One CEO’s 50 (or so) favorite pop albums

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Inspired by Brad’s fascinating and very New Wave-ish post “My 49 Favorite Pop Albums”, I decided to try my hand at listing the same. One difficulty, it turns out, is defining “pop”. Brad didn’t list Radiohead’s “OK Computer” (one of my Top 10 pop/rock albums) because he figured it was too proggy, which is hard to disagree with. But I have it in my list, and also included a couple more albums that are certainly in the realm of prog: “Queen II”, “Point of Know Return”, and “A Momentary Lapse of Reason”. But, on the whole, I think most everything here fits on the “pop” spectrum, even if it veers into rocky territory (Muse, Journey, Soundgarden) on occasion.

Also, I could have easily included several more albums by Sinatra and Torme, and I feel a bit guilty to not have anything by, say, Nancy Wilson, Sarah Vaughn, Rosemary Clooney, or Nat King Cole. But I’ve tried to capture a certain breadth chronologically while being true to what I like and return to. And that is a key criteria: all of these are albums I revisit and never tire of.  Finally, it might be surprising that the only artist who shows up here three times is Seal. But no Beatles? Rolling Stones? Simon and Garfunkel? Lady GaGa? Go figure!

1950s-60s:
Frank Sinatra: IN THE WEE SMALL HOURS (1955)
Frank Sinatra: SONGS FOR SWINGIN’ LOVERS! (1956)
Mel Tormé: IT’S A BLUE WORLD (1956)
Roy Orbison: IN DREAMS (1963)
Mel Tormé: THAT’S ALL (1965)

1970s:
Van Morrison: MOONDANCE (1970)
Elton John: ELTON JOHN (1970)
Queen: QUEEN II (1974)
Queen: NIGHT AT THE OPERA (1975)
Kansas: POINT OF KNOW RETURN (1977)
Electric Light Orchestra: OUT OF THE BLUE (1977)

1980s:
Journey: ESCAPE (1981)
ABBA: THE VISITORS (1981)
Asia: ASIA (1982)
The Police: SYNCHRONICITY (1983)
Big Country: THE CROSSING (1983)
Mr. Mister: WELCOME TO THE REAL WORLD (1985)
John Fogerty: CENTERFIELD (1985)
The Moody Blues: THE OTHER SIDE OF LIFE (1986)
Sting: NOTHING LIKE THE SUN (1987)
Pink Floyd: A MOMENTARY LAPSE OF REASON (1987)
Sam Phillips: THE INDESCRIBABLE WOW (1988)
Kate Bush: THE SENSUAL WORLD (1989)
Van Morrison: AVALON SUNSET (1989)

1990s:
The Choir: CIRCLE SLIDE (1990)
George Michael: LISTEN WITHOUT PREJUDICE, VOL. 1 (1990)
U2: ACHTUNG BABY (1991)
Seal: SEAL (1991)
Tori Amos: LITTLE EARTHQUAKES (1992)
Maria McKee: YOU GOTTA SIN TO GET SAVED (1993)
Chris Isaak: SAN FRANCISCO DAYS (1993)
The Cranberries: EVERYONE ELSE IS DOING IT, SO WHY CAN’T WE? (1993)
Sarah McLachlan: FUMBLING TOWARDS ECSTASY (1993)
Seal: SEAL (1994)
Portishead: DUMMY (1994)
Soundgarden: SUPERUNKNOWN (1994)
Jeff Buckley: GRACE (1994)
Jars of Clay: JARS OF CLAY (1995)
The Mavericks: MUSIC FOR ALL OCCASIONS (1995)
Duncan Sheik: DUNCAN SHEIK (1996)
Radiohead: OK COMPUTER (1997)
Seal: HUMAN BEING (1998)
Burlap to Cashmere: ANYBODY OUT THERE? (1998)
Moby: PLAY (1999)

2000 on:
Martin Sexton: LIVE WIDE OPEN (2002)
Muse: BLACK HOLES AND REVELATIONS (2006)
Brandi Carlile: THE STORY (2007)
A Fine Frenzy: ONE CELL IN THE SEA (2007)
Sia: SOME PEOPLE HAVE REAL PROBLEMS (2008)
Sara Bareilles: KALEIDOSCOPE HEART (2010)
Lake Street Dive: BAD SELF PORTRAITS (2014)
Kevin Max: BROKEN TEMPLES (2015)

A Pilgrim’s Prog-ress

I balked for a few moments at the temptation of writing an indulgent, long, complex, and idiosyncratic post about my journey to and into prog, and then realized: hey, this is Progarchy.com! If I cannot string together tenuously-related, semi-mystical concepts and conceits imbued with mythical overtones, quasi-autobiographical meta-narratives, and intertwining (and purposely confusing) philosophical musings here, then what’s the point of this wonderful blog? (No need to answer that, as I’m already soloing  on my inner Moog without regard for the boring 4/4 time signature others might wish to force upon me.) Actually, much of what follows was already presented in a long-ish comment I left on a previous post below. But Brad, as he often does, inspired me to do more, even at the risk of embarrassing the shy and retiring Olson clan. So here goes.

I was oddly oblivious to most music until my early teens. This was due in part to being raised in a Fundamentalist home and church, both of which largely frowned on rock music as the rhythmic spawn of the devil, meant to corrupt good morals and encourage bad haircuts. Yes, the stereotypes do hold, at least to some degree.  I heard a lot of church music (classic Protestant hymns, some of them very good) and mostly bland to bad contemporary Christian music. Then, around the age of fourteen or so, I started listening to the radio (one station, weak signal) and began to slowly accumulate a few tapes. My road to prog went through AOR acts such as Journey, REO Speedwagon, Loverboy, Foreigner, and Styx, with a helping of popular mid-80s albums by ELO, Elton John, Toto, and Queen. I found the standard rock of the day (including some of the stuff above) to be rather dull; I was fascinated by the more extended songs of Elton (the early 1970s albums especially), Queen, Asia, and the Moody Blues. I’m happy to say I was hooked on “Bohemian Rhapsody” long before “Wayne’s World” re-presented it to my generation. Also, I thought the usual popular, party music about sex, drugs, and rock ‘n’ roll was mostly shallow, even if occasionally diverting. Which is another way of saying I secretly listened to my share of Van Halen while playing some laughable air guitar (oh, wait, all air guitar is laughable). I did not, however, ever party. Seriously.

Around 1985 or so, I bought a copy of “The Best of Kansas”. That opened the door to prog. There was something about the mixture of Livgren’s lead guitar, Steinhardt’s violin, and Steve Walsh’s amazing voice, along with lyrics soaked in spiritual longing and Americana, that grabbed me by the scrawny neck. Over the next three or four years, I ended up collecting everything by Kansas, Kerry Livgren (solo and with AD), and Steve Morse (solo, Dixie Dregs, etc.). My favorite Kansas albums are “Song for America” and “In the Spirit of Things”, although they weren’t the chart-toppers that “Point of Know Return” and “Leftoverture” were. I also went on a serious Moody Blues binge, focusing on the early stuff, prior to their more pop-oriented work of the mid-’80s. Then I really got into Yes (both Rabin-era and the early classic albums with Howe), Rush, and Pink Floyd; in fact, while in Bible college (1989-91), I freaked out some of my more staid classmates with my obsessive interest in Pink Floyd, Queen, Queenrÿche, and King’s X (and, yes, I also listened to Petra, David Meece, White Heart, White Cross, Russ Taff, and Margaret Becker). King’s X was a major revelation, especially the brilliant, crunching, melodic beauty of “faith hope love”, which was a masterful blend of hard rock, metal, prog, blues, and Beatle-esque harmonies. And I recall very clearly driving across the Montana plains to school in Saskatchewan, blaring “Fly By Night” and other brilliant Rush tunes. Ah, to be young again.

A quick aside here, in the spirit of musical indulgence: while in high school, I also developed a semi-secret soft spot for country artists such as Johnny Cash, Johnny Horton, and Jim Reeves. And two composers: Mozart and Brahms. I tried to get into opera (our family doctor, who owned a massive classical collection, gave it his best shot), but couldn’t get there. I would try again in the late 1990s, failing again. And at one point I must have listened to Eric Clapton’s 1989 comeback album, “Journeyman”, about a thousand times. Go figure, as it’s the only Clapton album I’ve ever fixated on. Okay, back to prog.

In my early-to-mid twenties (1989-1995), I launched into Van Morrison, Seal, Jeff Buckley, Radiohead, and jazz, five of my big musical loves ever since (I’ll eventually write some disturbingly long posts about each, I hope). My interest in prog advanced in fits and starts. Yes was a constant, as I worked through most of the band’s catalog, with excursions into solo projects by Jon Anderson, Trevor Rabin, Rick Wakeman, Bill Bruford, and Steve Howe. The next big breakthrough was Dream Theater in the late 1990s, followed by Spock’s Beard, then Porcupine Tree and a bunch of others. Then, around 2004, I “discovered” Frank Sinatra, which led to the purchase of about 1,000 Sinatra tunes (favorite album: “In the Wee Small Hours”). I mention Sinatra because I have the semi-crazy idea of writing a blog titled, “Sinatra: Grandfather of Prog?”, that will either get me ejected from Progarchy, or enshrined in the Progarchy Hall of Fame.

I fully agree with Brad: we are living in a new, golden age of prog. There is such a stunning array of prog and prog-ish music to be had, I’ve long given up hope of keeping abreast of it all. Current favorites, in addition to the already mentioned acts, include Pain of Salvation, Threshold, Riverside, Muse, Animals As Leaders, Big Big Train, Anathema, Devin Townsend, Three, Astra, Blackfield, The Pineapple Thief, King Crimson, Headspace, and Mars Volta. But there are still huge holes in my prog knowledge and experience. I’m making prog-ress, but the road continues to rise and wind ahead. Which is exciting, as it means there is more to discover and hear.