464 - Jay-Z - The Blueprint

The Blueprint is one of those albums that excels in being a snapshot of an artist at a particular point in time. This album was reportedly recorded over two weeks (and the lyrics over two days) while Jay-Z was dealing with a couple of criminal charges in court. Despite the circus aspect of his every day life, the album depicts him as confident and ready to face whatever challenges comes his way. Numerous tracks sound as if Jay-Z is delivering them from a podium in front of a mass of supporters. Tracks like "Takeover" or "U Don't Know" may have even been improved by adding some crowd noise (in the style of early 90's "arena house" by KLF or Messiah).

I will pick on that former track for just moment. I really like the sampling and musical bed on this track with The Doors and David Bowie's sporadic shouts of "Fame!" Unfortunately, I think it is a bad match for the rhymes Jay-Z delivers during the verses. He and the samples conflict more than cooperate and I found it off-putting.

What probably stands out more than anything on this album is how Jay-Z dominates the album and doesn't share it with every single rapper located on the East Coast. So many rap records by solo artists get bogged down by tracks that feature guests and only cameos of the actual artist. Other than Eminem's appearance, the album is almost entirely Jay-Z.

Songs I knew I liked: "Izzo (H.O.V.A.)"

Songs I didn't know but now like: "Jigga That N*gg*," "Hola' Hovito," and "Renegade"

Songs I can go the rest of my life without hearing again: I'd probably skip "Takeover" on occasion if I were to buy the album.

463 - Elton John - Tumbleweed Connection

I thought the self-titled Elton John album was okay and figured that maybe there was something particular about the album that justified it being in the 500 that I just wasn't aware of. Now that I've heard Tumbleweed Connection, I wonder why the self-titled album was included in the 500. While this album doesn't have any hits on it, the songs are more consistent and gel well in the concept of the album. Where John/Maupin were dabbling around with pop songs on the self-titled album, they are in full-blown exploration on this album. The differences between the two albums are so much that I wonder how the two ended up so close to each other on the Rolling Stone Top 500 album list.

Tumbleweed Connection evokes the Wild West...in the same way that Disney parks envision that time - with a nostalgic polish. Don't think this an in-depth discovery of saloon music; it is John/Maupin looking to that time and feel for inspiration. Maupin adds mentions of guns and tough guys to the lyrics and Elton adds country twang, some blues, organ, and harmonica to his usual sound. It's not a big change from the uptempo blues of some songs previously recorded, but there is enough change to alter a listener's perception on the type of artist John is.

Songs I knew I liked: None

Songs I didn't know but now like: "Come Down in Time," "Where to Now St. Peter?" (I love the effects on the electric guitar in this song), and "Love Song" (beautiful harmonies that will make you wonder if you are listening to Crosby, Stills, Nash, and John).

Songs I can go the rest of my life without hearing again: I won't feel like I've missed anything if I don't hear any of the tracks not listed in the comment above again.