I started this series out of equal parts awe and exasperation: there’s more music out there than anyone can reasonably sift through and not all of it deserves your time. What began as a rant about excess quickly turned into a treasure hunt and amid the avalanche, I kept finding real gems. Having done the ear-work, I feel compelled to share the best of what I’ve uncovered.

Each post tackles one letter of the alphabet (by artist name). I open with a Top list, usually around twenty picks and based on my preferences but chosen with as open a mind as possible. Next come Worthy Contenders: albums and artists that could easily live on my list or yours. I close with Missed the Mark, calling out records I find unnecessary given how much quality is already on offer. If a favorite of yours lands there, it likely means our sonic compasses point in different directions…and that’s okay.

This project is a logistical beast, so some worthy music will inevitably slip through the cracks. It’s not meant to be exhaustive (just exhausting…lol). I focus on four core genres – Rock, Pop, Soul, and Electronic – and intentionally exclude rap, country, heavy metal, and several sub-genres. I initially tried to include “world” music, but quickly realized that would overextend the scope. Also, only music acts who debuted after 1980 are eligible.

My hope is that these posts serve as a practical guide for curious listeners, part discovery tool, part memory jogger. And if nothing else, I’m having a blast unearthing keepers and building playlists worth replaying.

Okay, let’s get started with my 25 album “Letter A” Top List

#25) ALICE SMITH – For Lovers, Dreamers & Me (2006)

A stylish, genre-crossing debut that highlights Alice Smith’s phenomenal voice and artistic fearlessness. It’s an overlooked gem that feels both intimate and ambitious, but its lack of cohesion and exposure kept it from becoming the breakout it should have been. A must-hear for fans of soulful, boundary-pushing debuts.

SAMPLE TRACK: Love Endeavor

#24) ARIANA GRANDE – Thank U, Next (2019)

Grande’s most personal and cohesive album…sleek, confessional, and era-defining. While it occasionally suffers from repetitive production and uneven lyricism, its vulnerability and cultural resonance cement it as one of her strongest artistic statements.

SAMPLE TRACK: “Bloodline”

#23) AALIYAH – Aaliyah (2001)

Aaliyah is a bold, innovative, and elegant swan song that blends futuristic R&B production with cool, understated vocals to create a sound that shaped the genre for years. Though not flawless in pacing, its artistry and influence make it a landmark album that still feels ahead of its time.

SAMPLE TRACK: “More Than a Woman”

#22) ALL ABOUT EVE – All About Eve (1988)

A striking, atmospheric debut that is full of haunting vocals, mystical imagery, and folk-goth charm. While its uniform style and dated production limit its breadth, its highlights remain enchanting and make it a cult classic for fans of ethereal ’80s alternative.

SAMPLE TRACK: “Flowers in Our Hair”

#21) ACE OF BASE – The Sign (1993)

A quintessential guilty-pleasure pop record: brimming with undeniable hooks and era-defining hits, but weighed down by formulaic production and shallow content. It’s not an artistic triumph, but as a slice of early ’90s pop culture, it’s iconic and still oddly irresistible.

SAMPLE TRACK: “Living in Danger”

#20) AGENT ORANGE – Living in Darkness (1981)

A scrappy, fiery debut that carved a unique surf-punk identity in the early ’80s scene. It’s raw, fast, and influential, though its rough production and repetitive structures keep it more a cult touchstone than a universally essential punk classic.

SAMPLE TRACK: “Everything Turns Grey”

#19) ARCADE FIRE – Funeral (2004)

A landmark debut…heartfelt, ambitious, and deeply affecting. Its mix of grand orchestration and raw emotion makes it a cornerstone of 2000s indie rock, even if its intensity and unvarnished production aren’t for everyone. It remains one of those rare albums that feels both deeply personal and universally resonant.

SAMPLE TRACK: “Neighborhood 1: Tunnels”

#18) ANNIE LENNOX – Diva (1992)

Diva is an elegant, confident, and vocally stunning solo debut that established Annie Lennox as an enduring force beyond Eurythmics. While sometimes overly polished and restrained, its best songs are both timeless and iconic, making it one of the standout pop albums of the ’90s.

SAMPLE TRACK: “Little Bird”

#17) ALABAMA SHAKES – Sound & Color (2015)

Sound & Color is a daring, genre-defying record that pushed Alabama Shakes far beyond their blues-rock beginnings. With Brittany Howard’s powerhouse vocals and adventurous production, it stands as both a critical triumph and one of the most inventive mainstream rock albums of the 2010s…though its experimentation makes it more of a slow-burn classic than an instant crowd-pleaser.

SAMPLE TRACK: “Gimme All Your Love”

#16) AUDIOSLAVE – Audioslave (2002)

Audioslave is a flawed but powerful debut: it gave us undeniable classics (Like a Stone, Cochise, I Am the Highway), but also proved that even a supergroup with Cornell and Rage’s lineup needed time to carve out a true identity. Essential listening for its highs, but uneven as a whole.

SAMPLE TRACK: “I Am the Highway”

#15) A-HA – Scoundrel Days (1986)

A bold, moody, and sophisticated follow-up that proved a-ha were more than just a one-hit wonder. While less hook-driven than their debut, its atmospheric richness and strong vocals have helped it earn lasting respect as one of the finest synth-pop albums of the 1980s.

SAMPLE TRACK: “Manhattan Skyline”

#14) ALPHAVILLE – Forever Young (1984)

A quintessential ’80s synth-pop album, brimming with shimmering hooks and iconic singles. While it leans heavily on its front-loaded hits and now feels firmly era-bound, its highlights remain timeless, making it both a nostalgic joy and a lasting touchstone of the genre.

SAMPLE TRACK: “Forever Young”

#13) AIMEE MANN – Bachelor No. 2 (2000)

Bachelor No. 2 is a quietly devastating record…elegant, intelligent, and full of understated power. Though it may feel subdued and overly uniform on first listen, its lyrical bite and melodic subtlety make it one of Aimee Mann’s finest and most enduring works.

SAMPLE TRACK: “Red Vines”

#12) AURORA – All My Demons Greeting Me as a Friend (2016)

A captivating debut…enchanting, deeply emotional, and carried by Aurora’s unique voice. While its uniform mood and polished production occasionally limit its dynamism, its atmosphere and sincerity make it a striking introduction to one of Norway’s most distinctive modern artists.

SAMPLE TRACK: “Runaway”

#11) ALICIA KEYS – Songs in A Minor (2001)

A landmark debut…soulful, assured, and bursting with both vulnerability and strength. Even with some unevenness, its highlights (Fallin’, A Woman’s Worth) and its bold piano-centered sound make it one of the defining R&B albums of its era, and a powerful introduction to Alicia Keys’ artistry.

SAMPLE TRACK: “A Woman’s Worth”

#10) ABC – The Lexicon of Love (1982)

The Lexicon of Love is a landmark in ’80s pop…lush, witty, and drenched in orchestral drama. While its campy delivery and dated sheen may divide listeners, its best moments are timeless examples of how ambitious, stylish, and downright fun new wave could be.

SAMPLE TRACK: “All of My Heart”

#9) AFGHAN WHIGS – Gentlemen (1993)

A dark, uncompromising alt-rock classic…brutally honest, musically gripping, and emotionally scalding. It’s not an easy listen, but its unflinching portrayal of human flaws makes it one of the most powerful and enduring albums of the ’90s.

SAMPLE TRACK: ‘Gentlemen”

#8) ARCTIC MONKEYS – AM (2013)

AM is Arctic Monkeys’ breakthrough into sleek, modern rock stardom…seductive, stylish, and packed with career-defining hits. Though a bit uneven in pacing and polish, its high points make it one of the band’s most iconic and enduring albums.

SAMPLE TRACK: “Snap Out of It”

#7) ALT-J – An Awesome Wave (2012)

One of the most adventurous indie debuts of the 2010s…strange, stylish, and full of inventive ideas. While its quirks and pacing may not suit everyone, its originality and standout tracks make it a landmark record of its era.

SAMPLE TRACK: “Breezeblocks”

#6) ANITA BAKER – Rapture (1986)

Rapture is Anita Baker’s definitive statement…a lush, soulful, and exquisitely sung collection that helped define quiet storm R&B. While it leans heavily on a uniform mood and mid-’80s polish, its vocal performances and timeless songs make it one of the most elegant and enduring albums of its era.

SAMPLE TRACK: “Same Ole Love”

#5) ADELE – 21 (2011)

A modern pop-soul juggernaut…emotionally raw, vocally stunning, and packed with unforgettable songs. While it sometimes plays it safe and leans heavily into heartbreak, its execution is so powerful that it stands as one of the definitive albums of its era.

SAMPLE TRACK: “Rolling in the Deep”

#4) AVALANCHES – Since I Left You (2000)

A dazzling achievement…a sample-driven odyssey that feels joyous, wistful, and unlike anything else in electronic music. While its experimental structure and eccentricities may not be for everyone, it stands as a landmark album that redefined what sampling could accomplish.

SAMPLE TRACK: “Close to You”

#3) ALICE IN CHAINS – Dirt (1992)

Dirt is Alice in Chains’ defining masterpiece…brutally heavy, emotionally devastating, and unflinchingly honest. Its suffocating atmosphere and dark themes make it a difficult listen, but its artistry and raw power secure its place as one of the greatest and most influential albums of the grunge era.

SAMPLE TRACK: “Would?”

#2) AMY WINEHOUSE – Back to Black (2006)

Back to Black is a modern classic. It is stylish, gut-wrenching, and carried by one of the most distinctive voices of her era. Its darkness and uniformity make it an intense listen, but its artistry and honesty cement it as one of the defining albums of the 2000s.

SAMPLE TRACK: “Tears Dry on Their Own”

#1) ALANIS MORISSETTE – Jagged Little Pill (1995)

Jagged Little Pill is a landmark of ’90s rock…fiery, confessional, and brimming with unforgettable songs. While its production and ubiquity lock it firmly into its decade, its emotional honesty and cathartic punch ensure it remains one of the most impactful and essential albums of its era.

SAMPLE TRACK: “All I Really Want”

Now it’s time to dig a little deeper into what I call the Worthy Contenders…the albums and artists that don’t quite hit the absolute top tier, but are still very much deserving of attention. To keep things organized (yes, my Virgo tendencies are showing), I’ve broken them down by genre and listed them from strongest to weakest within each category. This way you can see not just who made the cut, but also how they stack up against their peers in style and substance.

ROCK

THE ANTLERS Hospice (2009) – A modern indie masterpiece, best taken in one sitting. Can be so heavy it’s draining for casual listening. ANGEL OLSEN My Woman (2016) – One of the strongest indie-rock records of the 2010s. Some mid-album pacing drags a little. AZTEC CAMERA High Land, Hard Rain (1983) – A classic debut full of clever, bittersweet pop gems. Very ’80s in production, which can date the sound. AUTEURS New Wave (1993) – A biting, intelligent indie landmark. Arch, slightly smug tone can alienate. AUTOLUX Future Perfect (2004) – Cult classic for fans of experimental indie. A bit too murky and abstract for mainstream listeners. ALEX G. House of Sugar (2019) – A daring modern record from one of indie’s most prolific voices. Restless shifts in style can feel unfocused. ANI DIFRANCO Dilate (1996) – Among her best and most revealing works. Intensity makes it less approachable for newcomers. ALBERT HAMMOND JR. Yours to Keep (2006) – A charming, well-crafted solo debut. Doesn’t reach the peaks of his main band. AS TALL AS LIONS You Can’t Take It With You (2009) – Their most complete and lasting statement. Sometimes overindulgent in length and scope. AC NEWMAN The Slow Wonder (2004) – A bright and tuneful solo debut. Slightly too safe compared to his New Pornographers work. ALARM Declaration (1984) – Solid ‘80s arena-rock with a passionate edge. Often overshadowed by U2 and Simple Minds. AMERICAN AQUARIUM Things Change (2018) – A thoughtful modern alt-country entry. Sonically a bit generic at times. ALEJANDRO ESCOVEDO Real Animal (2008) – A strong, personal late-career album. Doesn’t always keep momentum. AMANDA SHIRES To the Sunset (2018) – A worthy addition to the alt-country canon. Occasionally too restrained to fully ignite. AZURE RAY Hold On Love (2003) – A soft gem for late-night moods. A little too whispery/fragile for some listeners. AMBER RUN 5AM (2015) – A strong debut with emotional pull. Sometimes veers into predictable melodrama. AUDREYS Between Last Night and Us (2006) – Solid but modest; fans of rootsy folk will enjoy. Never rises above pleasant background listening. APPLES IN STEREO Fun Trick Noisemaker (1995) – Playful, lo-fi psych-pop energy. Quirky to the point of unevenness. ANDERS OSBORNE American Patchwork (2010) – Good moments, but patchy (ironically). Too long and inconsistent. ASH GRUNWALD Fish Out of Water (2008) – Fun, but mostly for blues-rock loyalists. Lacks variety and depth. ANTHONY GOMES Peace, Love & Loud Guitars (2018) – Confident, rocking modern blues. Derivative and one-note. ALBERT CUMMINGS Someone Like You (2015) – Professional but forgettable blues-rock. Little originality; feels by-the-numbers.

SOUL

ANGIE STONE Black Diamond (1999) – A definitive neo-soul record that cemented her artistry. A couple of tracks lean too heavily on ’90s R&B clichés. ANTHONY HAMILTON Comin’ From Where I’m From (2003) – Soulful, gritty vocals with deeply emotional storytelling. Production occasionally feels dated. ARI LENNOX Shea Butter Baby (2019) – Witty, sultry, and refreshingly honest modern R&B. Some interludes and skits break the flow. AMERIE Touch (2005) – A sleek R&B highlight of the 2000s. Some filler beyond the singles. ALOE BLACC Good Things (2010) – A modern soul record with lasting impact. Not every track matches the strength of the hits. ASA Asa (2007) – A stunning debut that announced a unique global voice. Gentle pacing may feel too subdued to some. AMBER MARK Three Dimensions Deep (2022) – A strong first album that balances artistry with accessibility. Singles sometimes feel over-polished and safe. ANDRA DAY Cheers to the Fall (2015) – A promising debut showcasing Day’s immense talent. Uneven pacing across the tracklist. AMP FIDDLER Waltz of a Ghetto Fly (2004) – Funky, inventive neo-soul with Detroit swagger. A little too sprawling in places. ALEX ISLEY Dreams in Analog (2013) – A quietly excellent gem in indie-R&B. Minimalist production can feel slight at times. AVERY SUNSHINE The Sunroom (2014) – A feel-good soul record that thrives on charm. Production is a bit straightforward. AMOS LEE Mission Bell (2011) – A pleasant, reflective listen with steady quality. Lacks bold moments; feels too subdued at times. ANGELA WINBUSH Sharp (1987) – Strong songwriting and commanding vocals. Heavily dated ’80s production. ANDERSON EAST Delilah (2015) – Southern soul revival energy and grit. Derivative of older influences without much innovation. AARON ABERNATHY Dialogue (2017) – A politically sharp album with uneven replay value. Musically less consistent than thematically. ALYSON WILLIAMS Raw (1989) – Confident late-’80s R&B delivery. Generic production limits its staying power. ALEX BUGNON Love Season (1989) – Polished smooth jazz debut with elegance. Too safe and background-oriented. ADAM HAWLEY Just the Beginning (2016) – Professional smooth jazz production. Formulaic and overly glossy.

POP

AVRIL LAVIGNE Let Go (2002) – A genre-defining debut that still holds nostalgic and musical power. Some tracks lean into teen angst clichés. AMY MACDONALD This is the Life (2007) – A striking debut that set her apart in mid-2000s singer-songwriter circles. Formula can feel repetitive across the record. AMAARAE The Angel You Don’t Know (2020) – Inventive Afro-fusion with bold production and sharp lyrics. Experimental shifts may throw off casual listeners. ALLIE X Collxtion II (2017) – Sleek, theatrical electro-pop with clever songwriting. Occasionally feels more polished than personal. ASTEROIDS GALAXY TOUR Fruit (2009) – A fun, eccentric record brimming with personality. Style sometimes overshadows substance. ALESSIA CARA Know-It-All (2015) – A strong entry point for her heartfelt pop style. A few tracks blend into generic pop. A CAMP A Camp (2001) – Sophisticated, moody pop from Nina Persson’s side project. Lacks the immediacy of The Cardigans’ best work. ALICE MERTON Mint (2019) – A promising debut with a standout hit. Album tracks don’t always match the singles’ impact. ANASTACIA Anastacia (2004) – A solid pop record showcasing her big voice. Production sounds very of its time. ASHE Ashlyn (2021) – Honest, emotional pop with catchy singles. Some tracks feel uneven or underdeveloped. ADAM LAMBERT For Your Entertainment (2009) – Big, theatrical vocals with glam flair. Scattered in style and direction. AGNES Dance Love Pop (2008) – Glossy Eurodance with undeniable hooks. Lacks depth and variety. ALEX WINSTON King Con (2012) – Quirky indie-pop with playful energy. Interesting ideas, but more promise than delivery. ANYA MARINA Slow and Steady Seduction, Phase II (2009) – Wry, intimate indie-pop with charm. A modest, personal record best for niche fans. ANNA LUNOE Right Party (2019) – Club-ready beats and lively energy. Lacks subtlety or depth outside the dance floor.

ELECTRONIC

APHEX TWIN Selected Ambient Works 85-92 (1992) – A landmark of ambient techno, still hugely influential. Lo-fi production may feel dated to new listeners. AUTECHRE Tri Repetae (1995) – A defining release for avant-garde electronic music. Its abstraction can alienate casual listeners. AMON TOBIN Permutation (1998) – A bold, groundbreaking trip-hop-era classic. Complex and heavy, not always easy listening. ART OF NOISE Who’s Afraid of the Art of Noise (1984) – Avant-pop that redefined how electronic music could sound. Some tracks feel like experiments rather than songs. A SUNNY DAY IN GLASGOW Ashes Grammar (2009) – A cult shoegaze triumph with layers worth diving into. Its length and haze can overwhelm casual listeners. AXEL BOMAN Family Vacation (2013) – Playful, colorful deep house with personality. More about mood than memorable singles. ALEX REECE So Far (1996) – Essential in shaping “intelligent drum & bass.” Its mellow style lacks the edge of harder d’n’b. ALTERN 8 Full On…Mask Hysteria (1992) – A rave-era time capsule, best for fans of ’90s breakbeat. Sounds raw and dated outside rave nostalgia. A FLOCK OF SEAGULLS A Flock of Seagulls (1982) – A fun relic of the ’80s new wave scene. Much of the album doesn’t match the single’s strength. ALISON WONDERLAND Run (2015) – A solid debut with genuine emotional punch. Some filler among the highs. AMELIE LENS Exhale (2016) – Strong snapshot of her sound, not a definitive album. ALEX M.O.R.P.H. Purple Audio (2013) – A reliable trance album without surprises. ANCIENT METHODS The Jericho Records (2010) – A cult favorite for industrial-techno fans. ANETHA Endless Sea (2019) – A compelling EP, best as part of her larger body of work .ANZ All Hours (2021) – A promising, versatile EP from a rising star. AUDIOJACK Surface Tension (2008) – Solid but forgettable within its genre. ANABEL ENGLUND Messing with Magic (2020) – Pleasant but doesn’t leave a lasting mark. A-TRAK Running Man (2007) – Fun curiosity, not essential listening.

Alright, we’ve just slogged through the “highlights” of music acts whose name begins with “A,” and already we’ve got a crap ton of potential rabbit holes to fall into. And remember: this is just one letter of the alphabet. These folks all have multiple albums, remixes, deluxe editions, acoustic versions, and “special expanded anniversary reissues” that nobody asked for. Multiply that by the other 25 letters and suddenly Spotify looks less like a streaming platform and more like a landfill with a decent search bar.

And keep in mind, I only covered four genres. That leaves dozens more still floating around in the great auditory ether just waiting to pounce. Then there are the “Missed the Mark” music acts, the ones so painful that even charity spins would feel like too much of a sacrifice.

So here’s my burning question: who exactly is not only listening to all this mediocrity but actually paying for it? And furthermore, how as a society do we have the time, energy, and sheer audacity to prop up so much disposable sound? It boggles the mind…like trying to alphabetize a landfill.

And now, ladies and gentlemen, I present to you the illustrious Missed the Mark group…a hall of fame for artists who somehow managed to release music that hovers somewhere between background noise and an unintentional prank. I haven’t bothered ranking them, because really, what’s the point of splitting hairs over who’s the least essential when the whole pile is questionable at best? Just scroll the names, let them sink in, and ask yourself: How? Why? Who greenlit this? Somewhere out there, people not only listened but actually bought this stuff. And remember, all of this glorious mediocrity is just from one letter of the alphabet. One. Letter. If this is what’s lurking under ‘A,’ imagine the dumpster fires waiting for us when we get to ‘Q’ or, God forbid, ‘X.’ Buckle up…it’s going to be a long ride through the alphabet soup of sonic disappointment.

• Adore Delano – Sounds like the soundtrack to a Hot Topic clearance rack.
• Alexander Rybak – Won Eurovision by weaponizing a violin and zero shame.
• Alexa Ray Joel – Nepotism karaoke with the faint whiff of piano lessons gone wrong.
• Andrew Belle – Coffeehouse music that makes the coffee fall asleep.
• Arlissa – The kind of Spotify filler you forget is still playing after your shower.
• Amaal Nuux – Every track sounds like it’s politely waiting for a better singer to arrive.
• Alexandra Burke – Won X Factor and then lost to her own record label’s apathy.
• Ava Max – Lady Gaga’s shadow clone that came out of the printer low-ink.
• Ari Abdul – Moody pop so generic it should come in a plain white package.
• Amelia Lily – X Factor contestant remembered only by her dentist.
• AJ McLean – Proof that even Backstreet Boys have a backstreet.
• AJ Smith – Writes songs so bland they could be used as calorie-free sweetener.
• Ali Gatie – Sings like he’s whispering love notes into a void that never answers back.
• Ally Brooke – The one from Fifth Harmony who makes you say “wait, which one?”
• Anna Abreu – A Eurovision side effect that lingered too long.
• Anna Nalick – Built her whole career on hitting “snooze” in song form.
• Antonia – Romanian pop export so generic she might actually be AI-generated.
• Aqua – Gave us Barbie Girl, a song now used by psychologists to test patience.
• Autoheart – Their name suggests mechanical emotion, and wow do they deliver.
• Aaron Wright – Earnest singer-songwriter whose songs feel like half-finished homework.
• Ann Lee – Had one Eurodance hit, then vanished back into the pasta sauce aisle.

Astrid S. / Alexandra Stan / Alexia / A Great Big World / A Silent Film / Alesha Dixon / Alexis Jordan / Alice Chater / Amanda Lear / Andie Case / Aubrey O’Day / Ali Love / Afrojack / .Amy Douglas / Alice Dee-Jay / Alok / Angel City / Ashley Wallbridge / Activa / A Split-Second / Asteroid / Alex Kunnari / Annix / Aquadrop / Audio / Adam Young / Akira Complex / Alex Gaudino / A.M.C. / Alex Kenji / AFK / Akov / Azide / AJR / Aidan Bissett / Atomic Kitten / Anne Marie / Alan O’day

• Alan Walker – Built an empire on “Faded,” then proceeded to fade himself.
• Amber – Had one eurodance hit in the ’90s and has been chasing its ghost ever since.
• Anile – Drum & bass so polite it should come with a cup of tea and an apology note.
• ATFC – A house DJ whose tracks are as exciting as waiting for your Uber to arrive.
• Alpha Omega – Drum & bass so underground it should come with a shovel.
• Arty – Proof that “uplifting” trance can still feel like a 45-minute wait at the dentist.
• Allen Watts – Makes trance so cookie-cutter it belongs in the IKEA music catalog.
• Akira Kiteshi – Glitch-hop so noisy it sounds like your hard drive begging for mercy.
• Adventure Club – Dubstep-lite for people who think Monster Energy is a personality trait.
• Ahmed Romel – Orchestral trance that’s less “epic journey” and more “Disney on ice.”
• Andrea Oliva – Tech-house so beige it could be used to repaint an office cubicle.
• Artefakt – Techno that feels like staring at concrete for eight hours straight.
• Ayla – One trance hit in the ’90s, then faded faster than glowsticks at sunrise.
• Armine Edge – Deep house so deep you’ll never find the point.
• Antiserum – Dubstep so formulaic it could’ve been generated by a vending machine.
• Anita Kelsey – Known mostly for being “the voice on someone else’s track” ouch.
• Axen – EDM so middle-of-the-road it should come with a traffic cone.
• Atliens – Anonymous trap duo, because even they didn’t want to be associated with it.
• Adriana Lopez – Techno so dark it sounds like your washing machine possessed by Satan.
• Akeos – Dubstep so screechy it could clean the chalkboard in hell.

Adorable / Airborne Toxic Event / All-American Rejects / Arlie / Acrylics / Airbourne / American Pearl / Angels and Airwaves / Augustana / Act of Defiance / American Authors / Arin Ray / Aiyana-Lee / Amy Lavere / Algebra Blessett / Augustines / Ana Popovic / Art of Dying / A Giant Dog / A Great Big Pile of Leaves / Asia / Atlas Genius / A Rocket to the Moon

• Adam Green – Indie folk so smug it should come with its own thrift store cardigan.
• Adventures – Pop-punk leftovers reheated without seasoning.
• After the Fire – Known for “Der Kommissar,” and for proving Germans weren’t the only ones who could ruin a hook.
• Alter Bridge – Basically Creed with a fake ID.
• Arcadia – A Duran Duran side project that makes you miss Duran Duran.
• Army Navy – Indie pop so bland it could double as army rations.
• Awolnation – Built a career off “Sail,” aka the soundtrack to 10,000 bad YouTube edits.
• Austin Lucas – Americana so dusty you’ll cough just thinking about it.
• Albert Castiglia – A blues guitarist whose solos last longer than your patience.
• Altered Images – New wave that aged like expired milk in neon packaging.
• Amplifier Heads – Garage rock so sloppy it feels like a drunk rehearsal recorded by accident.
• Anderson Council – Britpop wannabes who make Oasis sound subtle.
• Another Animal – Post-grunge leftovers trying to prove lightning can strike a third time (it didn’t).
• Against the Current – Pop-rock that flows so predictably it’s basically with the current.
• Aldo Nova – “Fantasy” was his peak, and it’s been all karaoke night ever since.
• Alex Band – The Calling’s one-hit wonder who called, but no one answered.
• Alien Ant Farm – Famous for a Michael Jackson cover, which is like being known for reheated leftovers.
• American Hi-Fi – Gave us “Flavor of the Weak,” which aged about as well as milk in the sun.
• Andrew W.K. – Built an entire career yelling “party” until even frat boys got tired of it.
• Anna Burch – Indie so whispery it should come with a free pillow.
• Australian Crawl – So lightweight they could blow away in their own sea breeze.
• Ass Ponys – An alt-rock band whose name is still their most memorable contribution.
• Ammonia – Grunge so diluted it evaporated instantly.
• Annuals – An indie band whose career length was about as long as their name suggests.
• Aaron Taylor – Smooth R&B so bland it’s basically musical chamomile tea.
• After 7 – The kind of ’90s R&B that proves not every Babyface relative needed a record deal.
• Adrian Marcel – A watered-down Chris Brown knockoff without the tabloid drama.
• Avery Wilson – A vocal powerhouse still waiting for an actual song worth singing.
• Alfonso Blackwell – Smooth jazz so sterile it could be used in dental offices worldwide.
• Amy Millan – Best known as the least exciting member of Stars.
• Adina Howard – Entire career summed up by one song about freakiness… in 1995.
• Akon – Built an empire autotuning his way through hooks like a karaoke cyborg.
• All-4-One – “I Swear” was sweet, but 30 years later it just sounds like wedding DJ filler.
• Another Bad Creation – Exactly what the name promised: bad, and mercifully short-lived.
• Anthony David – Neo-soul so dull it could be prescribed as a sleep aid.
• Al B. Sure! – A new jack swing relic who should’ve been called “Al B. Forgotten.”
• Adele Wilding – A jazz singer destined to stay in the background of coffee shops.
• Aurra – Funk so generic it feels like a Bootsy Collins cover band at a barbecue.
• Allure – Best remembered as “that R&B group Mariah Carey once cared about.”
• Az Yet – A ’90s R&B act that makes Boyz II Men sound like Beethoven.