundgarden career has proven to be spotty, but also showcased the singer’s versatility–he’s lended his inimitable voice to everyone from rap metal supergroup Audioslave to hip hop/pop superproducer Timbaland.

Great Performances: “The Day I Tried To Live,” “Outshined,” “Fell On Black Days”

#6 Rod Stewart (Jeff Beck Group, The Faces, solo)
Like Steve Perry, Rod “The Mod” is heavily-influenced by the iconic Sam Cooke. But unlike Perry, Stewart put his own raspy stamp on his Cooke-ish inflections. Though his contemporary incarnation as a hokey singer of pop standards, Stewart began his career as one of the best singers in 60s British rock. He added a soulful strut to the Jeff Beck Group’s 60s blues-rock, but he truly came into his own with the Faces. The group was short-lived, but proved to be the bridge into solo superstardom that Stewart needed. His impassioned “Sweet Lady Mary” and powerful cover of Paul McCartney’s “Maybe I’m Amazed” were a precursor to 70s solo classics like “Tonight’s the Night” and “Maggie Mae.”

Great Performances: “Sweet Lady Mary” (The Faces), “Maggie Mae,” “Downtown Train”

#5 Jeff Buckley
The sensitive singer-songwriter became a legend following his untimely and sudden death in 1994, and for good reason. A voice capable of communicating raw emotion better than most that came before or since, Buckley is a singer’s singer. His Grace album is a masterpiece and an excellent showcase for his emotive style. His take on Leonard Cohen’s classic “Hallelujah” could make a strong case for being the closest the well-tread song has to a definitive version, and “Last Goodbye” is one of the 90s most stellar vocal showcases in any genre. And it should be noted that his father, 60s singer-songwriter Tim Buckley, was no slouch as a vocalist, either. 

Great Performances: “Hallelujah, “Last Goodbye,” “Lilac Wine”

#4 Steve Winwood (Spencer Davis Group, Traffic, Blind Faith, solo)
Bursting onto the scene as a scrawny White English teen with a voice that sounded like a Black man from Memphis, Winwood’s barn-burning performance on the Spencer Davis Group’s 60s classic “Gimme Some Lovin” is still awe-inspiring, and his tenure with Traffic revealed his gift for nuance and phrasing across such remarkable songs as “Dear Mr. Fantasy” and “The Low Spark of High-Heeled Boys.” For those who were too young to remember Woodstock and Watergate, however, Winwood will be best-remembered for his 80s pop hits like “Higher Love.”
Great Performances: “Gimme Some Lovin’” (Spencer Davis Group), “In the Presence of the Lord” (Blind Faith), “Higher Love”

#3 Elvis Presley
An icon who’s musical legacy has become convoluted over the last several decades due to the incessant branding of his image, Elvis Presley was a spectacular vocalist that showed tremendous versatility. Capable of bashing through fiery rockers without compromising an iota of soul and grit, Presley later moved to the middle-of-the-road and showed that he was equally capable of pop balladry on par with the Sinatras and Coles of a generation earlier. The gruff howl of “That’s Alright” may seem light-years removed from “Can’t Help Falling In Love”–and it is–but its a testament to Elvis’ abilities as a singer. Add that to his gospel and country excursions, along with the soul-pop hits like “Suspicious Minds” and “In the Ghetto” of his latter years and you have one of the most diverse catalogs of any vocalist in pop music.

Great Performances: “Suspicious Minds,” “Jailhouse Rock,” “Can’t Help Falling In Love”

#2 Robert Plant (Led Zeppelin, solo)
One of rock’s most celebrated voices and a singer who influenced the next twenty years of hard rock vocals, Robert Plant is, for many people, the gold standard when it comes to rock singers. The charismatic frontman for the mighty Zeppelin has a massive amount of powerhouse performances, both live and on studio recordings, that showcase his impassioned and throaty take on blues and folk-style singing. Zeppelin wouldn’t have been Zeppelin without Plant’s majestic wail adding gravitas to songs like “Immigrant Song,” “Babe I’m Gonna Leave You” and “Rock & Roll.” He could go from banshee scream to bluesman grunt in the span of one song. In his solo career, he’s tackled everything from pop/R&B standards like “Sea of Love” to country-folk hybrids with Allison Krause.
Great Performances: “When the Levee Breaks,” “In My Time of Dying,” “Immigrant Song”

There’s really only one person not named ‘Robert Plant’ that could sit atop this list…

#1 Freddie Mercury (Queen, solo)
A singer with seemingly limitless range, Freddie Mercury possessed one of the most recognizable voices in music and could seemingly find his vocal niche in any style or genre. Mercury sang Queen’s massive arena rock hits with a grandiose flair that was perfect for the band’s campy image, but injected very real emotion and heart into each performance. He sang opera with Spanish soprano Montserrat Caballe and was Michael Jackson’s original choice to sing the Jacksons’ 1984 hit “State of Shock” (Mick Jagger subsequently replaced Mercury on the official releases.) He could mimic Elvis’ rockabilly swagger one second (“Crazy Little Thing Called Love”) and dabble in 1920s music hall the next (“Lazy On A Sunday Afternoon.”) Freddie Mercury was one of rock’s greatest frontmen, but he was more than just a great rock singer–he was a great singer, period.

Great Performances: “Bohemian Rhapsody,” “Another One Bites the Dust,” “The Show Must Go On”

Honorable Mentions: Roger Daltry (The Who), Thom Yorke (Radiohead), Elton John, Brian Ferry (Roxy Music, solo), Ian Gillian (Deep Purple, solo), Prince, Paul Rodgers (Free, Bad Company), Axl Rose (Guns N Roses), David Coverdale (Deep Purple, Whitesnake), Bruce Dickenson (Iron Maiden), Joe Cocker, Fats Domino, Layne Staley (Alice In Chains), Bon Scott (AC/DC), Phil Lynott (Thin Lizzy), Roy Orbison, Robin Zander (Cheap Trick), Paul McCartney, Eric Burdon (The Animals), Don Henley (The Eagles, solo), Ronnie Van Zant (Lynyrd Skynyrd), Eddie Vedder (Pearl Jam), Brad Delp (Boston), Jack Bruce (Cream), Michael Hutchence (INXS), Sammy Hagar (Van Halen, solo), Gregg Allman (Allman Bros Band), Michael Stipe (R.E.M.), Caleb Followill (Kings of Leon), Chris Isaaks, David Gilmour (Pink Floyd), Billy Joel, Tim Buckley, Phil Collins (Genesis, solo), Paul Weller (The Jam, Style Council, solo)

Stereo Williams Screws Up Beyonce & Jay-Z’s Daughter’s Interesting Name and Discusses Ron Paul’s Political History

The Royal Wedding. The controversial deaths of Osama Bin Laden and Muammar Gaddafi. The deaths of icons like Liz Taylor and several musical greats, including Amy Winehouse, Nick Ashford, Heavy D and Nate Dogg. The end of the Iraq War. Charlie Sheen.

What a year.

This has been as eventful a 365 days as any, and while 2011 may go down as the year that brought us planking, Chris Brown and Justin Bieber as battle rappers and Cee-Lo performing with Muppets; we decided to focus on the ten best albums of the year.

Apologies to the Ferrari Boyz and those that loved All-4-One’s reunion album…they didn’t make the cut. And a quick note to Frank Ocean & Weeknd fans:  no mixtapes were included.

#10
Mylo Xyloto by Coldplay
The band may sing about it being them ‘against the world,’ but nobody really believes them. Sure, it may be cool to hate Coldplay, but on their 5th album Xylo Mykolo, they make it clear why chicks and moody dudes love ‘em. And they’ve finally seemed to shake that pesky Joshua Tree fetish. Embracing electronics and dropping some of the po-faced moping, Xylo… stands as  Coldplay’s ‘shiniest’ album but despite the new colorful backdrops, the band still manages to do with they do best: churn out effective piano pop backed with soaring harmonies and shimmering guitars. Its the closest the World’s Most Earnest Band has ever come to actually sounding like they’re having fun, but still never really cutting loose. But hey–no one really listens to Coldplay expecting to hear them ‘rock out,’ at this point, they’re more or less stuck in midtempo mood-rock mode. But superproducer Brian Eno is still convincing the band to shake off the doldrums of its first three albums and embrace epic soundscapes; as he showers every song in stirring ambiance and echo. Its best to ignore their unoriginality and just enjoy the ride. Another thing you might wanna ignore? The Rihanna guest spot on “Princess of China.”
Recommended Tracks: “Paradise,” “Every Teardrop Is A Waterfall,” “Mylo Xyloto”

#9
Late Nights & Early Mornings by Marsha Ambrosius
The kind of album that could convince a nice girl to do some really naughty things, Marsha Ambrosius’ solo debut was well worth the wait. The entire album seems to offer evidence as to what can go down between those late nights and early mornings, a set of smooth slow burners and sensual bedroom music that picks up right where Ambrosius’ former group Floetry left off. For those who were fans of that acclaimed duo’s sexy “Getting Late” and “Say Yes,” Late Nights offers more of the same, but Ambrosius’ sexuality is a bit more brazen. The title song is the latest in a long line of Prince-inspired smooth grooves, and “Hope She Cheats on You (With a Basketball Player)” is as good a pissed-off-ex-girlfriend anthem as any released in the last five years. Her cover of Portishead’s “Sour Times” is a welcome surprise–Ambrosius’ passionate take on the beloved trip-hop classic; and she re-records (remixes?) Michael Jackson’s “Butterflies” (which she wrote), a song she previously released while with Floetry.
Recommended Tracks: “Late Nights & Early Mornings,” “Hope She Cheats On You (With A Basketball Player),” “With You”

#8
El Camino by The Black Keys
Having already cemented their status as the torchbearers for sloppy garage rock in the wake of the White Stripes’ demise, the Black Keys decided to shake things up a bit with their 2010 album Brothers, and added some Southern soul grit to their blues-rock template. On El Camino, they bring in superproducer Danger Mouse and continue their subtle forays into retro-soul music. The producer and the band have a grand time mashing together older musical elements that seemingly wouldn’t fit; like Mott the Hoople-style guitars slathered against Motown-ish percussion or a Stax-ish bassline pushing along a riff that could echo the Kinks. Danger Mouse keeps the band’s focus sharp while still maintaining their ramshackle aesthetic. The notoriously atmospheric producer keeps things minimal, and the Keys thrive–in all of their bone-headed glam rock splendor. Somehow, both parties also maintain their subtle allegiances to hip hop, as well; with tightly-coiled rhythms that never sound too busy. “Little Black Submarines” is the odd song out, a strangely lilting acoustic number–but its not a bad detour. This entire album proves that the Black Keys may be a lot more well-known than they used to be, but they’re not creatively stagnant.
Recommended Tracks: “Lonely Boy,” “Sister,” “Dead and Gone”

#7
Cole World: The Sideline Story by J. Cole
With a lead-up buzz that arguably made him the closest 2011 had to a Drake-ish hip hop phenom, Roc Nation upstart J. Cole delivered a debut album that managed to do what few high-profile hip hop debuts have done recently; thoroughly establish the rhymer’s identity. Cole World is most definitely a biographical album, but that doesn’t rob it of its ability to resonate universally. Cole’s a deft and clever rhymer, and his nimble way with words and ability to tell personal stories echoes a hint of his mentor, Jay-Z, in his earlier years. He showcases his rhyming abilities on tracks like “God’s Gift,” while treading familiar young, rich and black woes on “Dollar and a Dream III.” “Breakdown,” is the album’s most affectingly personal song; recalling his fractured relationship with his father and his mother’s drug addiction. A tune like “Can’t Get Enough,” could easily be a tossed-off nugget for the airwaves, but fully-committed performances from both Cole and guest Trey Songz add heft to what could’ve been a throwaway. To be certain, there’s not much innovative about Cole World, but its the guy’s perspective that makes the journey compelling.
Recommended Tracks: “Breakdown,” “Lights Please,” “Cole World”

#6
PL3DGE by Killer Mike
Long hailed as the most underrated lyricist in Atlanta’s hip hop hotbed, Killer Mike (aka Mike Bigga) re-emerged in 2011 with his first official studio album in almost a decade. Nonetheless, fans that had heard the socially-aware rhymer’s underground mixtapes knew what they were getting; fiery, angry Ice Cube-esque commentary on politics, crime and pop culture. Mike drops rhyme after rhyme of street wisdom, referencing everyone from Ric Flair to Rush Limbaugh. Proof positive that he is one of hip hop’s most intelligent emcees and most thoughtful provocateurs.”God Is In the Building II” is the latest in a long line of spiritually-themed, southern rap classics–alongside Goodie MOB’s “Soul Food” and David Banner’s “22s”–and features some of Mike’s most inspired rhyming. “To make out the ice cold streets of the city–you gotta have a Christopher word-game–witty,” Mike spits on the aforementioned “Ric Flair,” the rapper’s most bombastic moment and one of the best hip hop anthems of the year. By reminding fans that the best political rap never loses sight of the street, Killer Mike released hip hop’s most fully-realized topical album of 2011.
Recommended Tracks: “Ric Flair,” “God Is In the Building II,” “Burn”

#5
Relax by Das Racist
“You couldn’t see me like a Cuban playing hockey.” These guys are hilarious. You can’t listen to the debut album from the race-baiting, pop-culture obsessed trio of Asian-American rhymers Das Racist and not laugh. All possess a uniquely gifted and ironic sense of humor, like 80s Beastie Boys crossed with M.I.A. crossed with Stephen Colbert. The YouTube hit that is the single “Michael Jackson” is but one perfect slice of techno-influenced hip hop filtered through Das Racist’s twisted and subversive perspective; virtually every song on  Relax operates in its own weird headspace.  “Booty in the Air” is quite possibly the nerdiest strip club anthem ever recorded, with the awkwardly ballerific “Celebration” wobbling between homage and parody as it references hip hop cliches. Equal parts MF Doom and Eminem, emcees Heems and Kool A.D. spit clever-but-nonsensical bars like “They say I act white but sound black/ But act black but sound white/ But what’s my sound bite supposed to sound like?” The trio sound alternately stoned, pissed-off and obnoxious, and somehow created the most satisfying alt-rap oddity since M.I.A.’s Kala.
Recommended Tracks: “Michael Jackson,” “Booty In the Air,” “Celebration”

#4
Watch the Throne by Jay-Z & Kanye West
The most-hyped album of 2011, Watch the Throne arrived with a bang in the early fall, and the album, while falling short of masterpiece status, proved to be one of the year’s most satisfying, high-profile releases. Jay and Kanye indulge in their ‘look at us, we’re rich as HELL’ personas while sprinkling some social commentary and a few weird in-jokes throughout the album; and the ambitious production gives the project a sense of gravitas that just screams Kanye. Jay sounds energized by pairing with West for an entire album, and even though Yeezy isn’t in Jay’s class as a lyricist, the two prove they have a powerful chemistry on the mic–trading barbs and punchlines that have already been absorbed into pop culture. “Niggas In Paris,” despite it’s controversy-baiting title, became the year’s most inescapable club single and “Otis” was almost as huge, becoming one of 2011′s two 60s-icon referencing pop hits (the other being, of course, Maroon 5′s ubiquitous “Moves Like Jagger.”) Guest production from legends ranging from No I.D. to RZA to Q-Tip add to the BIG feel of the entire project–and WTT is nothing if not gaudy. But beneath the ostentatious rhymes about ‘planking on a million,’ there’s an emotional core that believes that there is catharsis to be found in celebrating the climb to wealth–”If you escaped what I’ve escaped–you’d be in Paris gettin’ fucked up, too!” Indeed, Jay…indeed.
Recommended Tracks: “Otis,” “Welcome To the Jungle,” “Niggas In Paris”

#3
Strange Mercy by St. Vincent
After the powerful-but-emotionally-detached brilliance of her first two albums, Annie Clarke aka St. Vincent’s third set finds the singer/songwriter in a deeply confessional mode. Her earliest work sounded like third-person observations, but this time around,  St. Vincent’s confessions ooze with the irony and sincerity of a woman that has lived and gained perspective from living. And when her voice is pushed to its emotional limit, Clarke reveals herself to be one of the most unique and resonate guitarists in contemporary popular music.  From the opener, the infectious “Chloe In the Afternoon,” it’s obvious that Clarke’s creativity, both as a writer and as an instrumentalist, is showing no signs of flagging. Her balance of the abrasive and the warm has never been used more effectively; the title track is an anthem of emotional schizophrenia that deftly conveys that sentiment both musically and lyrically; and “Cruel” shoves a Stooges-esque guitar solo into a bed of baroque strings and woodwinds. An album that showcases an artist that is both musically compelling and challenging, Strange Mercy is the zenith of everything that Clarke has shown herself capable of artistically.
Recommended Tracks: “Chloe In the Afternoon,” “Strange Mercy,” “Cruel”

#2
21 by Adele
The pop mainstream finally got wind of what soul fans had known for a couple of years now; Adele was primed to claim the blue-eyed soul crown previously held by the troubled Amy Winehouse. Even prior to Amy’s tragic death in the summer of 2011, Adele had slowly become the premier British soul singer of the moment on the strength of her acclaimed 2008 debut 19. But on 21, Adele subtly ratchets up the emotional intensity and echoes the pathos of the legends that have inspired her. Singing with the conviction and sincerity of a young woman who has lived a little more since emerging two years ago, Adele wrings every bit of honesty she can out of both smash singles from the album; the stirring “Rolling In the Deep” and the heart-on-my-sleeve uber-ballad “Someone Like You.” The album became a juggernaut, sitting atop the Billboard charts for thirteen weeks (breaking a record dating back to 1998), propelling the singer into the spotlight and assuring that, despite the fact that several megastars had huge years, no other story in music was as compelling as the emergence of the shy girl with the powerful voice. And with its confessional tone and themes of anger, revenge, heartbreak, self-examination, and forgiveness, 21 assured its place along such generation-defining fem-angst classics as Tapestry, The Miseducation of Lauryn Hill and Jagged Little Pill.
Recommended Tracks: “Someone Like You,” “Rolling In the Deep,” “Set Fire To the Rain”

And what was the best album of the year? It was a great one–and it was released at the tail-end of 2011…

#1
undun by The Roots
Long one of the most revered and acclaimed acts in hip hop, the Roots’ undun proves that the Philadelphia-based crew is as inspired as they’ve ever been. You don’t necessarily expect a veteran hip hop act to still find ways to challenge themselves artistically; and its even rarer to find an act (in any genre) that succeeds as completely as the Roots do on their 13th album. A concept album that tells the story of fictitious hustler Redford Stephens in reverse, undun packs a bevy of musical and lyrical ideas into a concise listen; with lead MC Black Thought taking the listener through Stephens’ gotta-get-mine tragedy. The Roots’ frontman is as nimble and stellar as ever, providing both emotional weight and subtle story details set against a variety of sonic backdrops. The breezy “Make My” is as melodically gorgeous as hip hop gets–with a perfect guest appearance from Big K.R.I.T.; and “Stomp” is the heart and soul of the album, an emotionally-evocative anthem that stands as the story’s pinnacle. The set closes with an instrumental mini-suite  that showcases the collective’s chops–in particular, ?uestlove’s drumming–and represents the turbulent beginnings of Redford’s story. An album that is both immediately riveting and rewarding to repeated listens, undun stands as a success of creativity and vision from a band that has never shown a dearth of either.
Recommended Tracks: “Stomp,” “Make My,” “The OtherSide”

So there they are. Be sure to send all complaints to VIBE Magazine. Thanks…

Honorable Mentions: Angles by The Strokes, My Life II…The Journey Continues (Act 1) by Mary J. Blige, Here I Am by Kelly Rowland, Rolling Papers by Wiz Khalifa, Ceremonials by Florence + the Machine, TM103: Hustlerz Ambition by Young Jeezy, Born This Way by Lady Gaga, The Light of the Sun by Jill Scott, Bon Iver by Bon Iver, The Greatest Story Never Told by Saigon, I’m With You by The Red Hot Chili Peppers, Take Care by Drake, Section.80 by Kendrick Lamar, The Book of David by DJ Quik, Metals by Feist, 4 by Beyonce

No one ever says so, but the 1990s had some great comedic movies. Smarty-farty folks may rave about Mel Brooks or Woody Allen’s 70s stuff, but the Clinton years produced a wide variety of great, funny films:  some really smart looks at working life, some really low-brow ‘gross-out’ movies and some quirky idiosyncratic flicks that you’d have to see to really appreciate. So we decided to list 10 of the movies that inspired us to shoot goofball sketches and post them on the Internet. Some of these will make you literally Laugh Out Loud and some are chucklers that will have you snickering to yourself for days after. But all are comedic gold from a decade that had more than its fair share of hilarious films.

Yeah, we know we’ve been ODing on 90s nostalgia lately…there are worse addictions to have.

#10 American Pie (1998)
Waitaminute–this movie is about what? That was a pretty common reaction in 1998 when this innocent tale hit theaters. THe premise–four high school friends trying to lose their virginity before prom–has been done to death since Porky’s, but …Pie is full of little details that raise it above its predecessors and peers. Seann William Scott’s obnoxious turn as scene-stealer Stifler may have many of the movie’s best-remembered lines, but its the everyman likeability of the unlucky protagonist Jim (Jason Biggs) that keeps the film grounded, even as things get crazier and crazier–with certain bodily fluids being ingested and home-baked pastries getting violated.

#9 House Party (1990)
If you are surprised by its inclusion on this list, you probably should go watch it again. Another high school comedy, the movie that transformed Kid N Play from B-list pop-rappers to pop culture phenomenon (sort of), House Party is a perfect mix of youthful exuberance, raunch and music that manages to present the hip hop experience at its most innocent and joyful–in a way that’s somehow both authentic and universally-relatable. But besides all of that, its funny as hell–with an endless string of hilarious setpieces and a star-making turn from a young Martin Lawrence.

#8 Dumb and Dumber (1994)
They let you know, right there in the title, what this movie was going for. And they succeeded in creating a film this defiantly stupid. It is a masterpiece of lowbrow, slapstick, brain-dead humor. As goofball best friends Lloyd and Harry, Jim Carrey and Jeff Daniels are pretty close to flawless in their chemistry and the effortless way that they play off of each other. And the plot, involving the buddies traveling cross-country to return a briefcase, only serves as the backdrop for a series of wacky vignettes. If fart jokes and decapitated birds are above your bad taste threshold, this is not the movie for you. But Carrey was on fire in the mid-90s, and this movie is him at his limb-flailing, rubber-faced best.

#7 Election (1999)
Reese Witherpoon seems to have channeled an adolescent Hillary Clinton as Tracy Flick–the uber-motivated, hyper-ambitious teenager at the center of this warped high school comedy. Matthew Broderick stars as the frazzled teacher who seeks to undermine Flick’s campaign for class president by recruiting a dim-witted-but-very-popular jock (Chris Klein) to run against her. The movie is a biting satire of high school, type-A personalities, mid-life crises and sexuality that wrings more than its fair share of uncomfortable laughs from a brilliantly subversive premise. The role made Witherspoon a star–and for good reason; she succeeds at making Tracy formidable, vulnerable–and a little terrifying.

#6 My Cousin Vinny (1992)
There have been several fish-out-of-water comedies over the years, but very few are as on-the-nose and warm-hearted as My Cousin Vinny. Joe Pesci is perfect as ambulance-chaser Vinny Gambini, a small-time lawyer called down to Alabama to defend his cousin on a murder charge. As his smart-and-sassy girlfriend, Marisa Tomei is stellar as well, and the script features several smart examinations on small-town southern life as filtered through the eyes of a hapless New Yorker. Joe Pesci tried his hand at several comedic roles, but he was never better than here.

#5 Rushmore (1998)
A movie that manages to be cynical and sentimental all at once, Wes Anderson’s second film was his masterpiece. The odd tale of gifted teen Max Fischer, his millionaire 40something best friend Herman Bloom and their mutual love for a school teacher, the movie is so quirky its almost precious; but the characters are so well-developed that it never feels forced. Jason Schwartzman is excellent as Max, who’s both an overachieving prodigy and an underdeveloped outsider; and Bill Murray’s performance as the bitter Bloom should be required viewing for fans of nuanced comedy.

#4 Groundhog Day (1993)
Smart. Funny. Original. This Harold Ramis-directed gem is probably Bill Murray’s greatest comedic performance. Murray is entirely believable as jerky local newscaster Phil Connors, and when the cosmos decides to cruelly trap him in the same day for eternity, his various reactions–from fear to opportunism to morbid depression–are as relatable as they are hilarious. Murray’s gift for obvious insincerity and dry sarcasm is on full display and the repetiveness of each scene affords Phil new ways to approach every scenario that he’s already lived a thousand times before. 

#3 The Big Lebowski (1998)
“That rug really tied the room together.” A bizarre comedic masterpiece from the Coen Brothers, the story of a burned-out L.A. hippie, his angry Vietnam vet friend and their quest to manipulate a ransom involving a wheel-chair bound millionaire and his porn star wife; this movie’s plot is so quirky, you’d only get weird looks from anyone you ever tried to explain it to. Nonetheless, Jeff Bridges, as “The Dude,” is brilliantly lackadaisical through a series of weird misadventures. And John Goodman’s Walter? A ticking timebomb of comedic volatility.

#2 Office Space (1999)
Anyone–and I mean anyone–that has ever had to work a desk job can relate to this note-perfect satire of white-collar workplace hell. Soul-crushing middle managers, undeservedly-perky secretaries, copiers that don’t ever work, meetings about meetings, reports and forms–its all there. Unlike most of the other movies on this list, Office Space doesn’t sport a lot of big names, but its script–written by “Beavis & Butthead” creator Mike Judge–is packed with smarts and insight into what makes cubicle crusaders so irritable. And it’ll make you think twice before taking your co-worker’s stapler.

So what was the best comedy of the 1990s? Many will disagree, but we claim the title for a lil low budget stoner movie shot in South Central…

#1 Friday (1995)
Is there a comedy from the 1990s that is more quoted and more enduring than this humorous look at 24 hours in the life of two buddies from the ‘hood? Probably not. With an amiable script that fits the pot-smoking themes and a comedic performance from Chris Tucker that ranks among the very best, Friday is a movie that transcended its target audience to become a stoner classic and one of the 90s most beloved comedies. Everyone from dope boys to aging hippies has it in their collection–and its not hard to understand why. The pot jokes are there, but there’s also the non-stop one-liners from Tucker, and every vignette–and there are many–is a hilarious look at life in a neighborhood that, up to that point, had been mostly portrayed in cinema as grim and violent. The two sequels are a mixed-bag, and hood comedies would wear out their welcome rather quickly, but Friday stands as a comedy classic that has, oddly enough, proven to have staying power.

And that’s that. Let the hatemail commence…

Honorable Mentions: Clueless, The Nutty Professor, City Slickers, Austin Powers: International Man of Mystery, Swingers, Clerks, Sister Act, There’s Something About Mary, Boomerang, Mrs. Doubtfire, Home Alone, Bottle Rocket, Wayne’s World, Life, Hot Shots!, The Birdcage, The Wood, Tommy Boy, Dazed and Confused, Happy Gilmore

Jay and Pam get assistance from a flamboyant mechanic

Bush the First was president. Operation: Desert Storm was in full swing and the Rodney King beating was all over the news. And yeah, that stuff was a big deal–but most importantly (sarcasm), 1991 was a landmark year for popular music. Massively huge and influential singles, new artists that would come to define the rest of the decade, established acts reinventing themselves, watershed albums that would influence the sound and culture for the next twenty years–it was a year that had it all. Two of the titans that had dominated pop music/culture in the 1980s, Michael Jackson and Prince, both released albums in 1991, but as the year progressed, it became increasingly obvious that these two icons and Madonna were not the all-dominating forces in music that they had been previously.

It’s been 20 years–perfect time to take a look back. So grab your Starter jacket and flip to “Married With Children,” here are the ten albums that stand as the greatest achievements in popular music during that heady year.

#10 De La Soul Is Dead by De La Soul
Their first album, the boldly innovative 3 Feet High & Rising, had made them critical darlings, but the quirky trio from Long Island had experienced something of a backlash in hardcore hip hop circles for being ‘hippies.’ Posdnous, Dave (then known as Trugoy) and Maseo responded with an album that mocked hardcore sensibilities while also paying homage to them. Full of idiosyncratic in-jokes, witty (sometimes confusing) wordplay and bolstered by Prince Paul’s ingenious production, De La’s second album proved that they weren’t an alt-rap novelty. The album touches on love, gangsterisms, sexual abuse, crack addiction and the pressures of newfound fame–all filtered through a sensibility that is uniquely De La Soul. The entire LP is the sound of the group deconstructing it’s own image. Even the cover alludes to their desire to tear down the D.A.I.S.Y. Age ideology they had helped invent.
Recommended Tracks:
“A Rollerskating Jam Named Saturdays,” “Keeping the Faith,” “Ring, Ring, Ring”

#9 Metallica (“The Black Album”) by Metallica
Since their emergence in the early 80s, Metallica had been the torchbearers for American heavy metal. With their status as metal gods firmly cemented as a new decade dawned, the quartet of James Hetfield, Kirk Hammett, Jason Newsted and Lars Ulrich teamed up with superproducer Bob Rock (who had previously worked with poppier acts like Bon Jovi) to craft their most accessible album. As dark and ominous as their previous work, “The Black Album” (as it came to be known) nonetheless features Metallica performing less riff-centric speed metal and more mournful ballads than they had previously recorded. But this is not a ‘soft’ album. Hetfield’s songs center on loneliness, death and fear and Hammett’s wah-wah-drenched guitar is as distinct as ever. This is not the sound of a band crossing over in as much as it shows how a band brought the mainstream to them.
Recommended Tracks:
“Enter Sandman,” “Nothing Else Matters,” “The Unforgiven”

#8 Niggaz4Life by N.W.A.
The “100 Miles & Runnin’” EP proved that N.W.A. could survive the departure of original member Ice Cube, but this, their follow-up album to the bonafide classic Straight Outta Compton, was an incendiary firebomb that even out-scandalized their infamous debut. The topicality is gone–instead, Dr. Dre, MC Ren and Eazy E focus their raps on robbing, killing, and assaulting on a cartoonish level, though it’s delivered with a degree of humor that softens some of the misogyny and violence. The true star of the album, however, is Dre’s production, which sits comfortably between his Public Enemy-influenced late 80s productions and the smoothed-out G-Funk he would perfect on his next masterpiece, The Chronic. Undeniably a starting point for rappers like Eminem and Odd Future, Niggaz4Life hasn’t lost a bit of its shock value, but the music is what makes it timeless.
Recommended Tracks:
“Appetite For Destruction,” “Alwayz Into Somethin,’” “Real Niggaz”

#7 Step In the Arena by Gang Starr
If Niggaz4Life featured a legendary hip hop producer perfecting the sound that would define the West Coast for the next few years, then Gang Starr’s second album has virtually the same distinction for the East. DJ Premier’s jazzy samples and loops are in top form here, with the superproducer’s trademark scratched-hooks becoming standard for East Coast ‘street-hop.’ Rapper Guru has sharpened his focus, as well. Though he still spends a lot of time boasting about his skills and chastising wack MCs, he also provides social commentary throughout the record. More relatable than Chuck D but less self-righteous then KRS-One, Guru challenges the hip hop community to take responsibility while also addressing the corruption of a system that has created many of the inner city’s ills–all in his distinctive monotone. A required record for fans of 90s East Coast hardcore hip hop.
Recommended Tracks:
“Check the Technique,” “Step In the Arena,” “Just To Get A Rep”

#6 Blood Sugar Sex Magik by the Red Hot Chili Peppers
They had been around for years, but outside of the underground L.A. indie/punk scene, few people had paid much attention to the Red Hot Chili Peppers before their 1989 album Mother’s Milk. But even that album did little to prepare the mainstream for the juggernaut of Blood Sugar Sex Magik. Featuring the classic band lineup of Anthony Keidis, Flea, Chad Smith and John Frusciante, the album is the zenith of the band’s punk-funk-rap-alternative sound and announced their arrival as one of the biggest acts in music. And Blood Sugar… revealed a band with vision. The instrumentalists’ chemistry is undeniable, and teamed up with legendary producer Rick Rubin, they crafted an album that stayed true to their history while also expanding on their musical repertoire.
Recommended Tracks:
“Under the Bridge,” “Give It Away,” “Suck My Kiss”

#5 Death Certificate by Ice Cube
Having announced his arrival as a solo artist on the stellar AmeriKKKa’s Most Wanted, Ice Cube’s conversion to Islam and escalating feud with his former N.W.A. bandmates led to him releasing his angriest, most inflammatory and uncompromising album ever. Abandoning the Bomb Squad productions of his debut, Cube and his producer Sir Jinx kept things decidedly West Coast this time around, making the album looser and funkier than AmeriKKKa’s… had been. Lyrically, Cube has gotten sharper with his technique, but its his potent worldview that’s so compelling. Attacking everything from the spread of the drug trade, to the healthcare system, to the military to Korean store owners, to his old group, Cube is unflinching and unblinking with his rage. A powerful listen that made Ice Cube one of the most respected (and most controversial) voices in hip hop.
Recommended Tracks:
“Steady Mobbin,’” “True To the Game,” “No Vaseline”

#4 Achtung Baby by U2
Another album that features an acclaimed act dismantling the sound they became famous for, U2 had been megastars since the mid-80s, but the wide-open Americana of their 1987 masterpiece The Joshua Tree had been a mixed blessing and the group seemed creatively-stifled by its success. Described by U2 frontman Bono as “the sound of four lads chopping down the Joshua Tree,” Achtung Baby found the boys from Dublin embracing their European sensibilities and throwing electronica and a few alt-rock flourishes into their mix of introspection and grandiose anthems. Nonetheless, the band’s self-conscious attempt to re-imagine their sound/image never feels contrived. The album where a band that had been notoriously serious decided to finally got a little ‘sexy,’ its sound is also attributable to the eclecticism of innovative producer Brian Eno, who pushed the band to try new ideas. Thankfully, all of them worked.
Recommended Tracks:
“One,” “Mysterious Ways,” “Even Better Than the Real Thing”

#3 Ten by Pearl Jam
The only debut album to make the list, Pearl Jam’s first album is a perfect listen. Though it gets consistently overshadowed by another album-that-shall-remain-nameless (til later), Ten is brilliantly produced, written and performed by a band that was dismissed as late-coming opportunists when it was initially released. Eddie Vedder’s distinctive growl gave a powerful resonance to his lyrics, which touched on homelessness, depression and teen angst. Nirvana may have been heralded as the torchbearers of the grunge movement, but Pearl Jam wasn’t far behind–and were a stronger collective of instrumentalists. The twin guitars of Mike McCready and Stone Gossard gave PJ a connection to classic rock that many of their contemporaries lacked and song-after-song on the album became mainstays of alternative radio. Though many would go on to dismiss their idealism later, the album still stands as one of the decade’s definitive recordings. Hard to believe they’d only been together for about 8 months when it was recorded.
Recommended Tracks:
“Alive,” “Evenflow,” “Jeremy”

#2 The Low End Theory by A Tribe Called Quest
One of the greatest hip hop albums ever recorded, A Tribe Called Quest defined, refined and perfected ‘jazz-rap’ on this album. Their first album, People’s Instinctive Travels & the Paths of Rhythm, had been acclaimed–but the Queens kids were still heavily influenced (and slightly overshadowed) by their Native Tongues predecessors, De La Soul. But their second album stripped away some of the unabashed weirdness of their debut and presented a cerebral and laid-back aesthetic that was tied to the streets without ever pretending to be gangsta. The productions–chiefly handled by the group itself–are a virtual ‘How-To’ on looping and feature some choice jazz and soul samples that sent beatmakers running through the crates to find more obscure recordings. The wordplay of Q-Tip and Phife is clever and idiosyncratic as the two rhyme about materialism, urban life, date rape and the hip hop business. An album that sounds better every time you listen to it.
Recommended Tracks:
“Check the Rhime,” “Jazz,” “Scenario”

And what was the best album in a year that was full of classics that would define the rest of the decade? I almost wish it wasn’t so obvious…

#1 Nevermind by Nirvana
Changed everything. Perfect. Probably the greatest rock album of the last 30 years. Arguably the greatest album of the decade–in any genre. The cultural impact of Nirvana’s second album can’t be overstated. Even music fans that weren’t around to hear it when it debuted can recite what makes this album so important. But first and foremost–the music is amazing. Kurt Cobain’s songwriting was a revelation to most listeners in 1991 (particularly those mainstream fans that had missed out on the Pixies) and the sheer, visceral power of songs like “In Bloom,” “Territorial Pissings” and especially “Smells Like Teen Spirit” awakened a generation of fans that had been weened on poppy arena rock for most of the 1980s. Every song is virtually a standard and producer Butch Vig gave the band a meatier sound that helped them take over the charts. And the addition of drummer Dave Grohl added a throttling force to Cobain’s songs that had been lacking on the band’s debut. A masterpiece in every sense of the word. Everyone should own this album. And everyone does.
Recommended Tracks:
“Smells Like Teen Spirit,” “Come As You Are,” “Lithium”

So those are the ten best albums from 20 years ago. Disagree? Of course you do…

Honorable Mentions: Out of Time by R.E.M., Quik Is the Name by DJ Quik, Use Your Illusion I & II by Guns ‘N Roses, Breaking Atoms by Main Source, Naughty By Nature by Naughty By Nature, Dangerous by Michael Jackson, Badmotorfinger by Soundgarden, Forever My Lady by Jodeci, Cypress Hill by Cypress Hill, Emotions by Mariah Carey, We Can’t Be Stopped by The Geto Boys, No More Tears by Ozzy Osbourne, Mama Said by Lenny Kravitz, Diamonds & Pearls by Prince, Apocalypse 91…The Enemy Strikes Black by Public Enemy, Cooleyhighharmony by Boyz II Men, Screamadelica by Primal Scream