329 - Sonic Youth - Daydream Nation

I didn't start paying attention to Sonic Youth until Goo came out. I wish I had discovered the band one album earlier. For a band that grew in importance as hardcore punk developed a strict doctrine, it was post-hardcore and during the grunge years that the band seemed to lose their experimental nature and searched for the perfect rock riff or hook that would get them more mainstream recognition. This album was one I frequently picked out to listen to when I've seen it in someone's collection. Alas, this tendency led to my knowing the sound of the album, but kept me from becoming more familiar with the individual songs. Much of shoegaze music clearly has their foundation with the sound that is archived on this album.

On Daydream Nation, the band has ventured from the NYC No Wave movement that inspired them and created a blend of noise and punk that showed had a beauty that most of the No Wave bands couldn't (and didn't want to) make. Feedback, odd chords, and drones have an almost techno-trance feel to them. Repetitious sounds slowly morph. What could otherwise be considered rattling and garbage becomes soothing. It is almost as if the album was produced by Brian Eno.

Daydream Nation relishes in seven minute songs that allow the guitars to fully explore all of the potential harmonics and squeals that manifest themselves. Kim's apathetic, husky vocals are both delicate and abrasive.

Songs I knew I liked: "Teen Age Riot" and "Candle"

Songs I didn't know but now like: "The Sprawl," "Eric's Trip," and "Hey Joni"

Songs I can go the rest of my life without hearing again: None, although I would likely start skipping past "Providence" after more listens.

328 - Liz Phair - Exile in Guyville

There was a HUGE wave of hype that preceded the release of Exile in Guyville. I found it quite off-putting at the time and I considered much of the hype to be founded on Liz's looks and outlandish interviews she would give. I gave her credit for knowing how to use her natural resources to gather attention, but I did not care for the album.

I'm glad for the opportunity to revisit the album. With the taste of all of that hype off of my palate, listening to Exile in Guyville was more pleasurable this time. I can hear some of what put me off before. Her feminist-macho image is very much a part of these lyrics. Liz talks about her sex life and abilities in a way a preening teen boy would. That is liberating and annoying at the same time for me. There are times that the lyrics just had me convinced that I was hearing satire and other times I thought I was getting a peek into that slutty girl's thoughts. This quandary of the earnestness or wittiness of these lyrics and Liz's public image annoyed me then and still kept stepping into the picture during my listens.

I have enjoyed listening to many of the songs on Whip-Smart and whitechocolatespaceegg (JD owns and loves both) through the years. This album isn't as far off in its sound as I had made myself to believe. The tone of the lyrics changed through the years, but the essential sound of Liz Phair is fairly consistent through those three albums.

Songs I knew I liked: "Never Said"

Songs I didn't know but now like: "6'1"," "F*ck & Run," and "Flower"

Songs I can go the rest of my life without hearing again: I wouldn't miss any of the other tracks, but I wouldn't protest to someone putting the album on now.

327 - Alanis Morissette - Jagged Little Pill

It is hard to argue with the pop hooks on Jagged Little Pill. This is an interesting creation of a pop producer and an emotionally confessional 19 year old that sings with a confidence that helps mask the vocal quality. When you pay a lot of attention to the lyrics, the words certainly come across as slightly less than skilled (I'll skip the diatribe on the lyrical problems of "Ironic" this time). But the emotions and situations she sings about are genuine and not some teen fantasy of being broken-hearted. Alanis had her heart broken and these are the best words she could come up with to express that.

Then there is the singing of those words. When she's pissed, there's no doubting it. Where American Idol contestants flourish with vocal gymnastics as if the listener is on a roller coaster, Alanis's vocals ricochet like bumper cars - there is a lack of precision, but there is no avoiding being hit by her emotions.

Alanis was a good combination of pop and "grunge" (attitude, not music) when this was released. While Jagged Little Pill lacks the introspection of Tori Amos or the emotional rawness of PJ Harvey, Alanis connected with the mainstream in a way neither of those other female artists could. Whether you consider that a good or bad thing will likely color how you perceive this album.

Songs I knew I liked: "Hand in My Pocket" and "Head Over Feet" (I hesitate putting "You Oughta Know" because it is a song I kinda don't like but have been caught off-guard singing along to it.)

Songs I didn't know but now like: "All I Really Want"

Songs I can go the rest of my life without hearing again: "Ironic," "Perfect," "Right Through You," and "Forgiven" (although I think Evanescence could actually do something with "Forgiven")