Modern Music – A to Z

Howdy. I’m Rusty Moose, and welcome to my journey through the musical landscape of the past few decades, spotlighting artists who made their debut in 1980 or later.
No classic rock dinosaurs here, just a wide-ranging mix of voices that helped shape the modern era.

Naturally, we begin with the letter A. This first batch spans genres, moods, and cultural footprints. Some names you’ll know instantly; others may come out of left field. But each, in their own way, left a mark.

The albums featured aren’t flawless, but they’re the ones I found most consistently listenable with few skips, minimal cringe, and strong replay value. The star ratings reflect nothing more than my personal enjoyment. I’ve excluded Country, Heavy Metal, Punk, and Rap, as those genres generally fall outside my taste zone.

The music industry is a vast seascape, full of crashing waves of hype, shifting currents of fashion, and countless tributaries that lead nowhere. My job? To help steer you toward the safe harbors…those rare, solid records worth docking with for a while.

Side note: I’m not sure what it is about the letter A, but the ladies run the table in this round.

Let’s dive in first with the “Essential Spins”.

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AMBER MARK: Three Dimensions Deep (2022)

⭐⭐⭐ 3 Stars – Decent

Amber Mark arrived with the kind of genre-blending promise that feels tailor-made for modern listeners: R&B, pop, funk, and a dash of neo-soul all orbiting around a smoky, versatile voice. Her debut album, Three Dimensions Deep, aims high, both musically and conceptually, with a cosmic theme that explores self-doubt, desire, and transformation. It’s lush, personal, and often beautiful.

But it’s also sprawling. At 17 tracks, the album could have used some judicious editing, and the space motif occasionally feels more decorative than essential. But there’s no denying Amber Mark is a talent to watch. Three Dimensions Deep may be overextended, but its best moments show an artist capable of real gravity.

SAMPLE TRACK: Foreign Things

ALICE MERTON: Mint (2019)

⭐⭐⭐ 3 Stars – Decent

Alice Merton made an instant impression with her breakout single “No Roots”, a pounding, earworm anthem about rootlessness that felt both personal and PR-ready. Her voice is sharp, distinctive, and brimming with confidence, and her debut album Mint expands on that same mix of independence and polish.

There’s a lot to like here: crisp production, strong hooks, and a vocal style that cuts through the noise. But Merton also walks a fine line between individuality and image management, and at times the album feels calculated rather than inspired. Still, Mint proves she’s more than just a one-hit curiosity. Whether she evolves beyond the high-gloss pop-rock blueprint remains to be seen, but this debut shows flashes of real potential behind the marketing sheen.

SAMPLE TRACK: Why So Serious

ARIANA GRANDE: Thank U, Next (2019)

⭐⭐⭐ 3 Stars – Decent

I’ll admit it: Ariana Grande’s music doesn’t really speak to me. She’s clearly a gifted vocalist with a technically impressive range and a naturally appealing tone. But the lyrical themes, sonic styling, and emotional palette feel tailor-made for a different audience, one I’m clearly not part of. That said, ignoring Thank U, Next would be like trying to stop a tsunami with a beach towel.

I can appreciate that the album marked a shift in how mainstream pop could blend confession, sass, and sonic minimalism into something both emotionally potent and wildly commercial. You don’t have to connect with it to recognize its significance. Thank U, Next is a defining album of its moment, and Ariana Grande…whether I “get” her or not, is undeniably a force.

SAMPLE TRACK: Bloodline

ALABAMA SHAKES: Sound & Color (2015)

⭐⭐⭐ 3 Stars – Decent

No, they’re not a regional milkshake franchise, Alabama Shakes are one of the rare bands that Lynyrd Skynyrd and Neil Young might actually agree on. Rooted in Southern soul and blues-rock, but unafraid to dive headfirst into psychedelia, garage rock, and future-funk, this band, led by the powerhouse that is Brittany Howard, blew the doors open with Sound & Color.

This isn’t your standard retro-soul affair. It’s spacey, moody, and unpredictable…less bar-band boogie and more cosmic R&B transmission. It shows what happens when a band outgrows their genre tags and starts chasing their own weird, wonderful instincts. With Sound & Color, Alabama Shakes made it clear: they weren’t here to revive old sounds, they were here to reimagine them.

SAMPLE TRACK: Don’t Wanna Fight

ANDRA DAY: Cheers to the Fall (2015)

⭐⭐⭐ 3 Stars – Decent

Andra Day’s Cheers to the Fall (2015) is significant because it was one of the rare debut albums in the 2010s to make an immediate critical and cultural impact while leaning unapologetically on retro soul, jazz, and blues stylings. At a time when R&B was heavily drifting into electronic, trap, and pop territory, Day delivered a record steeped in the classic vocal tradition…horns, smoky arrangements, and a voice that could channel both grit and vulnerability.

Adele–Amy Winehouse–Andra Day (re)-iterations:

• Amy Winehouse injected rawness, jazz phrasing, and confessional lyricism into modern pop culture, making the retro-soul sound viable for a mainstream audience in the 2000s.
• Adele took that retro-soul vocal drama and polished it into a stadium-filling, ballad-driven, globally marketable sound—less jazz club, more arena.
• Andra Day feels like a re-iteration in the best sense. She channels Amy’s smoky, vintage sensibility, keeps some of Adele’s emotional weight, but leans even more heavily into jazz phrasing, bluesy grit, and vintage arrangements.

If Amy was the match that lit the flame, and Adele was the roaring hearth, Andra Day is the candlelight in the back corner of a smoky lounge…different setting, same warmth.

SAMPLE TRACK: Only Love

AVICII: True (2013)

⭐⭐⭐ 3 Stars – Decent

Avicii’s debut album True was nothing if not ambitious. At a time when EDM was dominating clubs and festivals, he threw a curveball, blending house beats with folk, country, and soul influences in a way that puzzled some, thrilled others, and definitely got people talking.

It’s a mixed bag, no doubt. The much-discussed country angle doesn’t always stick (“Hey Brother” is either bold or baffling, depending on your tolerance for bluegrass-EDM fusion), but when it works, it really works. Still, I’m not sure True is a fully coherent album, but it’s more pleasure than pain. And while Avicii’s career was tragically cut short, True remains a testament to an artist willing to take real risks in a genre not known for them. If nothing else, he showed that electronic music could have heart without sacrificing energy.

SAMPLE TRACK: Lay Me Down

ARCTIC MONKEYS: AM (2013)

⭐⭐⭐ 3 Stars – Decent

Arctic Monkeys exploded onto the scene in the mid-2000s with a scrappy, swaggering energy that helped define the indie rock boom of that era. Over time, their sound evolved from garage rock bravado to something more brooding, stylish, and nocturnal.

Personally, I had to sit with AM a bit, and after auditioning three potential “best” albums, this was the one that finally clicked. I’m not a diehard fan of the band or their overall sound, but AM makes a strong case for why so many others are.

SAMPLE TRACK: Snap Out of It

ABOVE & BEYOND: Group Therapy (2011)

⭐⭐⭐ 3 Stars – Decent

Above & Beyond are a British electronic music trio renowned for their emotionally resonant blend of trance, progressive house, and ambient electronica. Released in 2011, Group Therapy is widely considered Above & Beyond’s definitive studio album. It marked a shift from club-oriented trance toward a more song-driven, lyrical form of electronic music.

SAMPLE TRACK: Sun & Moon

ADELE: 21 (2011)

⭐⭐⭐ 3 Stars – Decent

Adele is one of the most acclaimed and commercially successful vocalists of the 21st century—a powerhouse British singer-songwriter known for her emotionally raw ballads, timeless voice, and throwback soul-pop style. While her debut 19 established her as a gifted newcomer, it was her second album, 21 (2011), that transformed her into a global phenomenon.

SAMPLE TRACK: He Won’t Go

AMOS LEE: Mission Bell (2011)

⭐⭐⭐ 3 Stars – Decent

Amos Lee emerged in the mid-2000s as a soulful singer-songwriter with a gentle voice and a knack for blending folk, jazz, and R&B into something quietly compelling. While he never chased the spotlight, his music often found its way into hearts (and coffee shop playlists) through its sincerity and subtlety.

Released in 2011, Mission Bell is arguably his most distinctive and emotionally resonant work. The album trades polish for atmosphere, resulting in a spare, sparse affair that feels dusty, intimate, and deeply lived-in. Mission Bell doesn’t try to dazzle, it tries to mean something. And in that sense, it succeeds beautifully.

SAMPLE TRACK: Flower

ARMIN VAN BUUREN: Imagine (2008)

⭐⭐⭐ 3 Stars – Decent

Armin van Buuren is one of the most influential figures in modern electronic music, a Dutch DJ, producer best known for his euphoric trance anthems and marathon live sets. While much of his work is geared toward ecstatic festival crowds and late-night clubbers, Imagine (2008) stands out as his most cohesive studio statement.

Unlike many DJ albums that feel like stitched-together banger reels, Imagine is surprisingly unified. Van Buuren leans heavily on guest vocalists, but they blend into the sonic palette rather than hijack the spotlight. This restraint works to the album’s advantage, giving it a consistency that’s rare in the genre.

SAMPLE TRACK: Going Wrong

AMY MACDONALD: This Is the Life (2007)

⭐⭐⭐ 3 Stars – Decent

Amy Macdonald arrived with a guitar, a clear sense of melody, and…most refreshingly, a thick Scottish accent that gave her songs a distinctive edge. Her debut album This Is the Life didn’t reinvent the singer-songwriter wheel, but it rolled along with charm, sincerity, and a sense of identity often missing from the genre.

The material is above average; hooky, heartfelt, and often deceptively thoughtful…but it’s Macdonald’s voice that lifts it. Not just her tone, but the accent, which grounds the songs in a specific cultural place and gives them texture that smoother pop production often sands down. It’s not a perfect album, but it’s a solid and confident debut that hints at bigger things, and proves that regional authenticity can be a musical asset, not a liability.

SAMPLE TRACK: Mr. Rock and Roll

AMY WINEHOUSE: Back in Black (2006)

⭐⭐⭐ 3 Stars – Decent

With Back to Black, Amy Winehouse pulled off a rare trick: she made retro sound rebellious. Drawing from ’60s girl groups, Motown, and classic soul, she created something that nodded to the past but never felt like an impersonation. Her voice was raw, her lyrics even rawer, and the persona behind them…equal parts wounded and wicked, was unmistakably her own.

There’s a lived-in, smoky elegance to the album. It conjures images of ashtrays, highball glasses, shag rugs, and wood-paneled dens, yet somehow avoids being trapped in kitsch. That’s Winehouse’s genius: she didn’t just borrow the aesthetic, she inhabited it, bending vintage influences to match her modern chaos. Back to Black isn’t flawless, but it is iconic. Amy didn’t just bring back a sound, she brought back danger, vulnerability, and wit in a voice that still feels singular.

SAMPLE TRACK: He Can Only Hold Her

ALICE SMITH: For Lovers, Dreamers & Me (2006)

⭐⭐⭐⭐ 4 Stars – Strong

With a name like “Alice Smith” and an original album cover that looked like clip art from a broken printer, you’d be forgiven for assuming this was some run-of-the-mill singer-songwriter effort destined for the discount bin at Starbucks. In fact, I was ready to suggest ignoring both the name and the cover, until I realized the original artwork is practically impossible to find now. Maybe someone finally admitted how bad it was and pulled the plug.

But here’s the twist: For Lovers, Dreamers & Me (2006) is an exceptional album. Start to finish, it’s a showcase of vocal brilliance, emotional depth, and genre-blending finesse. Smith effortlessly moves through soul, jazz, pop, and rock without sounding like she’s trying to prove anything. Her voice? A revelation…equal parts power and restraint, ache and confidence.

That this record flew under the radar while we were all being force-fed the Beyoncé Industrial Complex™ (don’t worry, we’ll get to her soon) is one of pop culture’s more baffling injustices. Alice Smith didn’t just make a great debut, she made one of the most criminally overlooked albums of the 2000s.

SAMPLE TRACK: Love Endeavor

ALAN BRAXE: The Upper Cuts (2005)

⭐⭐⭐ 3 Stars – Decent

In the world of electronic music, albums are almost an afterthought. EPs, singles, remixes, collaborations…everything comes in fragments, scattered across obscure labels and 12-inches. If you want a coherent picture of an artist’s output, it’s usually up to you to stitch it together.

The Upper Cuts does the stitching for you. This compilation of Alan Braxe’s work from the late ’90s through the early 2000s (I think it has been updated again) isn’t a proper album in the traditional sense, but for electronic music, it’s as close as it gets. Sleek, French-filtered, and impossibly catchy, it captures the golden age of French house with elegance and precision. The Upper Cuts is a rare case of dance music that feels like a full artistic statement.

SAMPLE TRACK: Rubicon

ANASTACIA: Anastacia (2004)

⭐⭐ 2 Stars – Meh

Anastacia is the kind of artist who always seemed more popular in theory…or in Europe, than in the cultural mainstream. Known for her powerhouse vocals and “sprock” (soul-pop-rock) branding, she brings undeniable energy to the table, but not always a lot of depth. Her self-titled third album is the most cohesive and self-assured of her releases, if also the most bombastic.

With tracks like “Left Outside Alone” and “Heavy on My Heart,” Anastacia finally carved out a space that felt less like crossover ambition and more like a clear artistic statement. It may not be subtle, but it’s a defining entry in her catalog, and a reminder that sometimes, sheer vocal conviction can carry more weight than lyrical nuance.

SAMPLE TRACK: Sick & Tired

AUDIOSLAVE: Audioslave (2002)

⭐⭐⭐ 3 Stars – Decent

Audioslave was the early-2000s version of a hard rock supergroup: the instrumental muscle of Rage Against the Machine joined forces with the volcanic vocals of Soundgarden’s Chris Cornell. The result? A band that sounded exactly like you’d expect; loud, heavy, brooding, and dramatic.

All three of their albums are, frankly, pretty interchangeable. Their self-titled 2002 debut may lack the slick production of Out of Exile or the slightly sharper songwriting of Revelations, but it wins on pure anthemic weight. Tracks like “I Am the Highway,” “Show Me How to Live,” and “Like a Stone” deliver that classic, fist-clenched, post-grunge grandeur. Even if the album occasionally feels overlong or overly serious, it captured the kind of rock radio dominance that’s now extinct.

SAMPLE TRACK: Like a Stone

ALICIA KEYS: Songs in A Minor (2001)

⭐⭐ 2 Stars – Meh

There’s no denying that Songs in A Minor made Alicia Keys a household name. With its blend of classical piano flourishes, neo-soul polish, and major-label sheen, the album arrived with a confidence that made critics swoon and audiences take notice. It sold millions, won Grammys, and launched a career that somehow still endures.

Songs in A Minor was a cultural moment. It positioned Alicia Keys as a new kind of pop-soul figure…educated, elegant, and radio-ready. It also arrived at a time when mainstream R&B was dominated by production-first acts, and Keys brought musicianship back into the conversation, even if the conversation didn’t speak to everyone. She’s here because history insists on it…even if my ears beg to differ.

SAMPLE TRACK: Fallin’

AALIYAH: Aaliyah (2001)

⭐⭐ 2 Stars – Meh

Some artists are canonized less for the scope of their work than for the mystique that surrounds it, and Aaliyah is one of those figures. Her untimely death at 22 froze her legacy in amber, elevating her from rising star to icon. Whether that legacy is rooted in sheer talent or the cultural moment she occupied is still up for debate, but either way, Aaliyah (the album) is considered her definitive statement.

To be clear: I don’t fully “get” Aaliyah. Her whispery vocal style feels more textural than expressive, and this album, for all its praise, may not even be the best showcase of her abilities. But it’s impossible to ignore the influence she had on the evolution of R&B. Whether or not you connect with it emotionally, Aaliyah undeniably helped push the genre into a more experimental, minimalist, and mood-driven direction.

SAMPLE TRACK: More Than a Woman

THE AVALANCHES: Since I Left You (2000)

⭐⭐⭐⭐ 4 Stars – Strong

Constructed from over 3,500 vinyl samples, The Avalanches’ debut is a seamless, kaleidoscopic journey through heartbreak, euphoria, nostalgia, and joy, all without ever really stopping to catch its breath. Picking a single standout track feels almost pointless; the whole album is the standout. It plays like one continuous, living organism: inventive, unpredictable, and completely absorbing.

The record pulses with a sense of motion, like flipping through dreamlike radio stations from a parallel universe, each one perfectly timed to the next. It’s no surprise that the band struggled for years to craft a proper follow-up. Since I Left You is nearly flawless, a debut so ambitious and so fully realized that topping it wasn’t just difficult…it was almost unnecessary

SAMPLE TRACK: Close to You

ANGIE STONE: Black Diamond (1999)

⭐⭐⭐ 3 Stars – Decent

Black Diamond is a slow burn in satin sheets. It doesn’t chase trends or radio hooks…it smolders. From the honeyed melancholy of “No More Rain (In This Cloud)” to the laid-back affirmation of “Everyday”, the album delivers quiet storm vibes with a level of vocal control that’s almost frustrating, because you know Angie could blow the roof off, but she rarely does. You’re left wanting her to cut loose and wail, but instead, she leans in close and whispers truths in candlelight.

That restraint, though, is part of what makes Black Diamond special. It’s grown-folks soul: sensual, measured, and emotionally mature. It helped define the neo-soul era not by reinventing the wheel, but by reclaiming vintage soul sensibilities and giving them room to breathe.

SAMPLE TRACK: No More Rain (In This Cloud)

AIMEE MANN: Bachelor No. 2 (2000)

⭐⭐⭐ 3 Stars – Decent

Few artists write emotional postmortems as precisely as Aimee Mann, and Bachelor No. 2 is perhaps her most distilled thesis on disappointment. Released in the wake of label disputes, the album offers a series of subdued, literate dissections of romantic fallout, personal failure, and quiet resilience.

Mann’s songwriting is sharp, often razor-blade clever, but it’s wrapped in a delivery that won’t be for everyone. Her restrained, slightly detached vocal style can feel cool to the point of flat.. There’s also a tendency toward sameness in tempo and tone, making this an album that could’ve benefited from some judicious editing. The album is not flashy, not fast, and certainly not uplifting, but when Mann gets it right, her precision cuts clean.

SAMPLE TRACK: Driving Sideways

AFRO CELT SOUND SYSTEM: Volume 2: Release (1999)

⭐⭐⭐ 3 Stars – Decent

Afro Celt Sound System is a genre-blurring collective that fuses traditional Irish music with West African rhythms and contemporary electronic production. Formed in the mid-1990s under Peter Gabriel’s Real World label, the group became pioneers of global fusion long before it was trendy, mixing uilleann pipes, kora, djembe, and drum loops into something both ancient and futuristic.

Critics praised Volume 2: Release as a landmark in world-electronica, and it remains a touchstone for artists attempting to merge traditional music with modern production without losing the soul of either. It’s the sound of boundaries disappearing, and something truly new taking shape.

SAMPLE TRACK: Eireann

ALANIS MORISSETTE: Jagged Little Pill (1995)

⭐⭐⭐ 3 Stars – Decent

In 1995, Jagged Little Pill didn’t just hit…it detonated. Practically everyone owned a copy, from angsty teens to yoga moms to people who had no idea what “going down on you in a theater” even meant. For many, it felt like a raw nerve pressed to a guitar string: Alanis Morissette’s unfiltered lyrics, brash delivery, and jagged production captured a kind of emotional candor that was rare in mainstream pop at the time, especially from a young woman.

Is it the first woman empowerment record? No. Is it the most important? Debatable. But Jagged Little Pill was a watershed moment for how female anger, vulnerability, and contradiction could sound on a platinum record. It blended confessional songwriting with alt-rock edge, flipping the script on what was commercially viable for women in music. For a brief moment, Alanis made righteous indignation a genre unto itself, and Jagged Little Pill became the soundtrack for a generation of listeners ready to bite back.

SAMPLE TRACK: You Learn

AFGHAN WHIGS: Gentlemen (1993)

⭐⭐ 2 Stars – Meh

Gentlemen is not an easy listen, nor is it meant to be. With this 1993 album, The Afghan Whigs delivered a brutal dissection of masculinity, power, and self-loathing, all set to a backdrop of seedy soul, noir rock, and emotional wreckage. If Alice in Chains documented personal decay from the inside out, Gentlemen exposes the toxic wreckage left behind in relationships, told with a bitter sneer and a cigarette burning in the dark.

Disclaimer: Gentlemen occupies a dark emotional space. It’s not recommended for casual entertainment or passive enjoyment. But as a raw document of inner conflict, delusion, and moral corrosion, it remains disturbingly effective…and sadly, still relevant.

ACE OF BASE: The Sign (aka Happy Nation) (1992)

⭐⭐ 2 Stars – Meh

The Sign is Ace of Base’s debut album, and whether you loved it or resented its inescapability, there’s no denying its impact. Yes, the strident, overly enunciated vocals can grow tiresome, especially across a full album. But for every eye-roll, there’s a hook that refuses to leave your brain. The Sign didn’t just succeed, it defined the commercial Euro-pop sound of the mid-’90s, especially in the U.S., where it became one of the best-selling debut albums of all time.

It’s easy to scoff at the polish and prefab nature of Ace of Base, but The Sign holds historical weight as a transitional bridge between ABBA’s Scandinavian perfectionism and the bubblegum maximalism of the late ’90s. It’s both a punchline and a blueprint.

SAMPLE TRACK: Living in Danger

ANNIE LENNOX: Diva (1992)

⭐⭐⭐ 3 Stars – Decent

With Diva, Annie Lennox stepped out from behind the Eurythmics’ synth-pop curtain and into a solo spotlight that revealed… well, an Ice Queen, but one who finally cracked the window open. She carried over the cool, stylized veneer that defined so much of ’80s music, but this time, it was paired with something more intimate, more nuanced, at least by Lennox standards.

Diva is elegant, deliberate, and emotionally restrained, but not hollow. It may not feel warm, exactly, but it’s warmer than anything she did with the Eurythmics. And that makes Diva a landmark in her career: a solo debut that redefined her as a serious, artful interpreter of mood and melody, not just a figurehead for icy elegance.

SAMPLE TRACK: Little Bird

ALICE IN CHAINS: Dirt (1992)

⭐⭐⭐ 3 Stars – Decent

Before the term “grunge” was hijacked by flannel clichés and MTV marketing departments, Alice in Chains delivered Dirt, an album so bleak, so raw, and so psychologically unfiltered that it felt less like a listening experience and more like a descent. Unlike their Seattle peers, AIC didn’t romanticize despair, they inhabited it. And on Dirt, they sculpted it into something both terrifying and brilliant.

Disclaimer: Proceed with caution. I have a very real sense that dark entities had a hand in this record, or at least hovered over the studio while it was made. Addiction, decay, trauma, spiritual rot…it’s all here, wrapped in sludge-heavy guitars and Layne Staley’s haunted wail. This isn’t music to uplift; it’s music to confront. And personally, it no longer has a place in my life because of the negative energy it carries. But to ignore it would be dishonest.

ALEX BUGNON: Love Season (1988)

⭐⭐ 2 Stars – Meh

Released in 1988, Love Season is Alex Bugnon’s debut album and remains his most iconic work. At a time when smooth jazz was still finding its footing, Bugnon delivered a record that blended quiet storm sensuality with sophisticated keyboard arrangements and just enough funk to keep things moving.

From the first track, it’s clear: Bugnon isn’t trying to dazzle with speed, he’s here to seduce with feel. This album helped lay the groundwork for the smooth jazz boom of the 1990s while maintaining a distinctly soulful, almost romantic personality. It’s the kind of record that doesn’t need to show off…it simply settles into your skin.

SAMPLE TRACK: Around 12:15 AM

ANITA BAKER: Rapture (1986)

⭐⭐⭐ 3 Stars – Decent

Back in the ’80s, Rapture wasn’t just an album, it was a household essential. Whether you were a yuppie, a jazz head, or just someone who appreciated grown-up music with polish, this record sat proudly in your CD tower or on your turntable. Anita Baker’s velvety contralto, paired with lush arrangements and elegant restraint, made Rapture the gold standard for sophisticated soul.

To modern ears, it may feel a little slow, maybe even sluggish, compared to today’s production styles and tempo-driven charts. But dismissing it would be missing the point. Rapture isn’t meant to grab you by the collar; it’s meant to settle around you like a cashmere blanket. It’s class personified: timeless, assured, and emotionally grounded without ever raising its voice. This is Baker’s definitive work, and it set a tone, both literally and culturally, for what adult contemporary R&B could aspire to be. It doesn’t chase trends; it sips wine and waits for you to catch up.

SAMPLE TRACK: Same Ole Love

THE ALARM: Declaration (1984)

⭐⭐ 2 Stars – Meh

Released in 1984, Declaration is The Alarm’s debut full-length album and remains their most iconic and impactful statement. From the pounding battle cry of “68 Guns” to the rebellious optimism of “Where Were You Hiding When the Storm Broke?”, the album is soaked in the sound of people fighting to be heard. The lyrics preach belief, resistance, and personal revolution, even if it’s not entirely clear what the revolution is about. It’s a record less about policy and more about conviction, a loud, ragged affirmation that something matters, and that music might just be the way to find it.

Declaration doesn’t play it cool…and that’s its greatest strength. It bleeds sincerity, and in an age of ironic detachment, that’s something to salute.

A-HA: Scoundrel Days (1986)

⭐⭐ 2 Stars – Meh

For many, a-ha begins and ends with “Take On Me”, a single so visually iconic and overexposed during MTV’s early days that it practically became wallpaper. The pencil-sketch video was revolutionary, the falsetto unforgettable, and the chorus… inescapable. But for those of us who never quite connected with the hyper-glossy charm of that song, or most of a-ha’s catalog, there’s one exception worth noting.

Scoundrel Days, their sophomore album, trades in the debut’s bubblegum synth-pop for something darker, moodier, and more mature. There’s still polish, but it’s tempered by atmosphere and restraint. While a-ha would go on to release many more albums, this is the only one that truly resonates for its sonic ambition, for its subdued melancholy, and for proving they weren’t just a music-video footnote. It’s a rare case where the second act quietly outshines the first.

SAMPLE TRACK: I’ve Been Losing You

A FLOCK OF SEAGULLS: A Flock of Seagulls (1982)

⭐⭐⭐ 3 Stars – Decent

This band’s self-titled debut is, by any fair assessment, their creative apex. Tracks like “I Ran (So Far Away)” and “Space Age Love Song” still shimmer with urgency and futurism. There’s a cohesive sonic vision here, one that briefly lifted them above their new wave peers.

Unfortunately, A Flock of Seagull’s trajectory mirrored their avian namesake. After one strong flight, they gradually returned to earth, not with a crash, but with a gentle, uninspired landing. Later albums never matched the debut’s conviction or craft, and their place in music history became more about style than substance.

SAMPLE TRACK: Space Age Love Song

ABC: The Lexicon of Love (1982)

⭐⭐⭐ 3 Stars – Decent

The Lexicon of Love is a rare case where excess becomes art. Martin Fry’s theatrical delivery, Trevor Horn’s cinematic production, and Anne Dudley’s orchestral arrangements merge to create an album that is equal parts camp and craft. It’s not emotionally deep, but it’s architecturally flawless.

SAMPLE TRACK: The Look of Love

AGENT ORANGE: Living in Darkness (1981)

⭐⭐⭐ 3 Stars – Decent

Living in Darkness is Agent Orange’s debut album and a cult classic in both punk and alternative circles. It clocks in at under 30 minutes, but in that short time, it manages to blend vintage surf rock aesthetics with the raw aggression of punk in a way no one else had dared to attempt.

From the nervy urgency of “Everything Turns Grey” to the melodic defiance of “Bloodstains”, the album captures the tension of suburban disillusionment with a sound that’s both retro and ahead of its time. There’s a sense of paranoia, alienation, and youthful rage in these tracks. So what’s the legacy? It’s fast. It’s melodic. It’s pissed off. And it still sounds like nothing else.

SAMPLE TRACK: Everything Turns Grey

WORTHY CONTENDERS – Good stuff that didn’t quite hit the top tier.

POP

• ASHE (2017) – American singer-songwriter known for her vintage-tinged indie pop and emotionally raw storytelling wrapped in lush, cinematic production.
• AMAARAE (2017) – Ghanaian-American artist known for her genre-blurring blend of alt-pop, R&B, and Afrofusion, delivered with a distinctive high-pitched vocal and bold, futuristic style.
• ALESSIA CARA (2015) – Canadian singer-songwriter known for her introspective lyrics and soulful pop anthems about self-acceptance, anxiety, and growing up.
• ALLIE X (2014) – Canadian synth-pop artist known for her theatrical aesthetic, crystalline vocals, and darkly glamorous take on outsider pop.
• AURORA (2014) – Norwegian art-pop singer-songwriter known for her ethereal vocals, Nordic mysticism, and emotionally charged, nature-infused soundscapes.
• ANNA LUNOE (2011) – Australian DJ, producer, and vocalist known for her high-energy house tracks, genre-blending club sets, and vibrant presence in the global electronic music scene.
• ALEX WINSTON (2010) – American indie-pop singer-songwriter known for her quirky vocal style, clever lyrics, and theatrical, genre-blending sound that balances vulnerability with eccentric charm.
• ADAM LAMBERT (2009) – American singer and performer known for his powerhouse vocals, glam-rock flair, and dynamic presence as both a solo artist and the frontman for Queen.
• THE ASTEROIDS GALAXY TOUR (2008) – Danish pop band known for their psychedelic retro-funk sound, punchy brass hooks, and the distinctive, sugar-rush vocals of lead singer Mette Lindberg.
• AGNES (2005) – Swedish pop singer known for her powerful vocals and evolution from dance-pop stardom to disco-infused, art-pop sophistication.
• ANYA MARINA (2005) – American singer-songwriter known for her witty, sultry indie-pop style and emotionally candid lyrics delivered with a smoky, offbeat charm.
• AVRIL LAVIGNE (2002) – Canadian pop-punk icon known for her rebellious attitude, catchy hooks, and early 2000s anthems that defined a generation of skater-inspired angst.
• A CAMP (2001) – Atmospheric side project of The Cardigans’ Nina Persson, blending indie pop with folk, Americana, and cinematic melancholy.
• ALPHAVILLE (1984) – German synth-pop band best known for their grand, melodic anthems like “Forever Young” and “Big in Japan,” blending 1980s new wave with cinematic, futuristic flair.

ROCK

• AMBER RUN (2014) – British indie rock band known for emotionally charged anthems, lush arrangements, and cinematic crescendos.
• ALT-J (2012) – English indie trio known for their quirky song structures, cryptic lyrics, and genre-blending sound that fuses folk, electronica, and art rock.
• ALEX G (2010) – Lo-fi indie auteur blending bedroom pop, folk, and experimental rock with cryptic, emotionally raw songwriting.
• ANGEL OLSEN (2010) – Genre-blurring singer-songwriter with a powerful, expressive voice that moves between indie rock, folk, and torch-song melancholy.
• THE AUDREYS (2006) – Australian roots duo blending folk, alt-country, and blues with smoky vocals and cinematic storytelling.
• AMANDA SHIRES (2005) – Texas-born singer-songwriter and violinist who mixes folk, alt-country, and literary lyricism with emotional vulnerability.
• ARCADE FIRE (2004) – Grammy-winning Canadian collective known for their sweeping, baroque indie rock and ambitious concept-driven albums.
• AC NEWMAN (2004) – Canadian singer-songwriter and frontman of The New Pornographers, known for his bright, power-pop melodies and cerebral songwriting.
• ASH GRUNWALD (2002) – Australian bluesman who fuses gritty Delta blues with roots, rock, and a modern, groove-heavy edge.
• AZURE RAY (2001) – Indie dream-pop duo known for their intimate harmonies, hushed melancholy, and slowcore-inspired soundscapes.
• ALBERT CUMMINGS (2000) – American blues guitarist and singer known for his soulful vocals and searing, Stevie Ray Vaughan-inspired guitar work.
• ANTHONY GOMES (1998) – Fiery blues-rock guitarist and vocalist whose gritty sound blends traditional blues with high-octane hard rock energy.
• ANI DIFRANCO (1990) – Fiercely independent folk-punk icon whose poetic, politically charged songs and percussive guitar work helped define the indie singer-songwriter movement.
• ANDERS OSBORNE (1989) – Swedish-American guitarist and songwriter whose blend of blues, rock, and soul is marked by gritty vocals and introspective lyrics.
• ALEJANDRO ESCOVEDO (1986) – Revered Americana and roots-rock songwriter whose work blends punk energy with heartfelt storytelling and Mexican heritage.
• A HOUSE (1985) – Irish indie rock band celebrated for their sharp wit, biting social commentary, and cult status in the alternative scene.
• ALL ABOUT EVE (1984) – British gothic folk-rock band known for their ethereal sound, poetic lyrics, and frontwoman Julianne Regan’s haunting vocals.
• AZTEC CAMERA (1981) – Scottish band led by Roddy Frame, known for jangly guitars, literate lyrics, and sophisticated pop craftsmanship.
  

SOUL

• ALEX ISLEY (2019) – Silky-voiced neo-soul singer-songwriter and daughter of Ernie Isley, known for her lush harmonies and dreamy, minimalist soundscapes.
• ADAM HAWLEY (2016) – Contemporary smooth jazz guitarist whose polished playing and upbeat grooves bring radio-ready finesse to the genre.
• AARON ABERNATHY (2011) – Modern soul musician and bandleader known for his socially conscious lyrics, rich arrangements, and deep Marvin Gaye influence.
• ANDERSON EAST (2009) – Raspy-voiced Americana and Southern soul artist whose music blends vintage R&B warmth with modern roots-rock storytelling.
• ANTHONY HAMILTON (1996) – Gritty, modern soul singer with a gospel-rooted voice, celebrated for his heartfelt storytelling and Southern-fried emotional depth.
• ANGELA WINBUSH (1987) – Powerhouse vocalist and multi-instrumentalist who rose from ’80s duo Rene & Angela to solo success with polished, gospel-inflected R&B.
• ALYSON WILLIAMS (1986) – Late-’80s R&B and new jack swing artist with a commanding voice and a streetwise elegance that earned her early hits and BET acclaim.
• ALEXANDER O’NEAL (1985) – Powerhouse R&B vocalist from the Minneapolis sound era, known for his soulful delivery and hits shaped by Jam & Lewis’s slick production.

ELECTRONIC

• ANZ (2017) – UK DJ and producer blending UK garage, breaks, and techno; early EPs on Chow Down and Hessle Audio marked her debut.
• ANETHA (2016) – French techno DJ and producer known for dark, driving sets and releases on Blocaus and her own label.
• AMELIE LENS (2016) – Belgian techno DJ/producer whose first release “Exhale” introduced her sleek, high-tempo sound.
• ANCIENT METHODS (2013) – Berlin-based industrial techno artist known for brutalist, rhythmic noise; debut 12″ came out in late 2000s but gained traction in 2013.
• ANABEL ENGLUND (2012) – First came to prominence as a vocalist on “Electricity” with Hot Natured.
• AZARI & III (2009) – Toronto house revivalists whose debut single “Hungry for the Power” launched their short-lived but influential run.
• AUDIOJACK (2005) – UK-based house and techno duo releasing tracks on 2020Vision and other labels since the mid-2000s.
• ALIX PEREZ (2005) – Belgian-born drum & bass producer known for his atmospheric take on liquid and minimal styles.
• A-TRAK (2000) – Became a turntable prodigy in the late ’90s, but first notable solo productions emerged around 2000; grew into a genre-blending DJ/producer.
• ATB (1998) – Broke through with “9PM (Till I Come)”, launching a successful career in melodic trance.
• ART OF TRANCE (1993) – British trance project by Simon Berry, with early tracks appearing on Platipus Records in the early ’90s.
• AUX 88 (1994) – Detroit electro duo that helped define techno bass with Is It Man or Machine?.
• ART OF NOISE (1983) – Experimental British synth-pop pioneers formed by Trevor Horn, debuting with Into Battle with the Art of Noise.
  

World and Misc.

• Ali Farka Touré – A Malian guitar legend who bridged West African traditions and American blues with profound global impact.
• Anoushka Shankar – A virtuosic sitarist and composer modernizing Indian classical music with global fusion elements.
• Alpha Blondy – One of Africa’s most iconic reggae artists, blending political consciousness with infectious riddims.
• Afro-Cuban All Stars – A vibrant ensemble reviving classic Cuban son, bolero, and salsa with masterful execution.
• Ayub Ogada – A Kenyan singer and nyatiti player who brought East African folk to a global audience through hypnotic minimalism.
• Andy Palacio – A cultural torchbearer of the Garifuna sound, whose Watina album is a world music landmark.
• Afel Bocoum – A disciple of Ali Farka Touré, weaving Sahelian storytelling with hypnotic desert blues textures.
• Amazones d’Afrique – A feminist collective of West African divas blending Afrobeat, pop, and social activism.
• Amparanoia – Spanish singer Amparo Sánchez’s high-energy mix of flamenco, reggae, ska, and protest spirit.
• A Filetta – A Corsican vocal group renowned for haunting polyphonic chants rooted in island tradition.
• Acoustic Alchemy – Smooth jazz veterans known for slick, melodic guitar-driven instrumentals with global touches.
  

MISSED THE MARK (all genres) – Albums or acts that had potential but fell short.

A SPLIT SECOND / A SUNNY DAY IN GLASGOW / AARON TAYLOR / THE ACRYLICS / ACTIVA / ADAM GREEN / ADORABLE / ADORE DELANO / ADRIAN MARCEL / ADVENTURE CLUB / THE ADVENTURES / AFROJACK / AFTER 7 / AFTER THE FIRE / AHMED ROMEL / AIDAN BISSETT / AIRBOURNE / AIRBORNE TOXIC EVENT / AIYANA LEE / AJR / AKIRA KITESHI / ALAN WALKER / ALBERT CASTIGLIA / ALBERT HAMMOND JR. / ALEXA RAY JOEL / ALEXANDER RYBACK / ALEXANDRA BURKE / ALEXANDRA STAN / ALEXIA / ALEX KUNNARI / ALEX REECE / ALFONZO BLACKWELL / ALI LOVE / ALICE DEE JAY / ALINA BARAZ / ALL SAINTS / ALL AMERICAN REJECTS / ALLEN & ENVY / ALLEN WATTS / ALOE BLACC / ALOK / ALPHA OMEGA / ALTER BRIDGE / ALTERED IMAGES / ALTERN 8 / ALY & AJ / AMAAL NUUX / AMBER / AMELIA LILY / AMERICAN PEARL / AMERIE / AMPLIFIER HEADS / AMY DOUGLAS / AMY LAVERE / AMY MILLAN / AMY SHARK / ANA POPOVIC / ANDERSON COUNCIL / ANDREA OLIVA / ANDREW BELLE / ANGEL CITY / ANILE / ANNIE / ANNIX / ANN-MARIE / ANOTHER ANIMAL / THE ANTLERS / AQUADROP / ARCADIA / ARI ABDUL / ARI LENNOX / ARIN RAY / ARTIE / ARLISSA / ARMY NAVY / ARTEFAKT / ART OF DYING / ARTY / ASIA / AS TALL AS LIONS / ASA / ASHLEY WALLBRIDGE / ASTEROID / ASTRID S / ATFC / AUDIO / THE AUGUSTINES / AUSTIN LUCAS / THE AUTEURS / AUTOLUX / AVA MAX / AVERY WILSON / AWOLNATION / AXEL BOMAN/ AYLA

EAR OFFENDERS (all genres) – The musical equivalent of a sinkhole.

A GIANT DOG / A GREAT BIG PILE OF LEAVES / A GREAT BIG WORLD / A ROCKET TO THE MOON / A SILENT FILM / A TOUCH OF CLASS / AMC / AARON CARTER / AARON WRIGHT / ACT OF DEFIANCE / ADAM YOUNG / ADELE WILDING / ADINA HOWARD / ADRIANA LOPEZ / AFK / AGAINST THE CURRENT / AJ MCLEAN / AJ SMITH / AKEOS / AKIRA COMPLEX / AKON / AKOV / AL B. SURE / ALAN O’DAY / ALDO NOVA / ALESHA DIXON / ALEX BAND / ALEX GAUDINO / ALEX KENJI / ALEXIS JORDAN / ALGEBRA BLESSETT / ALI GATIE / ALICE CHATER / ALIEN ANT FARM / ALL-4-ONE / ALLURE / ALLY BROOKE / AMANDA LEAR / AMERICAN AUTHORS / AMERICAN HI-FI / AMMONIA / ANDIE CASE / ANDREW W.K. / ANGELS AND AIRWAVES / ANITA KELSEY / ANN LEE / ANNE ABREU / ANNA BURCH / ANNA NATICK / ANNUALS / ANOTHER BAD CREATION / ANTHONY DAVID / ANTISERUM / ANTONIA / AQUA / ARMINE EDGE / ASS PONYS / ATLAS GENIUS / ATLIENS / ATOMIC KITTEN / AUDREY O’DAY / AUGUSTANA / AURRA / AUSTRALIAN CRAWL / AUTOHEART / AXEN / AZIDE / AZ YET