Ron’s Top 10 Most Influential Albums
If you’ve ever seen the movie Scent of a Woman, you know that near the end, Al Pacino delivers one of his greatest dramatic performances ever when he defends Chris O’Donnell’s character, Charlie, in front of Baird’s headmaster and staff, against being wrongfully accused of a prep-school scandal. If you haven’t seen it, do it immediately—take my word on this!
Anyway, two of Pacino’s lines from this movie apply to an endeavor Tracy and I have undertaken. You see, Tracy and I have decided that in order for you to get to know a little more about us and our music, we should each share with you our personal top ten most influential albums. Our self-inflicted rules are that we wouldn’t discuss our choices with one another until we were finished creating our lists, and that, in the end, there can be only one—I mean ten. As Pacino said in Scent of a Woman, “Now I have come to the crossroads in my life. . . . It was too damn hard!”
Without further ado, here is my list, in no particular order, with a brief explanation as to why I chose each album:
U2 – The Joshua Tree (1987)
In 1987, I was a senior at Chapin High, in a small rural town in the middle of South Carolina. I remember listening to “Red Hill Mining Town” driving back and forth to my summer job in my MG Midget thinking about how well U2 had managed to match the feel of the oppressive summer heat and the dustiness on some of the local construction sites that I delivered building supplies to. Then, thanks to the entrance of the Edge’s delay-effected guitar over ethereal synth chords, there was the hopefulness of “Where the Streets Have No Name,” signaling the beginning of my college career at Clemson University. It was simply a case of the right album at the right time and the right place. But I don’t want to sell U2 short; it was, in my opinion, their greatest album—a unique body of work that sounded like nothing before or since.
INXS – Listen Like Thieves (1985)
A couple years earlier in 1985, INXS released Listen Like Thieves. This was another case of the right album at the right time. My first clear cassette—remember those? If we’re all honest, most (if not all) of us go through some challenging coming-of-age trials during the teen years. We grasp and struggle to figure out who we really are before being thrust into the world outside of the homes we grew up in. This was the album that got me through those times. On one hand, Michael Hutchence sings, “Shine like it does, into every heart,” but then turns around and sings, “I’ve seen your cool white face—but I can’t seem to care about it.” I needed to hear both of those things. I’m all about honesty in the lyrics that I write—thanks, Michael.
Duran Duran – Seven and the Ragged Tiger (1983)
Okay, so to lighten things up a bit … There will be a lot of readers (including Tracy, if I know him like I think I do) who will be a bit miffed at this choice. Why not Rio?!? Well, everyone chooses Rio, and this was a tough call because Rio is definitely a strong album and a true classic. But, again, it is often about timing with these things. Seven and the Ragged Tiger was my first mass, in-depth exposure to what remains one of my favorite groups. Yes, I had already heard, consumed, and absorbed into my being the singles “Rio” and “Hungry Like the Wolf”, but Seven and the Ragged Tiger was my first Duran Duran album purchase, and it’s the one that made me a lifelong fan. Nick’s keyboard work had greatly evolved, I believe (not that it wasn’t good before), and I think Simon’s self-harmonization was reaching new highs. Hey, I’m a vocalist after all.
Thomas Dolby – The Golden Age of Wireless (Capitol ST-12271) (1983)
To appreciate this album, one must look beyond the overplayed “She Blinded Me With Science” and also the reports from multiple sources that Mr. Dolby seems to have become somewhat of an unpleasant person to be around in his later years. Being the second version to be released in the U.S., this was an early album to catch my attention with its unique sound palette, catchy melodies, and quirky subject matter. It really had it all. Add to that the fact that Thomas built many of his own synths. He was someone to emulate in the early days and inspired many musicians. Every song was different and imaginative. I’ve been hard-pressed to find anything that matches the feel of this album, and I don’t believe that even Dolby was ever able to come up with anything to top it in his career—but everyone has opinions, right?
Emerson, Lake, and Powell – Emerson, Lake, and Powell (1986)
No, that’s not a misspelling. We are indeed talking the 1986 album with Powell, not Palmer. This one may surprise a lot of readers, but—yes (or should I say Yes?)—I have a prog rock side. Believe it or not, the main reason for this choice is Track 5, “Love Blind” from 1:12 to 1:28. Keith Emerson’s keyboard solo there is just one of those magical majestic moments of wizardry that only someone of his musical pedigree and nobility can pull off. He makes his own time signature, his own atmosphere, his own universe right there in the middle of the song, and every so often, I just hear it randomly start up and play of its own accord in my head. Ever since I heard it in my late high school years, it’s been that way. Not to mention, their version of Gustav Holst’s “Mars, the Bringer of War” still makes me want to smash things. Check this album out if you haven’t already—it’s a lost jewel.
Depeche Mode – Violator (1990)
With this choice, I transition from high school to college in my musical journey and development, when Tracy’s and my first incarnation of our band, Secret October, was starting up. This album absolutely had to be on my list. I personally consider it DM’s greatest. It garnered them the most attention in their career since it gave them their biggest hits, yet it’s the lesser played tracks that attract me. “World in My Eyes” and “Halo,” the latter of which we chose as our first Second October cover, had complex natures and production values about them that hadn’t been achieved by DM before (co-producer Flood always seemed to have a golden touch), and this was the sound that I imagined Secret October (at the time) should shoot for.
Queensrÿche – Operation Mindcrime (1988)
Being the vocalist for Second October, I respect and admire the power and skill of Geoff Tate on this massive rock opera album and other early Queensrÿche recordings. I also love the concept album format, the storyline, and the writing on this record. I think the entertainment value is phenomenal. Many a time I was transported to a dark world of crime and corruption as I listened to the album from start to end. I suppose that has influenced us in a large part to continue our storyline on every EP with a new song about what’s going on with our poor bastard, who is being manipulated by his femme fatale and other forces.
Nine Inch Nails – Pretty Hate Machine (1989)
Speaking of dark, let’s talk about Pretty Hate Machine. After I became roommates with Tracy in our off-campus A-frame apartment and gained access to his massive collection of alternative tuneage, this was one of the first things he introduced me to, and what an album! I had never heard anything like it. Now, in comparison to Trent Reznor’s later offerings, this album is fairly tame, but it is still probably my favorite simply because I love the synth work, it was cutting edge at the time, Tracy and I covered a few of its songs early in our partnership, and it was . . . well, influential in our formation. That’s what this list is about, isn’t it?
Gene Loves Jezebel – Kiss of Life (1990)
This is another choice that will raise eyebrows, this time amongst true Gene Loves Jezebel fans, but you know what? It was the first full album I ever heard by them, and it caused me to explore the rest of their catalog. There is always, in my opinion, something magical about the first time you hear a group that you will grow to love. I’m sure that many of you remember the first song you heard by that group you love. To me, “Jealous” still rocks. And I get a kick out of lyrics like, “I don’t know why you came. . . . I was happier before you came” (which, of course, are even better due to Jay’s vocal delivery – he’s got one of the most unique and dynamic voices that will ever hit your ears). Don’t get me wrong, Gene Loves Jezebel’s entire catalog is fantastic, and if you aren’t familiar with their brand of alternative glam-tinged goth, do yourself a favor and look into them.
808 State – Utd. State 90 (1990)
This album is another from the A-frame on Old Central Road in Clemson. It was (and still is) a thing of wonder for me. Some call it acid house or techno or even acid jazz (it has a stellar soprano sax solo on the lead track, and that’s no easy task—no offense if you are a sax player). I had never heard anything remotely like it, and still don’t think I have. Some reviews by well-respected music critics claim that it is the best electronic album ever made, and I am inclined to agree. It is one of my favorite albums and has some truly wonderful soul-cleansing sounds on it. It still makes me feel great to listen to it and stays in my rotation. Check it out sometime!
As you might imagine, for a couple of guys who place music in as high regard and importance as we do, and have collected as many albums as we have, narrowing things down to ten each was downright torturous, so we agreed beforehand that to lessen the pain a bit, we would allow ourselves ten more honorable mention albums, but we aren’t going to go into details about why they are also important to us. Here are mine, again in no particular order:
Utah Saints – Utah Saints (1993)
Underworld – Beaucoup Fish (1999)
New Order – Technique (1989)
Recoil – Bloodline (1992)
A-ha – Scoundrel Days (1986)
Orbital – Orbital 2 (1993)
Hybrid – Wider Angle (2000)
Duran Duran – Rio (1982)
Clan of Xymox – Clan of Xymox (1985)
Love and Rockets – Seventh Dream of Teenage Heaven (1985)
So there you have it. I guess it’s wishful thinking to believe that someday, somehow, Second October could end up on someone’s Top Ten list. Heck, we’d settle for top 500 for now. At any rate, check out our latest EP, STATIONARY NOMAD, and see if you can hear any of the influences from our top albums there (take a look at Tracy’s very different, but strangely connected list here). Thanks for taking an interest – that’s what makes it all worth it to us!
A quick shout-out and thank you to our official editor-in-chief Marjorie Metts for making the above more readable and hopefully more enjoyable for you!
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