As I was going through some files, I came across an annotated list of my top favorite albums of the rock era (that is, after 1955).  I broke the list into seven prog albums and eight non-prog albums.  Considering how much has changed in the last decade, my list would look quite different now.  Still, it’s fun to reminisce.  Enjoy.

[A quick addition, just to clarify.  Anyone who knows me, knows my first real love was and, to a great degree, remains Rush.  I intentionally left Rush out of this list, as it would’ve distorted it too much.–BjB, November 18, 2013]

My Top Seven Progressive Rock Albums (in no order after the first three)

Kevin McCormick, Squall (1999).  Some of the best music ever written—but tempered with very serious classical sensibilities and lacking the bombast present in even the best of progressive rock.  McCormick incorporates his profound poetry as lyrics.  Each word—and the way Kevin sings it—seemed utterly filled with Christian grace and conviction.  This is part two of trilogy (he’s working on number three).  And, it’s hard to listen to Squall without listening to its equally fine predecessor, With the Coming of Evening (1993).

Talk Talk, Colour of Spring (1986).  I could certainly regard this as either my top album of all time (though interchangeably with Squall and Spirit of Eden; depends on my mood), or close to it.  I couldn’t even count how many times I’ve listened to it.  I bought it on a whim—because I liked James Marsh’s cover.  My whim paid off, as it opened a whole new realm of music to me.  But, what’s not to like: impressionist 1950’s Jazz and 1960’s Stevie Winwood mixed with intensely Christian lyrics.

Talk Talk, Spirit of Eden (1988).  Every note and word is perfect.  Mark Hollis and Tim Friese-Greene spent 14 months in a church recording this album.  Hard to beat the 20+ minute opening to the album.  And, the lyrics—better than most hymns I hear in church, to be sure.  Side two even has a song with St. Ignatius of Loyola’s prayer asking for the grace to surrender one’s will to God.

Yes, Close to the Edge (1972).  Ok, I’m noticing a pattern as I write out these descriptions—this album, as I understand it, is about the Reformation.  Anderson and co. incorporate high-church Anglican music and choral arrangements as they sing about Christ the Word.

Genesis, Selling England by the Pound (1973).  Heavily influenced by the poetry T.S. Eliot, Peter Gabriel soars on this album.

Pink Floyd, Animals (1977).  Continuing the fantasy and science-fiction themes of their earlier albums, Roger Waters and David Gilmore seriously challenge the right of one human to exploit another in this George Orwell inspired album.

Flower Kings, Space Revolver (2000).   Lyrics range from weird to wacky, as does the music.  Pro-Christian themes abound, but placed within a rather Scandinavian pastoral setting.

My Top Seven non-Progressive Rock Albums (in no order)

Thomas Dolby, Golden Age of Wireless (1982).  This was my introduction to New Wave.  Wild arrangements and very Bradbury-esque lyrics.  It became my anthem during high school debate and forensics.

Sarah McLachlan, Fumbling Towards Ecstasy (1993).  I can’t explain why this album means so much to me, but it does.  I love McLachlan’s voice and use of organ.  And, this first album lacks the nasty anti-Christian and pro-feminist cant of her later work.  When I worked at the Organization of American Historians in graduate school, we would play this CD as we played Quake on the network (after business hours, of course).

Echo and the Bunnymen, Ocean Rain (1984).  Beautiful and bizarre—musically and lyrically.  Probably the most Doors’ inspired album of the New Wave movement.  While the lyrics don’t quite rival those of Morrissey (in the Smiths), the music surpasses anything Johnny Marr wrote.  A staple for me in college.  I’m just sorry that some of the lyrics are heretical.

Traffic, John Barleycorn Must Die (1970).  What can I say about Stevie Winwood, Jim Capaldi, and Chris Wood?  Jazz-rock with Anglo-Saxon folktales thrown in.  Lots of Traffic is excellent, but this surpasses all of their other albums.

Van Morrison, Astral Weeks.  Introspection without pure naval gazing.  And, no body writes better about the beginnings of love than Van Morrison.  Must be something in the Irish soul.  As I understand it, the album was done in one take with the jazz musicians being given the music when they entered the studio.  Perfect for a spring day.

The Cure, Disintegration (1990).  From the beginning to the end, a masterpiece.  Perfect pacing, and fascinating arrangements.  The Cure’s flaw is their tendency to write hyper, bouncy pop songs.  While Disintegration has a few of these, they remain tempered by the more serious, gothic moments on the album.  And, hey, the album begins with early medieval plainsong.

Radiohead, Kid A (2000).  Intense lyrics about the problems of post modernity and scientism.  Though Ok, Computer has better moments, Kid A has no real flaws.  The lyrics, however, remain unimportant, ultimately, as Thom Yorke’s voice serves as another instrument on the album.  The producer, Nigel Godrich, deserves credit for being an equal member of the band.  The opening track, “Everything in its right place” sums up the production.