Friday, May 22, 2020

McQ's Best Of 1969 Vol 2 - Best Of The Best.

By almost any metric, a case can be made that 1969 was the greatest music year since the dawn of the rock era.

In Rolling Stone magazine's last top 500 albums of all-time critic/artist poll, a poll that spanned 60 years, 1969 releases made up almost 5% of the total (and 9% of the top 100).

Just three years ago,  millennial music site Pitchfork released their 200 best albums of the 1960s, and almost 30% of the albums (57/200) came from 1969.

Try to break out a numerical analysis of critical aggregator's all-time greats, and no matter how you weight or scale the numbers (trust me, I've tried), 1969 always comes out on top, handily beating the usual #2 and #3 finishers 1967 and 1971.

Bottomline, we're dealing with a monster music year here.

So now, with Nancy sharing her favorite songs from 1969 with you yesterday, it falls on me to give 1969's best albums their due today (while trying not to duplicate too many of the artists Nancy has already highlighted).

But before we begin, because in a year so big it was impossible to include every worthy album, a quick shout out to the six additional elite '69 recordings I feel belong with this rarified group but that neither Nancy or I included because they either aren't presently available on Spotify (Captain Beefheart's infamous Trout Mask Replica), their best songs were too long or too weird for these lead off mixes (Frank Zappa's Hot Rats, Isaac Hayes' Hot Buttered Soul, CAN's Monster Movie, Miles Davis's In A Silent Way), or I tried to include but just couldn't get to flow satisfactorily with the other numbers on this mix (Johnny Cash's At San Quentin).

And with that said, let's get on with it.  Here's the Spotify link. Enjoy!

Now, about those 1969 Albums and Songs:

1. I Want To Take You Higher - Sly & The Family Stone: A career high from one soul's most influential acts, Stand! wasn't the album that introduced Sly & The Family Stone's visionary, everyone-can-play multi-racial, scattershot style, but it was the album that perfected it. And nowhere on the record is that perfection more fun to bask in than on I Want To Take You Higher here, which also provided one of Woodstock's indelible moments, when Sly and the band used this song to enthusiastically rouse the exhausted, soaking-wet festival masses from their 3:30 am slumber.

2. Whole Lotta Love - Led Zeppelin: I'll never forget a quote from the intro for Led Zeppelin in the 1978 edition of the Rolling Stone Record Guide. Paraphrasing here, but it went something like this "In forming Led Zeppelin, Jimmy Page made two great discoveries: spaced-out hard rock drove barely prepubescent boys crazy; the '60s were over." Don't know how you sum up the impact of the band or this incendiary song from their "almost-a-greatest-hits-album-in-itself" Led Zeppelin II any better than that.

3. Bad Moon Rising - Creedence Clearwater Revival: In a year that saw many band's raising the bar for high quality prolificacy, no act raised that bar higher than Creedence Clearwater Revival. And while the band never had a number one song, they did have four reach #2 in1969 on the Billboard charts, including this ubiquitous, playfully ominous lead single from Green River, the second and darkest of their three albums they released in 1969.

4. 1969 - The Stooges: As much as I love the Velvet Underground, those mid-sixties garage singles, and Love's Seven And Seven Is, for me, it's here, in this opening salvo to the The Stooges' self-titled debut, that punk rock is born. Voted the 35th greatest guitar song of all time by Rolling Stone Magazine, it was a tough call picking 1969 over the even more highly regarded I Wanna Be Your Dog, but 1969 has always been the song that best embodies the brute John Cale-produced minimalism of the album for me.

5. Spinning Wheel - Blood, Sweat & Tears: 1968 first album Child Is The Father To The Man established the template. Sophomore effort, Blood, Sweat & Tears, with a significantly revamped lineup, brought the hits - none more memorable than this croony classic here.

6. Boredom - Procol Harum: One of 1969's most underrated albums, and arguably the best eclectic release of the year outside of Abbey Road, Procul Harum's minor prog-pop classic A Salty Dog feels more presciently connected to the indie-pop movement of this current century than just about any release of the 60s. Every time I listen, I hear twists and turns in these songs that suggest the likes of The Flaming Lips, Islands, Animal Collective, Mercury Rev, Death Cab For Cutie, and especially the Decemberists were listening right along with me. The band will always be first remembered for A Whiter Shade Of Pale, but this twee charmer of an album, perfectly represented by Boredom here, is in imho their actual crowning achievement.

7. Kick Out The Jams - MC5: Derided on all fronts and a focal point of many ugly censorship battles at the time of its original release, Mc5's 1969 debut Kick Out The Jams - recorded live in single, sweaty Halloween weekend in Detroit's Grande Ballroom - is now regarded as one its or any era's purest encapsulations of rock power at its rawest and most unfiltered, and has enduring influence on much of the hard-core punk and metal that has followed in its wake.

8. Something - The Beatles: My favorite cut from the last album The Beatles ever recorded (if one doesn't consider the entire Sun King medley as one song), Abby Road's Something also marked a first for the band.  It was the first and only time they went with a George Harrison-penned song as their lead single.

9. Dog Breath, In The Year Of The Plague - Frank Zappa: Another artist who had a monster 1969, Zappa released two fantastic albums in 1969.  The sprawling, chaos as organizing principal Uncle Meat with the Mothers Of Invention, and his first solo outing, the spectacularly jam-focused Hot Rats. This Uncle Meat track, possibly my all-time favorite of Zappa's zany work with the Mothers, stands in as a Best Of The Best representative for both albums, which are equally essential.

10. Volunteers - Jefferson Airplane: Fifty years removed, 1967's Surrealistic Pillow, armed with Somebody To Love and White Rabbit, is the album that has lingered most in the public conscious, but I've always felt the Airplane's 1969 effort Volunteers is actually the band's best, most consistent album, and I've always adored this adrenaline rush of a title track that closes the record.

11. 21st Century Schizoid Man - King Crimson: Is this epic, incendiary freak-out the song that launched progressive rock? Though acts like The Moody Blues, Soft Machine, Jethro Tull, Procul Harum, and The Mothers Of Invention had already started the shift towards incorporating jazz and classical textures into rock music, it was In The Court Of The Crimson King, King Crimson's legendary 1969 debut, that truly opened up the prog-rock floodgates. Now widely considered prog's second greatest album (behind only Pink Floyd's Dark Side Of The Moon), it was actually future Foreigner founder Ian McDonald, not guitarist/vocalist Greg Lake (later of ELP fame) or enduring band leader Robert Fripp, who wrote most of the music and crafted the album's rich symphonic textures through layers and layers of overdubs.

12. King Harvest (Has Surely Come) - The Band: Oh, what a tough time I had picking a song to represent the The Band's impossibly good eponymous second release, for my money, one of the most unique albums in the entire rock pantheon, the best album of 1969, and the greatest alt-country/Americana album ever recorded (yeah, I'm a fan). In the end, had to go with the album's closing, vocally weirded-out tale of early farm unification over its two most well known tracks Up On Cripple Creek and The Night They Drove Old Dixie Down (but don't worry, we'll catch those tracks, as well as a few others, in a later mix).

13. Who Knows Where The Time Goes? - Fairport Convention: Amongst the most prolific acts in a year that set the gold standard for prolific acts, Fairport Convention released three landmark albums in 1969, but this breathtaking Sandy Denny number from Unhalfbrickingthe second, most Americanized, and most rocking of the Richard Thompson/Denny-led folk-rock pioneers three '69 efforts - is on another level entirely. My favorite song in their entire catalog. 

14. Cinnamon Girl - Neil Young: Probably repeating myself here, but along with Iggy Pop and Lou Reed, I've always considered Neil Young one of the most talented non-talents in rock. But whatever his virtuosic limitations, Neil has always found a way to push through his minimal chops and deliver emotionally stirring songs.  Rarely did he do this more captivatingly than on his second solo outing (and first with Crazy Horse) Everybody Knows This Is Nowhere, and Cinnamon Girl in particular may be his minimalist masterwork, epitomized by that greatest one-note guitar solo in rock history that kicks in around the 2:06 mark. 

15. Pinball Wizard - The Who: Pete Townsend, on the other hand, I considered to be one of rock's genuine instrumental prodigies, not a flash lead guitarist, but arguably, along with Carlos Santana, the best rhythm guitarist rock has ever seen. And never was Townsend's rhythm guitar magic on clearer display than on this all-time great track from the band's ground-breaking rock-opera Tommy. Coolest rhythm guitar riff ever!

16. Fortunate Son - Creedence Clearwater Revival: Flipping the script from the apocalyptic negativity that infused near every moment of Green River, CCR's next outing, the even better Willy And The Poor Boys, was a joyous celebration of the undeterred resilience and positivity of America's working poor, even when that joy and resilience came packaged with a bit of fight and spite, as on this all-time classic put down of those birthed into better circumstances Fortunate Son here. God, is there a line in this song that doesn't work for our current president.

17. Space Oddity - David Bowie: One of these things here is not like the others.  This is my one exception letting album quality determine inclusion, because the truth is David Bowie may have owned the 70s, but man, it took him forever to get up to cruising speed.  After forming countless failed bands over the early 60s, Bowie released his second straight eponymous solo album in 1969, and like his first, it was a mostly unremarkable mix of half-baked psychedelic and prog-rock numbers. But buried amid the dreck were three numbers that pointed towards the era-defining artist Bowie would become. The lyrically pointed and insightful prog-suite Cygnet Committee, the fine closing anthem Memory Of A Free Festival, and of course, this 2001 inspired number, which sounded unlike anything else in 1969, and had the impeccable timing of being released as a single just five days before the launch of Apollo 11, which led to it being one of the biggest hits of the summer.

18. How Many More Times - Led Zeppelin: There are more popular songs from Led Zeppelin's game-changing debut, but How Many More Times has always summed up so much of the band for me - the bombast, the e-bow guitars, the band's blatant, unrelenting, uncompensated plagiarism of African-American greats, and first and foremost, how their almost comically misguided attempts to capture the essence of the blues launched a whole new, grandiose genre of music entirely

19. Son Of A Preacher Man - Dusty Springfield: An unchallenged part of the sacred rock and soul canon for decades now, Dusty In Memphis is widely regarded as one of the most important female works of the 1960s, and remains a regular in most top 100 all-time lists. I'm not quite as sold on the album as most, feeling that some lesser regarded works in her catalog like 1966s You Don't Have To Say You Love Me have actually aged better, but whatever my misgivings, I will never tire of hearing this song, which deserves every accolade it has ever received, and when Nancy surprised me by not selecting it for her mix, it was a no-brainer to include Son Of A Preacher Man here. 

20. Pale Blue Eyes - The Velvet Underground: On the flip-side, damn, has the Velvet's self-titled third album aged well. In one of the most abrupt about faces in rock's seventy years, the Velvet's ditched the room-clearing speed-freak madness and sonic nihilism of White Light/White Heat for something almost unsparingly delicate, soothing, compassionate, and bittersweet. The result was an album that now rates right there with Astral Weeks and Rubber Soul as one of the most timeless efforts of the decade. And nestled deep within a brilliant first side that contained nothing but extraordinary songs was this stunning reflection on romantic betrayal which many of the band's fans interpreted as a masked put down of original bassist John Cale, who Reed had recently kicked out of the band, but which Reed insists was actually an homage to his first true love Shelley Albin, who was married to another man at the time. 

21. You Can't Always Get What You Want - The Rolling Stones: Don't have anything to say on this classic Let It Bleed closer other than when times get tough for me, this is the song I usually turn to first. Not my favorite Stone's song (that would be Sympathy), but without question the one I hold most dear.

Wednesday, May 20, 2020

McQ's Best Of 1969 Vol 1 - Nancy's Favorites!

Welcome back, music lovers, as we set forth once again on another expansive exploration of the best rock, pop, soul, blues, folk and jazz of a year long passed.

But here's the thing...

1969 the music year was so big, so significant, and so vast in quality recordings, trying to come to grips with the full depths of its greatness, its innovations, and the monstrous impact it had on the music that followed is nearly impossible.

But after hearing this exceptional collection of Nancy's personal '69 favorites, I knew this was the place to start.

So let's get to it. Here's the Spotify link!

And for those of you who might want to catch up on Nancy's previous compilations first, here ya go!

Nancy's Favorites 2018
Nancy's Favorites 2017
Nancy's Favorites 2016
Nancy's Favorites 2015
Nancy's Favorites 2014
Nancy's Favorites 2013
Nancy's Favorites 2012
Nancy's Favorites 2011
Nancy's Favorites 2010
Nancy's Favorites 2009
Nancy's Favorites 2008
Nancy's Favorites 2007
Nancy's Favorites 1998
Nancy's Favorites 1977
Nancy's Favorites 1967
Nancy's Favorites 1966

Now, About Nancy's Favorite 1969 Songs:

1. Gimme Shelter - The Rolling Stones: Leave it to Nancy, purely on instinct, to kick off her 1969 mix collection with the classic "dark days ahead" Let It Bleed opener that now rates as 1969's very best song on critical aggregator

2. Hitchcock Railway - Joe Cocker: Man, what a year Joe Cocker had in 1969. After toiling in English-pub obscurity for most of the decade, the spasmodic, blue-eyed-soul phenom simply crushed it in '69, with a breakthrough Woodstock performance, several big singles, and two outstanding gold albums - debut With A Little Help From My Friends, and his even better self-titled follow up from which this cover of revered MGs'/Blues Brothers' bassist Donald "Duck" Dunn's Hitchcock Railway is taken. One of the strongest deep cuts in Cocker's catalog, losing this song to Nancy, with which I had hoped to open the final 1969 mix Croony, Croon, Croon, hurt... a lot. 

3. Try (Just A Little Bit Harder) - Janis Joplin: Following her departure from Big Brother & The Holding Company, and inspired by the maximal, modernized, brass-heavy sounds of newcomers Chicago Transit Authority and Blood, Sweat & Tears, Janis was eager to shift away from her psychedelic beginnings and pursue a similar blues & soul direction. And while the resulting 1969 album, I've Got Dem Ol' Kozmic Blues Again Mama!, may be the weakest of her proper discography, it's still a blast of a record, highlighted by this rousing belter, possibly the best straight soul recording of Joplin's career.

4. Does Anybody Really Know What Time It Is - Chicago: Speaking of Chicago, the biggest surprise in revisiting their 1969 self-titled debut is just what an exuberantly jammy outfit they were at the start of their career.  Even on tracks that screamed "single potential" like Does Anybody Really Know What Time It Is, they couldn't resist the urge to open the song with a two-minute piano solo. That piano solo would be cut a year later, when, having come to their commercial senses, Does Anybody Really Know What Time It Is was re-released as a single with an abbreviated, radio-friendly TRT to piggy back on the success of 25 or 6 to 4 and Make Me Smile from Chicago II

5. Here Comes The Sun - The Beatles: Not to get to punny, but even though he's bringing up the rear on Abbey's iconic cover photo, I've always felt Abbey Road is the Beatles album on which George Harrison shines brightest. So glad Nancy chose to go with one of his contributions here.

6. Evil Ways - Santana: With the band fresh off an amazing, out-of-nowhere Woodstock performance, record industry sorts expected latin-rocker Santana's full-length debut to be one of the major releases of 1969, and over time, it would proved to be exactly that, but not initially. Lead single Jingo landed with a thud, and early reviews of the album from the era's dominant taste-makers Rolling Stone and Village Voice were far from complimentary, likening the band's music to a meaningless, methadrine high. Finally, Evil Ways was released as the album's second single on New Years Day, 1970, hit #9 on the US charts soon after, and things began to take hold. And those critics, they've come around as well. Last time Rolling Stone did a top 500 albums of all-time poll, this debut came in at 150.

7. Feelin' Alright - Joe Cocker: Just one question.  Other than Aretha's outright theft of Otis Redding's Respect, has there ever been a better cover song in rock/soul history than this irresistible take on Traffic's Feelin' Alright that opens Joe Cocker's all-star-assisted debut With A Little Help From My Friends

8. Suspicious Minds - Elvis Presley: The last number one single of Elvis's career concluded a series of late 60s moves, most spearheaded by Presley himself, to break out of his dismal seven-year stretch focused exclusively on film and soundtrack work that had led to steadily diminishing returns. Inspired by a successful 1968 Christmas television special, Presley vowed to never again record or perform a song he didn't believe in, and set back to making albums proper.  This single, and the album From Elvis In Memphis, was the result, and for brief while, it reignited Presley's career. Oddly, Suspicious Minds was left off the original pressing of Memphis, even though the songs were all recorded in the same sessions, but it has been included on every pressing since 1998. 

9. Suite: Judy Blue Eyes - Crosby, Stills, & Nash: Crosby, Stills & Nash's self-titled debut was part of a trifecta of albums - along with the Byrd's Sweetheart Of The Radio and The Band's Music From The Big Pink - that were most instrumental in steering the music zeitgeist away from the psychedelic blues-based rock that dominated the previous few years and towards the singer-songwriter/country-rock wave to come. Fittingly, Stephen Stills is the only band member holding an instrument on the cover, as while all members contributed as vocalists and songwriters, 90% of the album's instrumentation - every note of lead guitar, organ, bass, over half the album's drumming, as well as acoustic guitar on his own songs - was played by Stills. So it shouldn't come as a surprise that on an album full of highlights, the biggest standout was this timeless Stills' ode to British folk-singer Judy Collins (who, we will learn, wasn't as appreciated by another contributor to this mix).

10. Sugar Sugar - The Archies: And now for something completely different, a stretch of Saturday morning cartoon nostalgia for all those Gen Xers out there. First up, this indelible ditty from Archie, Betty, Veronica, Jughead and the gang, which debuted on the cartoon series and was then featured on "the band's" second full-length Everything's Archie.

11. I Want You Back - The Jackson 5: Keeping that Saturday morning cartoon streak going, Nancy hits us next with The Jackson 5's very first (and maybe their very best) number one song, the only single released from their clumsily titled debut Diana Ross Presents The Jackson 5

12. It's Your Thing - The Isley Brothers: Briefly moving on from Motown now, both literally and figuratively, with the Isley Brother's iconic put-down of Motown head Berry Gordy's controlling ways, recorded just months after Gordy released them from their Motown contract. Gordy, incensed over the success of the song, threatened to sue the band and force them back to Motown, but eventually backed off. Adding insult to insult, It's Your Thing would go on to win the 1970 Grammy Award for Best R&B Performance by A Duo or Group, beating out Motown's Gladys Knight and The Pip's Friendship Train in the process.

13. Tracks Of My Tears - Aretha Franklin: After a furious 1968 that saw Aretha deliver two more R&B standards in albums Lady Soul and Aretha Now, Ms. Franklin choose to take it a easier in 1969, pursuing a jazzier direction and sticking exclusively to covers on her lone studio release that year, Soul '69. The results though, remained fantastic, as epitomized by her cover of the Smokey Robinson/Miracles charmer here.

14. I Can't Get Next To You - The Temptations: After Issac Hayes and Sly And The Family Stone, no band was more important to the evolution of funk and soul in 1969 than The Temptations, who, driven by visionary band leader Otis Williams and the exceptional songwriting talents of Norman Whitfield, leapt ahead of the rest of the Motown stable by aggressively seeking to stay with the times. This knockout track from their second full-length foray into psychedelic soul, Puzzle People, is the first tune we'll be hearing from their rich body of 1969 work, but hardly the last.

15. Everyday People - Sly & The Family Stone: Though not as funky as most of the band's material, this beloved (and yes, Saturday-morning-cartoon referencing) call for social unity from the band's scattershot soul masterpiece Stand! was the their first single to top the US Soul and overall Billboard Charts.  Surprisingly, given Everyday People's more pop nature, it was the very first Sly & The Family Stone recording where Larry Graham employed his legendary "slap bass" technique, an innovation that would quickly become one of funk's defining instrumental trademarks. 

16. Someday We'll Be Together - The Supremes: Though this tune from the Supreme's final album Cream Of The Crop was the diva posse's last number one single, it was originally intended and recorded for Ms. Ross' first solo outing, with neither Mary Wilson or Cindy Birdsong contributing to the track. But upon completion, Berry Gordy reversed his thinking, felt it fit better with the Supremes, and added it back into the Cream Of The Crop track list. It would go on to become Ross's go-to live song whenever she want to cap a moment of stage banter on an issue of social importance.

17. The Thrill Is Gone - B.B. King: Another greatest cover of all time, B.B. King's version of the 1951 Roy Hawkins/Rick Darnell number from his magnificent 1969 album Completely Well might be the best known blues song in the world today.  

18. Time Has Told Me - Nick Drake: Here we have the opening notes in what would become one of the most singular discographies in British folk. But forging that singularity didn't come easy. Time Has Told Me was recorded, as was the rest of Nick Drake's remarkable, melancholic debut Five Leaves Left, in haphazard fashion, with Drake, college friend/arranger Robert Kirby, and manager/producer Joe Boyd ditching college lectures and scrambling to London to steal recording time at Sound Techniques studio whenever Fairport Convention (who were friends with Drake and provided most of the instrumentation on Five Leaves Left, along with fellow folk-rockers Pentangle) wrapped their Unhalfbricking sessions early.

19. Many Rivers To Cross - Jimmy Cliff: What a song. But unbeknownst to many, the inspiration for this inspirational from Jimmy's self-titled debut (released in the states as Wonderful World, Beautiful People) came not from any sense of social injustice, but from the frustration Cliff felt failing to break through to an international audience after having relocated to the UK Jimi Hendrix-style several years prior while still in his teens.

20. In The Ghetto - Elvis Presley: With Suspicious Minds set aside to be released four months later as a standalone summer single, it was Presley's cover of this empathetic Mac Davis composition that was actually From Elvis In Memphis' biggest hit, peaking at #3 in the states, but landing the #1 slot in several other countries around the world. 

21. Girl From The North Country - Bob Dylan and Johnny Cash: To open his first foray into full-blown country Nashville Skyline (assuming one considers 67's John Wesley Harding more of a folk/roots hybrid), Dylan repurposed one of his earliest acoustic classics and enlisted the help of one of his biggest fans to give the song a proper country sheen. But taken in either form, this version or the Freewheelin' original, Girl From The North Country remains one of Dylan's most enduring and heart-rending ballads.   

22. Both Sides Now - Joni Mitchell: Though Both Sides Now had put her on the map as an industry songwriter, Joni Mitchell was in no way a fan of Judy Collin's original harpsichord-saturated '67 recording. So Ms. Mitchell decided to rerecord the song herself, and make it the thematic centerpiece of her second solo release Clouds.  The album, a much more mature effort than her debut, was almost a one-woman show. Mitchell produced the record, painted the cover, and played all keys and acoustic guitar in addition to her songwriting and vocal duties. Only Stephen Stills (who ironically would score that big hit of his own eight months later celebrating Collins) assisted, providing complementary instrumental support.

23. Sweet Release - Boz Scaggs: This touching celebration of the redemptive power of music from Scagg's self-titled sophomore effort might never have come into existence were it not for Scagg's friendly relationship with his next door neighbor at the time, Rolling Stone magazine co-founder Jann Wenner.  Having recently left the Steve Miller Band after a two year stint, Scaggs was looking to restart his solo career, and had been sporadically sharing new demo material with Wenner for feedback. On a whim, while on an east coast fund-raising trip for Rolling Stone, Wenner handed a copy of Boz's demo to Atlanic's Jerry Wexler, which soon triggered a tangled web of influences and inter-relationships. Wexler tabbed Wenner himself to produce Scagg's album, which then led to Wenner issuing Boz Rolling Stone press passes so Boz could sneak into the Muscle Shoals Sound Studio and get comfortable with that studio's house band, which Wenner though Boz should use and also just happened to include Duane Allman, who had recently returned to the Studio for a brief stint while awaiting the release of his own band's debut, which was being handled, of course, by Atlantic's Jerry Wexler. Unfortunately, after all that, the album failed to find an audience at the time of its release, lost in the shuffle amidst so many brilliant Americana albums in circulation at the time. But it has grown in stature over the years, and is now viewed as a minor classic, sporting several songs like Sweet Release here that have become a bedrock of Scagg's touring repertoire. The moral of the story, folks: be a good neighbor... you never know when it could pay you back tenfold down the line. 

Wednesday, March 4, 2020

McQ's Favorite Albums Of 2019

Working a few more titles into the mix here mid April - biggest new addition is FKA Twigs - MAGDELENE - one of the most fascinating albums of 2019 from a production standpoint, black midi's Schalgenheim and Bill Callahan's Shepherd In A Sheepskin Vest also well worth checking out if aggressive art-rock or very spare, warm lyrically driven folk are in you wheelhouse.


1. Purple Mountains
2. Ghosteen - Nick Cave & The Bad Seeds
3. Dogrel - Fontaines D.C.
4. CALIGULA - Lingua Ignota

5. Crushing - Julia Jacklin
6. Designer - Aldous Harding
7. U.F.O.F. - Big Thief
9. Western Stars - Bruce Springsteen
10. KIWANUKA - Michael Kiwanuka
11. Grey Area - Little Simz
12. Titanic Rising - Weyes Blood
13. Remind Me Tomorrow - Sharon Van Etten
14. Norman Fucking Rockwell - Lana Del Rey

15. Punk - Chai
16. Psychodrama - Dave
17. Father Of The Bride - Vampire Weekend
18. Shepherd In A Sheepskin Vest - Bill Callahan
19. Schlagenheim - black midi
20. Legacy! Legacy! - Jamila Woods
21. I Need A New War - Craig Finn
22. Bandana - Freddie Gibbs & Madlib
23. All Mirrors - Angel Olsen
24. Giant Of All Sizes - Elbow
25. I Am Easy To Find - The National
26. Anima - Thom Yorke
27. Fear Inoculum - TOOL

28. IGOR - Tyler, The Creator
29. i, i - Bon Iver
30. Reward - Cate Le Bon

Last Updated 04.18.2020