I launched this series out of equal parts awe and exasperation: awe at the sheer volume of music available, and exasperation because not all of it deserves our time. What began as a rant about overload has turned into a treasure hunt, and in sifting through the avalanche I’ve uncovered plenty of gems. Having done the ear-work, I feel compelled to share the best of what I’ve found.

Each installment covers one letter of the alphabet (by artist name) and breaks down into three parts:

1.) Top Picks – About twenty albums, chosen with as open a mind as possible, though inevitably reflecting my own preferences. Expect the heavy-hitters and most popular releases here.

2.) Worthy Contenders – The heart of this series, spotlighting the lesser-known artists and hidden gems that make the digging worthwhile.

3.) Missed the Mark – Music acts I consider unnecessary given the wealth of stronger material available. If a favorite of yours shows up here, it probably just means our sonic compasses are calibrated differently…and that’s perfectly fine.

This project is a logistical beast, so some worthy music will inevitably slip through the cracks. It isn’t meant to be exhaustive (just exhausting…lol). I focus on four core genres – Rock, Pop, Soul, and Electronic – while deliberately excluding rap, country, heavy metal, and certain other sub-genres. 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.

Here are my top 25 selections from the wide world of artists beginning with “B.”

#20) BELINDA CARLISLE – Heaven on Earth (1987)

A quintessential ’80s pop-rock record: anthemic, glossy, and packed with hooks. Its big singles remain irresistible guilty pleasures, even if the album leans on a formula that shows its age. A must-hear for fans of ’80s pop sheen, though casual listeners may only need the highlights.

SAMPLE TRACK: “Circle in the Sand”

#19) BARENAKED LADIES – Stunt (1998)

Their commercial peak and a snapshot of late-’90s alt-pop: witty, catchy, and full of personality. While One Week looms large and some of the humor can grate, the album has real melodic depth and shows the band was more than just a novelty act.

SAMPLE TRACK: “It’s All Been Done”

#18) BRAND NEW HEAVIES – Brother Sister (1994)

A funk-soaked, soulful, and stylish record that defined the acid jazz movement. While it may be a bit long and overly smooth for some, its grooves, vocals, and consistency make it a high point in the band’s catalog and a must-listen for fans of ’90s funk and jazz fusion.

SAMPLE TRACK: “Dream on Dreamer”

#17) BLUES TRAVELER – Four (1994)

The band’s commercial high point and jam-band crossover moment, blending sharp singles with loose, bluesy energy. While the hits carry much of its legacy, the album’s mix of virtuosity and pop accessibility makes it both a time capsule of mid-’90s rock and a worthwhile listen…if you don’t mind a little jam-band indulgence.

SAMPLE TRACK: “Hook”

#16) BADLY DRAWN BOY – The Hour of Bewilderbeast (2000)

This is a messy but magical debut, brimming with creativity, charm, and heartfelt moments. While its sprawl and uneven pacing keep it from being universally accessible, its highlights and ambition mark it as a special, era-defining indie record that’s best appreciated by those who enjoy a little chaos with their beauty.

SAMPLE TRACK: “Once Around the Block”

#15) BILLIE EILISH – When We All Fall Asleep, Where Do We Go? (2019)

A daring and inventive debut that redefined what mainstream pop could sound like in the late 2010s. It thrives on atmosphere, mood, and Billie’s oddball charisma, capturing Gen Z’s restless energy while rejecting pop’s glossy traditions. Not every track lands with equal weight, and the whisper-pop formula isn’t universally appealing, but its impact and originality are undeniable. Love it or hate it, it’s a landmark in shaping pop’s darker, stranger future.

SAMPLE TRACK: “Bad Guy”

#14) Blur – Blur (1997)

This album marks the band’s messy, exhilarating rebirth, swapping cheeky Britpop polish for raw indie-rock grit. While uneven, its best tracks (Song 2, Beetlebum) are career-defining, and the album’s reinvention cemented Blur as more than just a UK phenomenon. A landmark pivot that divided fans but proved creatively essential.

SAMPLE TRACK: “Beetlebum”

#13) BEN FOLDS – Rockin’ the Suburbs (2001)

Ben Folds’ most iconic solo statement…a clever, piano-driven album that balances satire, sincerity, and pop craftsmanship. While tonally uneven and perhaps too arch for some, it delivers both laughs and tears, solidifying Folds as one of the most distinctive singer-songwriters of his generation.

SAMPLE TRACK: “Still Fighting It”

#12) BLACK PUMAS – Black Pumas (2018)

A captivating debut…rich, soulful, and gorgeously performed, with Eric Burton’s vocals anchoring a set of timeless-sounding songs. While it sometimes plays things safe and borrows heavily from retro templates, its emotional resonance and consistency make it one of the standout soul records of the 2010s.

SAMPLE TRACK: “Fire”

#11) BUSH – Sixteen Stone (1994)

Sixteen Stone is Bush’s defining debut, a slick, accessible take on grunge that delivered huge hits and cemented the band as ’90s alt-rock mainstays. While derivative and lyrically thin, its anthems and polished production gave it staying power, making it one of the more enduring “post-grunge” records of its era.’

SAMPLE TRACK: “Machinehead”

#10) BOYZ II MEN – II (1994)

A ’90s R&B landmark, showcasing jaw-dropping harmonies and chart-topping ballads. While overlong and ballad-heavy, its iconic singles and flawless vocal work make it a must-hear, even if best consumed in highlights rather than as a full start-to-finish journey.

SAMPLE TRACK: “I’ll Make Love to You”

#9) BRUNO MARS – 24K Magic (2016)

24K Magic is Bruno Mars at his most playful, polished, and irresistibly fun, a tight, retro-inspired party record that thrives on grooves and charisma. While it doesn’t push creative boundaries lyrically or stylistically, its sheer energy and hit power make it one of the most entertaining pop albums of the 2010s.

SAMPLE TRACK: “24K Magic”

#8) BLIND MELON – Blind Melon (1992)

A quirky, heartfelt debut that captured a moment in early ’90s alt-rock with sincerity and charm. While best remembered for No Rain, the album contains enough depth and musicianship to reward listeners who dig deeper. Not flawless, but a cult classic whose imperfections only add to its character.

SAMPLE TRACK: ‘Tones of Home”

#7) THE BANGLES – Different Light (1986)

Different Light is The Bangles’ breakthrough and signature album, packed with career-defining hits and polished pop-rock charm. While sometimes too slick and dominated by its biggest singles, it remains an ’80s classic that captures the era’s sound and energy, and still delivers more depth than its radio staples suggest.

SAMPLE TRACK: “If She Knew What She Wants”

#6) THE BLACK CROWES – The Southern Harmony & Musical Companion (1992)

The Black Crowes’ crowning achievement, expanding their sound into a richer, more soulful brand of Southern rock. While jammy and retro-leaning, its raw energy, stellar musicianship, and memorable tracks secure its place as one of the defining rock albums of the early ’90s.

SAMPLE TRACK: “Remedy”

#5) THE BLACK KEYS – Brothers (2010)

Brothers is The Black Keys’ defining album, where their raw garage-blues roots collided with slicker production and broader ambition. Though a bit long and steeped in retro homage, its mix of grit, hooks, and soul makes it one of the standout rock releases of the 2010s and the record that cemented their legacy.

SAMPLE TRACK: “Tighten Up”

#4) BASEMENT JAXX – Remedy (1999)

Remedy is Basement Jaxx’s wild, technicolor statement of intent, a debut that exploded with energy, creativity, and genre-bending flair. Though messy and overstuffed at times, its infectious singles and inventive production cement it as one of the landmark dance records of the late ’90s — bold, brash, and unforgettable.

SAMPLE TRACK: “Red Alert”

#3) BROKEN BELLS – Broken Bells (2010)

A stylish and atmospheric debut that blends indie introspection with lush, spacey production. While it doesn’t always break free from its moody, mid-tempo comfort zone, it succeeds in establishing a distinctive identity for the duo. The High Road remains the essential sample track, but the album as a whole rewards front-to-back listening with its subtle textures and understated charm. It’s not the most dynamic record of its era, but it’s a finely crafted, headphone-friendly gem that set the stage for their future collaborations.

SAMPLE TRACK: “The Ghost Inside”

#2) BEYONCE – Beyonce (2013)

Beyoncé (2013) isn’t just an album, it was a cultural reset. It marked her most daring, personal, and forward-thinking project to date, proving she could dictate the rules of the music industry while evolving her artistry. Not every track is built for casual replay, but its ambition, sonic depth, and cultural weight more than make up for any unevenness. It’s an essential album of the 2010s and a definitive statement of Beyoncé’s artistic independence.

SAMPLE TRACK: “Drunk in Love”

#1) BECK – Odelay (1996)

A landmark of ’90s alternative music — bold, playful, and wildly inventive. Its mix of samples, surrealist humor, and genre-defying production made it a cultural statement as much as an album. While its collage-style chaos isn’t for everyone, the record stands as Beck’s defining masterpiece and one of the era’s most enduringly fun listens.

SAMPLE TRACK: “Devil’s Haircut”

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

BELLE & SEBASTIAN If You’re Feeling Sinister (1996) – A literate and tender indie pop classic whose quiet brilliance can also feel overly fragile and fussy. BUILT TO SPILL Keep It Like a Secret (1999) – A guitar-driven masterwork full of sprawling ideas, though its indulgence may test less patient listeners. BROKEN SOCIAL SCENE You Forgot It in People (2002) – A joyous, messy burst of indie creativity that thrills in its chaos but occasionally stumbles into unevenness. BRIGHT EYES I’m Wide Awake, It’s Morning (2005) – An achingly vulnerable folk record that resonates deeply, though its earnestness sometimes borders on excess. BLOC PARTY Silent Alarm (2005) – A taut, urgent debut that defined its era, yet its relentless pace can feel exhausting. THE BREEDERS Last Splash (1993) – Playful, off-kilter, and hook-filled, but its raw looseness sometimes slips into sloppiness. BLONDE REDHEAD Misery is a Butterfly (2004) – Atmospheric and hauntingly beautiful, though its heavy mood can feel unyielding. BAND OF HORSES Cease to Begin (2007) – Sweeping melodies and heartfelt vocals shine, but it leans heavily on formula over innovation. BLUE RODEO Five Days in July (1993) – A warm, heartfelt country-rock gem that soothes, though its safety may strike some as sleepy. BRIAN JONESTOWN MASSACRE Take It from the Man (1996) – A swaggering garage-psych romp brimming with spirit, yet its sprawl often overshadows the songs themselves. BLINK 182 Blink 182 (2003) – A surprisingly mature and introspective pop-punk record that risks alienating fans of their earlier silliness. BEN HARPER Fight for Your Mind (1995) – A passionate and versatile statement blending activism and soul, though its eclecticism sometimes muddies the flow. BRANDI CARLILE By the Way, I Forgive You (2018) – A vocally stunning, emotionally raw showcase that moves deeply but can feel overly heavy. BABYSHAMBLES Shotter’s Nation (2007) – A scrappy, charismatic slice of indie rock with flashes of brilliance, undermined by inconsistency. BEACH FOSSILS Somersault (2017) – Dreamy and sophisticated in texture, though its subtlety risks fading into the background.

• BLUE MOUNTAIN – Dog Days (1995)
• BOYGENIUS – The Record (2023)
• BAND OF HEATHENS – One Foot in the Ether (2009)
• BUDDY & JULIE MILLER – Buddy & Julie Miller (2001)
• BETTER THAN EZRA – Deluxe (1993)
• BLACK REBEL MOTORCYCLE CLUB – Howl (2005)
• BOO RADLEYS – Wake Up! (1995)
• BLITZEN TRAPPER – Furr (2008)
• BIRDS OF CHICAGO – Love in Wartime (2018)
• BLACK JOE LEWIS – Scandalous (2011)
• BEAT FARMERS – Tales of the New West (1985)
• BILLY IDOL – Rebel Yell (1983)
• BILLY SQUIER – Don’t Say No (1981)
• BODEANS – Love & Hope & Sex & Dreams (1986)
• BUTTHOLE SURFERS – Locust Abortion Technician (1987)
• BELL X1 – Music in Mouth (2003)
• BRAVERY – The Bravery (2005)
• BAHAMAS – Bahamas is Alfie (2014)
• BATTLEME – Battleme (2012)
• BETHS – Future Me Hates Me (2018)
• BLACKBERRY SMOKE – The Whippoorwill (2012)
• BRIAN SETZER ORCHESTRA – The Dirty Boogie (1998)
• BROWN BIRD – Salt for Salt (2011)
• BOW THAYER – Eden (2007)
• BUTCH WALKER – Letters (2004)
• BONDI CIGARS – Bad Weather Blues (1998)
• BOTTLE ROCKETS – The Brooklyn Side (1994)
• BIG WRECK – In Loving Memory of…(1997)
• BIG HOUSE – Big House (1997)
• BAP KENNEDY – Domestic Blues (1998)
• BIRCH PEREIRA & THE GIN JOINTS – Dream Man (2016)
• BITERS – Electric Blood (2015)
• BLUE OCTOBER – Any Man in America (2011)
• BUKE AND GASE – General Dome (2013)

SOUL

BILAL 1st Born Second (2001) – A daring, eclectic neo-soul breakthrough, though its ambition can occasionally outpace its cohesion. BRANDY Never Say Never (1998) – A landmark in ’90s R&B with stunning vocal work, though some production choices date it. BELL BIV DEVOE Poison (1990) – Explosive and era-defining new jack swing, but its production now feels firmly locked in the ’90s. BABYFACE Tender Lover (1989) – A masterclass in smooth late ’80s R&B, though its polish can border on too safe. BRITTANY HOWARD Jaime (2019) – Fearless and genre-bending with raw emotional power, though its eclecticism may alienate some listeners. BRIAN MCKNIGHT Back at One (1999) – Silky, heartfelt balladry at its finest, but leans so heavily on smoothness it risks monotony. BJ THE CHICAGO KID In My Mind (2016) – Balances retro soul with modern R&B style, but sometimes feels too restrained to fully soar. BROWNSTONE From the Bottom Up (1995) – A powerhouse vocal showcase from the ’90s R&B era, though uneven songwriting keeps it below classic status. BLESSID UNION OF SOULS Home (2005) – Earnest, radio-ready pop-rock with memorable hooks, though its sentimentality can veer into cheesiness. BROOKLYN FUNK ESSENTIALS Cool and Steady and Easy (1995) – A bold and eclectic funk-fusion ride, though its sprawl can feel unfocused. BUDOS BAND Budos Band II (2007) – A killer set of Afro-soul grooves with atmosphere to spare, but its uniformity can wear thin. BERNARD WRIGHT Nard (1981) – A cult funk-jazz gem with youthful energy, but its appeal is stronger for musicians and crate-diggers than casual fans. BEN WESTBEECH Welcome to the Best Years of Your Life (2007) – A sleek blend of soul and electronic grooves, though it occasionally sounds more stylish than substantial. BLU CANTRELL So Blu (2001) – A confident R&B debut with flashes of brilliance, but inconsistent material keeps it from being a classic. BABY ROSE To Myself (2019) – Her husky, distinctive voice makes for a striking debut, though the songwriting can feel uneven at times. BETH ROWLEY Little Dreamer (2008) – Warm and soulful with plenty of vocal charm, though it leans too heavily on well-trodden retro influences. BEVERLEY KNIGHT Who I Am (2002) – A strong showcase of UK soul talent, but it lacks the crossover impact to elevate it globally. BUSTY AND THE BASS Uncommon Ground (2017) – A playful, modern funk record full of energy, though it struggles to carve out a unique identity. BREAKESTRA Hit the Floor (2005) – A funky, high-energy throwback that’s fun live, though it lacks distinctiveness on record. BILL CANTOS Love Wins (2000) – A heartfelt and uplifting record, though its reach is limited by niche appeal. BERNHOFT Solidarity Breaks (2011) – A polished mix of soul-pop with undeniable hooks, yet it sometimes plays it too safe to stand out. B ANGIE B B Angie B (1991) – A fun slice of early ’90s R&B with charm, though it never quite escapes being overshadowed by stronger contemporaries.

POP

BRITNEY SPEARS Blackout (2007) – A bold, edgy pop reinvention that stands as one of the strongest albums of its decade. BRUCE HORNSBY The Way It Is (1986) – A classic debut blending soulful piano pop with timeless songwriting, despite its ’80s polish. BAT FOR LASHES Two Suns (2009) – Ambitious and mystical art-pop that rewards patience but can feel heavy at times. BLEACHERS Strange Desire (2014) – An emotional, maximalist indie-pop statement that’s both anthemic and slightly overstuffed. BACKSTREET BOYS Millennium (1999) – An iconic late-’90s boy band album with towering singles that defined its era. BIRDY Fire Within (2013) – Beautifully sung ballads that showcase her voice, though the production feels overly safe. BEAUTIFUL SOUTH Blue is the Colour (1996) – Witty, melancholic British pop with sharp songwriting, delivered in understated fashion. BASTILLE Bad Blood (2013) – Polished and radio-ready indie pop that’s catchy but ultimately formulaic. BRANDON FLOWERS The Desired Effect (2015) – A glossy solo outing packed with ’80s sheen and strong singles, though not deeply original. BOY We Were Here (2015) – Gentle, atmospheric pop-folk that is intimate but risks drifting into the background. BENNY SINGS Art (2011) – A smooth, jazzy pop set that feels breezy and light but somewhat insular. BECKY HILL Only Honest on the Weekend (2021) – Dancefloor-ready vocals and energy wrapped in a patchy, uneven package. BASIA BULAT Tall Tall Shadow (2013) – A heartfelt indie folk album with emotional weight, though it leans subtle and subdued. BRETT DENNEN Loverboy (2011) – A sunny, lighthearted folk-pop album that’s enjoyable but lacks consistency. BAZZI Cosmic (2018) – Contemporary pop-R&B with a couple of viral hooks, yet too slight to fully satisfy. BBMAK Sooner of Later (2000) – A breezy Y2K pop debut with sweet harmonies but limited artistic reach. BEN JELEN Give It All Away (2004) – An earnest singer-songwriter debut that charms in moments but lacks staying power. BETTY WHO Take Me When You Go (2014) – A playful synth-pop debut full of energy that never quite breaks free of its influences. BENEE Hey u x (2020) – Quirky alt-pop with flashes of personality, held back by inconsistent execution. BLEU Redhead (2003) – Hooky power-pop that delights fans of the genre, though it never broke wider ground. BANANARAMA True Confessions (1986) – Carried by “Venus,” but the rest of the record feels more like filler than substance. B*WITCHED B*Witched (1998) – Bubblegum pop fun that thrives on nostalgia but offers little lasting depth. BISHOP BRIGGS Church of Scars (2018) – Driven by a commanding voice and one big single, yet repetitive across the album.

ELECTRONIC

BJORK Homogenic (1997) – Visionary and emotionally raw, this electronic-art-pop landmark dazzles with innovation but can feel intense and demanding. BOARDS OF CANADA Music has the Right to Children (1998) – A haunting IDM classic that redefined electronic music, though its eerie lo-fi textures can feel alienating. BEACH HOUSE Teen Dream (2010) – Dream-pop at its most lush and consistent, yet the uniform pacing risks blending together for some. BRONSKI BEAT The Age of Consent (1984) – A bold synth-pop statement mixing activism and melody, though its 1980s production roots show clearly. BROADCAST Haha Sound (2003) – Psychedelic, hypnotic, and endlessly creative, though its abstract quirks may be too esoteric for some listeners. BOOKA SHADE Movements (2006) – A sleek minimal-house blueprint that defined a moment in club culture, yet can feel repetitive away from the dancefloor. BEL CANTO Birds of Passage (1989) – Ethereal and atmospheric with Nordic mystique, though its slow burn can drift into background listening. BREAKBOT By Your Side (2012) – Playful, funky disco grooves make it endlessly fun, but it rarely digs deeper than surface-level charm. BOMB THE BASS Into the Dragon (1988) – An energetic, sample-driven time capsule that’s innovative for its era, if now dated in style. BT ESCM (1997) – Ambitious and cinematic trance with technical brilliance, yet often bloated and exhausting in length. BLANCMANGE Happy Families (1982) – Quirky and witty synth-pop that captures early-’80s charm, though not every track holds up equally well. BITTER SWEET The Mating Game (2006) – Smooth and sultry lounge-pop that creates a mood, but its sameness limits replay value. BIRD AND THE BEE The Bird and the Bee (2007) – A charming debut full of breezy sophistication, though too polished to feel adventurous. BIBIO Ambivalence Avenue (2009) – Inventive and eclectic, bursting with ideas, but its scattershot approach makes it uneven. BOY HARSHER Careful (2019) – Dark, hypnotic synthwave that thrives on atmosphere, though its narrow palette limits variety. BOYZ NOIZE Oi Oi Oi (2007) – Aggressive and raw with undeniable club energy, yet it wears thin as a full-album listen. BODY LANGUAGE Social Studies (2009) – Smooth and pleasant electro-pop with easygoing vibes, but it leaves little lasting impression. BODYROCKERS Bodyrockers (2005) – Built on the irresistible hit “I Like the Way,” though the rest of the album feels disposable. BIG DATA 2.0 (2015) – Quirky electro-pop with clever hooks, but too slight to carry weight as a full record. BLACK BOX Dreamland (1990) – Packed with iconic Eurodance singles, though filler tracks drag it down. BUCKETHEADS All in the Mind (1995) – Home to the timeless house hit “The Bomb!,” but little else is memorable. BENNY BENASSI Hypnotica (2003) – Best remembered for “Satisfaction,” with little depth beyond repetitive club tracks. BASSHUNTER Now You’re Gone-The Album (2008) – Fun Eurodance energy that works at parties, though critically thin and repetitive.BEAUTIFUL SMALL MACHINES Robots in Love (2009) – Quirky, charming electro-pop with novelty appeal, but lacking staying power. BASIC SOUL UNIT Motional Response (2012) – Solid underground deep-house grooves that reward enthusiasts, though too niche for broad appeal. BASIC CHANNEL BCD (1995) – Foundational and influential in dub techno, yet too minimal and austere for casual listeners. BABEHEAVEN Home for Now (2020) – A gentle, atmospheric debut with heartfelt honesty, though too subdued to stand out in a crowded field. BIS The New Transistor Heroes (1997) – Energetic, brash indie-pop that captures youthful spirit, though patchy and dated in execution.

So it turns out the letter “B” vomited up an even bigger crap ton of music than poor little “A” ever could, and once again I’m left asking life’s most important questions: Who is not only listening to this mountain of mediocrity but actually handing over hard-earned money for it? And beyond that, how, as a species, do we muster the time, energy, and sheer collective audacity to prop up so much disposable sound? It’s like we’ve all agreed that our ears are the world’s landfill and Top 40 radio is the garbage truck on permanent rotation.

But hey, existential despair aside, this is also the spot where I present my “10 Good Songs” video playlist, parceled neatly into 5-year increments. This round we’re rewinding to 2010–2014, a glorious half-decade when pop was glossy, indie was moody, and EDM convinced us that every night was the apocalypse. Strap in…or don’t, I’m not your life coach.

And now, folks, roll out the beige carpet and hold your applause for the grand unveiling of the Missed the Mark Club…a prestigious institution dedicated to artists who heroically transformed music into either glorified wallpaper or a cosmic joke we were never in on. I didn’t bother ranking them, because honestly, arguing over which of these acts is the least consequential is like debating which brand of saltine is the driest.

So, just scroll through the list, soak it in, and whisper to yourself the eternal questions: Who asked for this? Who paid for this? And was there a record executive somewhere nodding along thinking, “Yes, this is the future”? Because the real kicker is that people not only listened, but willingly forked over cash for this sonic beige buffet.

And remember, this cornucopia of mediocrity comes courtesy of a single letter of the alphabet. One. Letter. If this is what “B” coughed up, just imagine the barren wasteland that awaits us under “Q,” or the sheer chaos “X” has in store. Buckle in, kids because the alphabet is long, and we’ve only just started spelunking through the caves of musical disappointment.

• Big Head Todd – The band name is the only big thing about them.
• Beady Eye – Liam Gallagher proving he really did need his brother.
• Beatsteaks – Punk-ish rock cooked so well-done it’s tough to chew.
• Big Sugar – About as exciting as dumping three packets into lukewarm tea.
• Blackie and the Rodeo Kings – The kings of proving roots rock can still be boring.
• Blackpool Lights – Indie so dim they should’ve been called “Burnt-Out Bulbs.”
• Blues Pills – Retro blues-rock so generic it could be sold over the counter.
• Bracket – Pop-punk filler that proves punctuation marks don’t make great band names.

Big Wolf Band / Big Audio Dynamite / Brand New / Beat Happening / Bear’s Den / Beth Bombara / Black Stone Cherry / Blueneck / Buffalo Tom / Banditos / Ben Weaver / Bif Naked / Bettie Seerveert / Ben Nichols / Beta Band / Beth Wood / Bex Marshall / Black Box Recorder / Big Chief / Bill Lloyd / Bad English / Bash & Pop

• Backyard Tire Fire – More fun to watch an actual tire fire.
• Bear in Heaven – More like “Bear in Ambien.”
• Becky Warren – Alt-country so earnest it’s basically a diary entry in guitar form.
• Beki Hemingway – Proves the Hemingway name can also produce unfinished drafts.
• Beth Hart – A Janis Joplin impersonator for people who don’t like surprises.
• Big Country – Every song sounds like bagpipes fell into a rock rehearsal.
• Besnard Lakes – Psychedelic rock that’s basically a Pink Floyd screensaver.
• Bauhaus – The soundtrack to every goth teen who thinks eyeliner is a personality.
• Back Door Slam – Blues rock so generic it might as well be called “Dad’s Garage Band.”
• Baton Rouge – Proof that the world didn’t need more hair metal in the ’90s.
• Bastard Sons of Johnny Cash – All bastard, none of the Cash.
• Beaches – Shoegaze that feels like watching sand blow around.
• Better Oblivion Community Center – The most accurately named side project ever: sounds like group therapy with guitars.
• Big Harp – Folk-rock as forgettable as elevator carpet patterns.
• Berries – Garage rock that’s basically fruit gone bad.
• Belly – ’90s alt-rock footnote overshadowed by better bands with worse names.
• Big Thief – Critically beloved, but half their songs sound like tuning up for the real song.

Brave Rival / Breakup Society / Blake Babies / Boa / Blue Cartoon / Born Ruffians / Brazil / Brendan Benson / Brothers Steve / Bay of Pigs / Benny Profane / Brighten / Brooklyns / Bystanders / Beady Belle / Brian Owens / Bria Marie / B. Smyth / Berhana / Becky Horne / Bryson Tiller / Brik Liam / Brad Marquiss / Brick Fields / Belle Perez / Beyries / Blue / Baiyu / Banaroo / Blameless / Blossoms / Butterglory / Becca Stevens / Binki / Beta Days / Bees / Black Lips

• Bloodloss – Garage noise that sounds like your amp is bleeding out.
• Blouse – Indie dream-pop as exciting as beige laundry.
• Bluejuice – Funk-punk so goofy it feels like a frat party skit.
• Bon Iver – Whisper-folk for sad lumberjacks who own auto-tune.
• Buddaheads – Blues-rock so generic it’s basically royalty-free bar music.
• Bo Bice – The American Idol runner-up who also-ran forever.
• Black Top Mojo – Post-grunge growl that smells like a Harley dealership.
• Bleed Radio Bleed – Emo so melodramatic it should come with a hotline number.
• Blindside – Christian metalcore that blindsided exactly no one.
• Blue Merle – Coldplay’s understudy, minus the charisma.
• Blue Stingrays – Surf-rock museum exhibit that nobody visits.
• Breathless – Dream-pop so slow you’ll need CPR to finish a track.
• Bobby Long – Folk so sleepy it should come with chamomile.
• Brother Cane – Southern rock radio filler for people who thought Skynyrd was too edgy.
• Bboys – Post-punk minimalism so dry it makes sand jealous.
• Beatifics – Power-pop that peaked at being “pleasant.”
• Beaver Nelson – Singer-songwriter as memorable as a grocery receipt.
• Beehive Rebellion – New wave that buzzed once and died.
• Belltower – Shoegaze so muddled it feels like hearing music underwater.
• Brains – Psychobilly that proves zombies shouldn’t form bands.
• Bardot – Girl group so bland they made B*Witched look edgy.
• Beige – At least they’re honest: the name matches the music.
• The Blow Monkeys – Politico-pop relics who proved saxophones don’t always save songs.
• Betty Boo – Rap so kitschy it feels like a novelty cassette from the bargain bin.
• Bashiyra – Soul so generic it belongs on an airline safety video.
• Bernard Oattes – Smooth jazz that feels like waiting on hold forever.
• Binky Womack – Nepotism blues that never left the family garage.
• Bonfyre – R&B embers that never quite spark.
• Bando Jonez – “Sex You” is his claim to fame… which says it all.
• Barfield the Tyrant – Funk so underwhelming he should’ve been called Barfield the Mildly Irritated.
• Breathe – Late ’80s ballads that make Air Supply sound edgy.
• B5 – The bargain-bin Jackson 5 knockoff nobody asked for.
• Benson Boone – TikTok-fueled pop ballads that belong in a Netflix teen drama montage.
• Blake Lewis – Beatboxing American Idol runner-up nobody asked to hear again.
• Blaxy Girls – Romanian pop-rock that sounds like a Eurovision reject.
• Boomkat – Electronica so dated it comes with a free flip phone.
• Brandyn Burnette – Indie-pop with all the charisma of a beige wall.
• Boy in Space – Emo-pop with less gravity than helium.
• Bounty – Music as disposable as the paper towels.
• Brittle Stars – Indie pop so delicate it breaks on first listen.
• Bertie Higgins – Soft rock cheeseball who made “Key Largo” a punchline.
• Bandit Heart – Indie so melodramatic it sounds like rejected CW soundtrack filler.
• Bebe – Spanish pop singer who made whining into a career path.

Baba Stiltz / Baltra / Barnaby Bruce / Baxter / Ben Pearce / Ben Gomon / Bowery Electric / Burns / Brooklyn Bounce / Baroque Tribes / Bongos / Beau Williams / Ballistic Brothers / Best Coast / Base Kids / Bureau / Be’la Donna / Bionic / Bravestation / Benacci Brothers

• Bucks Fizz – Won Eurovision by singing like ABBA’s budget stunt doubles.
• Blimp Rock – Indie so deflated they should’ve just called it “Rock.”
• Baha Men – Built an empire off Who Let the Dogs Out, aka the most annoying wedding song in history.
• Bentley Jones – J-pop covers for people who didn’t want J-pop.
• Bellepop – Manufactured girl group that dissolved faster than bubblegum.
• Bianca Ryan – Child prodigy who proved prodigies can still be boring.
• Billie – Britpop-lite with all the substance of a Spice Girls B-side.
• Billie Piper – Famous mostly for leaving pop to act, which says everything.
• Boys Like Girls – Pop-punk so sanitized it comes with a free bottle of hand gel.
• Busted – Boyband pop-punk that aged like milk in the sun.
• British Electric Foundation – “Experimental” in the same way turning off your stereo is experimental.
• Bangkok Impact – Techno so faceless it might actually be AI-generated.
• Bargrooves – Literally background music for sipping overpriced cocktails.
• Beta – Named after what they sound like: an unfinished demo.
• Bingoboys – Eurodance trash for people who thought “Macarena” was too highbrow.
• Blue States – Downtempo so dull it could sedate insomniacs.
• Blue Hawaii – Dream-pop that feels like drowning in a scented candle.
• Bliss – Ambient so flavorless it should be sold as white noise.
• Black Buddafly – R&B so forgettable they barely remember themselves.
• Bonnie Bailey – Beach lounge filler best left to resorts with no Wi-Fi.
• Booty Luv – Club pop so cheap it comes with glow sticks from the dollar store.
• Boss in Drama – Funky house that forgot the funk and the drama.
• Bright Light Bright Light – Synth-pop for people nostalgic for songs they never heard.
• Boytronic – Eurodisco relic so dated it might still be using floppy disks.
• Bangkok Project – Techno so generic it could be called “Track 01.”
• Barclay & Cream – A DJ duo smoother than skim milk.
• Barclay & Reeder – Proof two DJs don’t always make one good idea.
• Baroque – Trance so overblown it should come with powdered wigs.
• Bay City House Crew – House music with all the class of a dive bar jukebox.
• Bay City Players – Cover band energy with none of the charm.
• Boy Crisis – Hipster pop that makes you wish for an actual crisis instead.
• Bunny Lake – Electro-pop so weak it hops straight into irrelevance.
• Burnside Project – Indie rock that sounds like an IT department jam session.
• Box Car Racer – Blink-182 side project reminding us that side projects are usually worse.
• Bo Ramsey – Americana so dusty it might give you allergies.
• Benny Turner – Blues so safe it belongs in a hotel lobby.
• Blow – Lo-fi indie-pop with all the energy of an unplugged toaster.
• Belouis Some – 80s pop star best remembered for not being remembered.
• Boy Meets Girl – “Waiting for a Star to Fall”… and then it did, right on their career.
• Brad Gillis – Night Ranger guitarist who never got the memo to stop soloing.
• Brat Pack – New jack swing so disposable it came shrink-wrapped.
• Byron Miller – Funk bassist whose music grooves politely in the background.

Is it just me, or is this excessiveness freakin’ ridiculous?!?! I mean, the sheer avalanche of “B” artists alone could bury an unsuspecting listener under a mountain of mediocrity. Between the Bad Company wannabes, the bargain-bin Britpoppers, and the endless parade of “Brooklyn-based electro-folk collectives,” you start wondering if the letter itself is cursed. I swear, for every Beach House or Beck, there are fifty “Bland, Boring, and Badly-Mixed” acts fighting for a slot on some forgotten playlist. Somewhere out there, the alphabet is filing a restraining order.

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