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. I briefly tried including “world” music, but quickly realized that would overextend the scope. 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.”
#25) BELINDA CARLISLE – Heaven on Earth (1987)
PROS: Glossy, radio-ready arrangements with soaring choruses and lush instrumentation embody peak ’80s pop-rock. Maintains a shimmering, widescreen atmosphere that feels cinematic and uplifting.
CONS: The synths, drums, and big reverb scream “1987,” which can feel frozen in its era. Beyond the big singles, several tracks feel like filler, sticking too closely to the pop-rock blueprint.
BOTTOM LINE: Heaven on Earth is 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.
#24) BASIA – London Warsaw New York (1990)
PROS: Basia’s crystalline voice delivers both intimacy and sophistication, perfectly suited for her blend of jazz-pop and Latin rhythms. Maintains a breezy, cosmopolitan atmosphere from start to finish, making it a dependable listen for fans of smooth pop or “sophisti-pop.”
CONS: The slickness that makes it accessible can also drain some spontaneity or emotional grit. The songs, though well-crafted, can blur together without much stylistic risk-taking.
BOTTOM LINE: London Warsaw New York is Basia at her most refined, a smooth, urbane collection of jazz-infused pop that shines with vocal charm and immaculate production. It’s a rewarding listen for fans of sophisticated adult pop, though its polish and stylistic narrowness may limit broader appeal.
SAMPLE TRACK: “Cruising for Bruising”
#23) BRAND NEW HEAVIES – Brother Sister (1994)
PROS: The album is a showcase of tight, organic funk rhythms, slick bass lines, and polished horn arrangements. N’Dea Davenport’s soulful, commanding voice gives the record its emotional depth and elevates even the more laid-back tracks. Along with Jamiroquai and Incognito, this album helped push acid jazz into the mainstream mid-’90s spotlight.
CONS: At over an hour, some tracks stretch their grooves a little too far, leading to a sense of sameness. While beloved in funk/jazz circles, its lack of big pop hooks limits broader mass appeal.
BOTTOM LINE: Brother Sister is the Brand New Heavies at full power, 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”
#22) BARENAKED LADIES – Stunt (1998)
PROS: The band’s humor and offbeat charm shine through without overshadowing their strong melodic instincts. Keeps a bright, upbeat flow even when the subject matter dips into more introspective territory.
CONS: The rapid-fire humor and wordplay can feel gimmicky or exhausting if you’re not on the wavelength. With 13 tracks, some feel like filler, and the balance between humor and sincerity doesn’t always land smoothly.
BOTTOM LINE: Stunt is the Barenaked Ladies’ 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”
#21) BLUES TRAVELER – Four (1994)
PROS: John Popper’s virtuosic harmonica playing adds a unique signature, setting the band apart from other jam-rock outfits. The album manages to keep the improvisational spirit of a jam band while delivering radio-friendly songcraft.
CONS: Some songs run longer than necessary, which can lose casual listeners. The production style and aesthetic plant it firmly in its era, which may not appeal universally today.
BOTTOM LINE: Four is Blues Traveler’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: “Run-Around”
#20) BADLY DRAWN BOY – The Hour of Bewilderbeast (2000)
PROS: A patchwork of folk, indie rock, and quirky pop, full of unexpected shifts and charming eccentricities. Damon Gough’s unpolished yet endearing vocals lend the record a homemade authenticity.
CONS: The 63-minute runtime and scattered ideas can feel indulgent, with filler clouding the brilliance. Its lo-fi quirks and British sensibility may not resonate with mainstream audiences.
BOTTOM LINE: The Hour of Bewilderbeast 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”
#19) BRYAN ADAMS – Reckless (1984)
PROS: Six singles cracked the Top 15, including Run to You, Heaven, and Summer of ’69, making it one of the decade’s most successful rock albums. Shifts smoothly between fist-pumping rockers and heartfelt slow burns.
CONS: Sticks very close to the ’80s rock blueprint; little innovation beyond perfecting the template. The big anthems (Summer of ’69) toe the line between timeless and overplayed cliché.
BOTTOM LINE: Reckless is Bryan Adams’ career-defining record, a polished, hook-packed arena-rock juggernaut that delivered hit after hit. While it leans formulaic and sometimes cheesy, its anthems remain beloved and instantly recognizable, making it one of the quintessential rock albums of the ’80s.
#18) Blur – Blur (1997)
PROS: A bold pivot from polished Britpop toward lo-fi, American indie-inspired grit. Less orchestrated, more guitar-driven and scrappy, giving the band a new creative edge. Marked Blur’s international breakthrough, especially in the U.S., broadening their legacy beyond Britpop.
CONS: The album swings between loud, raucous tracks and slower, brooding experiments, which can feel uneven. While Song 2 became iconic, it risks reducing the album’s identity to a novelty scream-along for casual listeners.
BOTTOM LINE: Blur is 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”
#17) BLACKSTREET – Another Level (1996)
PROS: Polished New Jack Swing influence blended with contemporary R&B makes the record sound both club-ready and smooth. The group’s harmonies are tight, soulful, and confident, balancing grit with finesse. Maintains a sleek, late-night vibe that works well front-to-back.
CONS: The album peaks early with No Diggity and struggles to maintain that level of energy throughout. At 20 tracks, it’s bloated; trimming the filler could have delivered a tighter, stronger record.
BOTTOM LINE: Another Level is Blackstreet’s career-defining statement, a smooth, sexy, and groove-heavy R&B record anchored by the immortal No Diggity. Though it suffers from bloat and some filler, its highs are iconic and cement its place as a cornerstone of ’90s R&B.
SAMPLE TRACK: “Fix”
#16) BON JOVI – Slippery When Wet (1986)
PROS: Blended glam metal flash with pop hooks, making it accessible to both rock fans and mainstream audiences. A blueprint for late-’80s hard rock, influencing countless bands that followed. Captures the feel of a fist-pumping live show, full of singalong choruses and big riffs.
CONS: Relies heavily on power-chord riffs, anthemic choruses, and predictable structures. Beyond the monster singles, several tracks feel like filler designed to pad out the hit package. The very elements that made it huge in 1986 also anchor it firmly in that hair-metal era.
BOTTOM LINE: Slippery When Wet is Bon Jovi’s career-defining blockbuster, an ’80s hard rock juggernaut that turned them into global superstars. While undeniably formulaic and cheesy at times, its massive singles and slick execution ensure its place as one of the most iconic arena-rock albums of all time.
#15) BLACK PUMAS – Black Pumas (2018)
PROS: Eric Burton’s powerhouse, soulful voice is the centerpiece, carrying both raw grit and tender emotion. Channels the spirit of classic R&B and psychedelic soul while still feeling fresh and modern.
CONS: Many tracks share a similar slow-burn vibe, which can feel repetitive across the full album. Doesn’t take as many risks as some of their soul-revival contemporaries (like Alabama Shakes).
BOTTOM LINE: Black Pumas is 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: “Colors”
#14) BEN FOLDS – Rockin’ the Suburbs (2001)
PROS: Beneath the wit lies vulnerability, especially in ballads like Still Fighting It and The Luckiest, which showcase his ability to connect on a heartfelt level. Without his band (Ben Folds Five), he proves he can still create dynamic, melodic arrangements that mix pop smarts with classical flourishes.
CONS: His brand of irony and wordy storytelling appeals strongly to some but can come off as smug to others. Cleaner and more polished than Ben Folds Five records, which may lack the scrappy charm fans loved.
BOTTOM LINE: Rockin’ the Suburbs is 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”
#13) BUSH – Sixteen Stone (1994)
PROS: Takes the grit of Nirvana and Pearl Jam and smooths it into radio-friendly, arena-ready rock. For many, it was the gateway into grunge-lite, bridging underground Seattle influences with mainstream radio appeal. Maintains a consistent mood and sonic identity throughout.
CONS: Critics often (fairly) accused Bush of being a Nirvana knockoff, with heavy borrowing from Seattle’s sound. Gavin Rossdale’s abstract, sometimes nonsensical lyrics can feel more like word salad than storytelling.
BOTTOM LINE: 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”
#12) BILLIE EILISH – When We All Fall Asleep, Where Do We Go? (2019)
PROS: Billie channels teenage anxiety, disillusionment, and sarcasm into something that feels authentic rather than manufactured. Seamlessly fuses pop, electronica, and alternative influences without sounding forced, opening doors for other left-of-center pop acts.
CONS: Billie’s whispery vocal style, while fresh at first, can blur across tracks and feel repetitive to some listeners. For critics, the dark, macabre aesthetic sometimes feels more like a stylistic gimmick than genuine innovation.
BOTTOM LINE: When We All Fall Asleep, Where Do We Go? is 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”
#11) BOYZ II MEN – II (1994)
PROS: The group’s harmonies are stunning, with unmatched control, richness, and range. Maintains a smooth, romantic vibe throughout, making it perfect for mood listening. Cemented Boyz II Men as the definitive vocal group of the ’90s and pushed R&B further into the mainstream.
CONS: The sheer number of slow jams can make the album feel heavy and lacking in variety. At 65 minutes, it overstays its welcome and could benefit from tighter editing. Some production choices (particularly in percussion and synths) firmly root it in the mid-’90s
BOTTOM LINE: II is Boyz II Men’s career peak and 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”
#10) BOBBY BROWN – Don’t Be Cruel (1988)
PROS: Teddy Riley’s production fused R&B, hip-hop, and pop into a fresh, genre-defining sound. Brown’s confident delivery gave the album personality, bridging smooth vocals with streetwise edge. Helped propel New Jack Swing into the mainstream and influenced countless R&B acts that followed.
CONS: While groundbreaking at the time, the synth-heavy production and drum programming date it. Not every deep cut matches the high of the singles; some tracks feel like padding.
BOTTOM LINE: Don’t Be Cruel is Bobby Brown’s career-defining statement and a cornerstone of New Jack Swing, overflowing with hits and swagger. While rooted firmly in its ’80s production style and padded with some weaker cuts, its highlights remain essential listening and a blueprint for modern R&B crossover success.
SAMPLE TRACK: “Roni”
#9) BRUNO MARS – 24K Magic (2016)
PROS: At just nine tracks, the album is lean with almost no filler. Channels ’80s/’90s funk, R&B, and New Jack Swing with style, polish, and infectious grooves. Crisp, glossy, and dance-floor ready, balancing nostalgia with modern punch.
CONS: More homage than innovation; it leans heavily on past eras rather than breaking new ground. While focused, some may find nine tracks too slim for a full album experience.
BOTTOM LINE: 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)
PROS: Shannon Hoon’s high, plaintive voice gave the band a unique character, equal parts vulnerable and powerful. The band blended jangly guitars, bluesy undertones, and a jam-band looseness into a refreshing alternative rock sound. Maintains a laid-back, rootsy flow that feels organic and unforced compared to more polished contemporaries.
CONS: Distinctive but polarizing; his nasal timbre can be off-putting for some listeners. High points shine, but a handful of tracks feel underdeveloped.
BOTTOM LINE: Blind Melon is 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)
PROS: Jangly guitars, polished harmonies, and big choruses make it a quintessential mid-’80s record. Balances bright pop hooks with moodier, more thoughtful cuts like Following. All four members contributed vocals, giving the album texture and variety.
CONS: Producer David Kahne’s slick production sometimes smooths out the band’s rawer rock edge. Very tied to its ’80s context; the synths and reverb may feel cheesy to modern ears.
BOTTOM LINE: 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)
PROS: Builds on the blues-rock swagger of their debut (Shake Your Money Maker) with deeper grooves, stronger songwriting, and a more mature sound. Seamlessly blends blues, gospel, and soul influences into their gritty rock framework. Debuted at #1 on the Billboard charts and is often considered their artistic peak.
CONS: Some tracks stretch out a bit long, which may test listeners who prefer tighter arrangements. Strong echoes of Faces, Stones, and Humble Pie may feel derivative rather than groundbreaking.
BOTTOM LINE: The Southern Harmony and Musical Companion is 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)
PROS: Marked the band’s commercial and critical leap, introducing them to a much wider audience. The duo honed their blues-rock garage vibe into a more polished but still raw groove. Helped reignite interest in stripped-down, bluesy rock at a time dominated by polished pop.
CONS: At 15 tracks and nearly an hour, it drags in spots; a tighter edit could’ve made it punchier. While soulful and authentic, it borrows heavily from older blues/rock traditions without reinventing them.
BOTTOM LINE: 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)
PROS: Arrived like a jolt to late-’90s electronic music, blending house, funk, Latin, and disco with fearless abandon. Felix Buxton and Simon Ratcliffe layered samples, beats, and hooks in a way that felt chaotic yet perfectly controlled. Widely considered one of the best dance albums of its era and a blueprint for 2000s house/electro crossover.
CONS: At 15 tracks, it occasionally feels like too much, with a few filler moments between the bangers. The maximalist layering can get repetitive across a full listen. Some production flourishes scream late-’90s, which may feel dated outside the dance context.
BOTTOM LINE: 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)
PROS: The album layers synths, strings, and beats in a way that elevates Mercer’s voice without drowning it, making for an atmospheric but accessible listen. The record works well as a whole, with a consistent, dreamy tone that makes it feel like a complete project rather than just a collection of songs. It straddles the line between underground cool and radio-friendly polish.
CONS: The commitment to a mellow, mid-tempo groove can make the album feel samey after a few tracks, with few real peaks of energy. Without a lot of anthemic choruses or explosive moments, it may not grab those looking for more straightforward hooks.
BOTTOM LINE: Broken Bells is 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 High Road”
#2) BEYONCE – Beyonce (2013)
PROS: The album embraces darker, moodier R&B, with heavy electronic textures, cinematic production, and bold experimentation that moved her further from radio-driven pop formulas. Lyrics and visuals alike cemented her status as a boundary-pushing, genre-bending icon, not just a superstar following trends.
CONS: The album’s mood shifts can feel jarring, moving from raw vulnerability to overt sexuality to empowerment anthems without always smoothing the transitions. Because it was designed as a visual album, some songs land with more impact alongside their videos than in audio-only form.
BOTTOM LINE: 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)
PROS: Beck and the Dust Brothers weave hip-hop beats, folk strumming, funk riffs, and alt-rock weirdness into a seamless, kaleidoscopic sound. The record rarely drags, bouncing from slacker anthems to groove-heavy experiments with surprising cohesion. It captured the decade’s postmodern, genre-blurring ethos better than almost anything else, influencing a wave of eclectic alt-pop acts.
CONS: The constant genre-jumping can feel disjointed if you’re looking for a more straightforward or cohesive style. While innovative at release, certain ’90s production quirks now sound of their era, which may divide modern ears.
BOTTOM LINE: Odelay is 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 (1996-Present) Charming, literate, and delicately melodic, but can also come off as too twee and precious for listeners craving more edge or intensity.
TOP ALBUM: If You’re Feeling Sinister (1996)
BRIGHT EYES (1998-Present) Delivers emotionally raw, poetic songwriting with fearless experimentation, but can also veer into overwrought melodrama that tests a listener’s patience.
TOP ALBUM: I’m Wide Awake, It’s Morning (2005)
BUILT TO SPILL (1993-Present) Offers intricate guitar work and sprawling indie-rock epics with real emotional depth, but their songs can sometimes feel indulgent and meandering for casual listeners.
TOP ALBUM: Keep It Like a Secret (1999)
BROKEN SOCIAL SCENE (2001-Present) Creates lush, expansive soundscapes full of energy and collaboration, but their sprawling lineup and layered arrangements can sometimes blur into cluttered chaos.
TOP ALBUM: You Forgot It in People (2002).
THE BREEDERS (1990-Present) Deliver gritty, catchy alt-rock with sharp hooks and a raw edge, but their output has been sporadic and uneven across the decades.
TOP ALBUM: Last Splash (1993)
BLOC PARTY (2005-Present) Brings urgent, angular post-punk energy with moments of anthemic brilliance, but their later albums struggle with inconsistency and a loss of the spark that fueled their debut.
TOP ALBUM: Silent Alarm (2005)
BEN HARPER (1994-Present) Blends soulful vocals with a versatile mix of rock, folk, and blues, but his genre-hopping can make his albums feel uneven and unfocused.
TOP ALBUM: Fight for Your Mind (1995)
BAND OF HORSES (2006-Present) Sweeping, atmospheric indie-rock with heartfelt melodies, but they sometimes lean too heavily on formula and lack the punch of their early peak.
TOP ALBUM: Cease to Begin (2007)
BRANDI CARLILE (2005-Present) Delivers powerful, emotive vocals and deeply heartfelt songwriting, but her earnestness can border on overly polished or sentimental for some listeners.
TOP ALBUM: By the Way, I Forgive You (2018)
BLUE RODEO (1987-Present) Excel at blending heartfelt country-rock with melodic craftsmanship, but their lengthy discography can feel repetitive and uneven over time.
TOP ALBUM: Five Days in July (1993)
BLACK REBEL MOTORCYCLE CLUB (2001-Present) Exude moody, fuzz-drenched rock swagger with occasional flashes of brilliance, but they often recycle their sound, leading to stretches of monotony across albums. TOP ALBUM: Howl (2005)
BLITZEN TRAPPER (2003-Present) Fuse folk, rock, and quirky storytelling into adventurous, genre-bending songs, but their wild eclecticism can sometimes come at the expense of cohesion and consistency. TOP ALBUM: Furr (2008)
BEACH FOSSILS (2010-Present) Offer dreamy, jangly indie-pop with breezy melodies perfect for atmosphere, but their laid-back style can blur into sameness and lack dynamic punch. TOP ALBUM: Somersault (2017)
BRIAN JONESTOWN MASSACRE (1995-Present) Embody psychedelic rock chaos and prolific creativity with flashes of brilliance, but their erratic output and Anton Newcombe’s volatility can make diving into their catalog a messy ordeal. TOP ALBUM: Take It from the Man (1996)
BOYGENIUS (2018-Present) Showcase three powerhouse songwriters combining for raw, intimate, and beautifully harmonized indie-rock, but their limited discography so far leaves fans hungry for more depth and longevity. TOP ALBUM: The Record (2023)
BUDDY & JULIE MILLER (2001-2009) Deliver soulful, heartfelt Americana with masterful songwriting chemistry, but their collaborative output is sporadic and sometimes overshadowed by their individual careers. TOP ALBUM: Buddy & Julie Miller (2001)
BUTTHOLE SURFERS (1984-2001) They unleash wild, chaotic, and boundary-pushing experimental rock with a twisted sense of humor, but their abrasive weirdness often alienates casual listeners looking for accessibility. TOP ALBUM: Locust Abortion Technician (1987)
BLINK 182 (1995-Present) Perfected catchy, juvenile pop-punk anthems that defined a generation, but their immature humor and uneven later output can undercut their lasting credibility. TOP ALBUM: Blink 182 (2003)
BILLY IDOL (1982-Present) Delivers swaggering, hook-filled rock anthems with undeniable charisma, but his campy excess and uneven later work can make him feel like a relic of the MTV era. TOP ALBUM: Rebel Yell (1983)
BILLY SQUIER (1980-1998) Cranked out arena-ready rock with big riffs and sing-along hooks, but his career was derailed by overexposure and a notorious misstep that overshadowed his talent. TOP ALBUM: Don’t Say No (1981)
- BLUE MOUNTAIN – Dog Days (1995)
- BIRDS OF CHICAGO – Love in Wartime (2018)
- BOO RADLEYS – Wake Up! (1995)
- BLACK JOE LEWIS – Scandalous (2011)
- BOTTLE ROCKETS – The Brooklyn Side (1994)
- BLONDE REDHEAD – Misery is a Butterfly (2004)
- BELL X1 – Music in Mouth (2003)
- BRAVERY – The Bravery (2005)
- BUKE AND GASE – General Dome (2013)
- BETTER THAN EZRA – Deluxe (1993)
- BODEANS – Love & Hope & Sex & Dreams (1986)
- BAHAMAS – Bahamas is Alfie (2014)
- BIG WRECK – In Loving Memory of…(1997)
- BAND OF HEATHENS – One Foot in the Ether (2009)
- BUTCH WALKER – Letters (2004)
- BEAT FARMERS – Tales of the New West (1985)
- BETHS – Future Me Hates Me (2018)
- BITERS – Electric Blood (2015)
- BLUE OCTOBER – Any Man in America (2011)
- BLACKBERRY SMOKE – The Whippoorwill (2012)
- BIG HOUSE – Big House (1997)
- BOW THAYER – Eden (2007)
- BABYSHAMBLES – Shotter’s Nation (2007)
- BATTLEME – Battleme (2012)
- BAP KENNEDY – Domestic Blues (1998)
- BONDI CIGARS – Bad Weather Blues (1998)
- BIRCH PEREIRA & THE GIN JOINTS – Dream Man (2016)
- BROWN BIRD – Salt for Salt (2011)
- BRIAN SETZER ORCHESTRA – The Dirty Boogie (1998)
SOUL
BRANDY (1994-Present) Lush harmonies and a velvet voice cemented her as R&B’s “Vocal Bible,” though her career has often been hampered by long gaps and uneven output.
TOP ALBUM: Never Say Never (1998)
BILAL (2001-Present) Adventurous fusion of soul, jazz, and hip-hop showcases his unmatched vocal range and artistry, but his refusal to play it safe has sometimes left him commercially underappreciated.
TOP ALBUM: 1st Born Second (2001)
BRITTANY HOWARD (2019-Present) Powerhouse vocals and fearless genre-blending make her one of modern rock’s most electrifying figures, though her experimental turns can sometimes feel unfocused or polarizing.
TOP ALBUM: Jaime (2019)
BRIAN MCKNIGHT (1992-Present) His silky tenor and polished ballads made him a staple of ’90s R&B, but his reliance on formulaic love songs has sometimes made his catalog feel predictable.
TOP ALBUM: Back at One (1999)
BELL BIV DEVOE (1990-2017) They brought irresistible swagger to the new jack swing era with hits like “Poison,” but their output beyond the early ’90s struggled to stay relevant or memorable.
TOP ALBUM: Poison (1990)
BABYFACE (1986-Present) His gift for crafting smooth, timeless R&B ballads and penning hits for countless artists made him a defining figure of the genre, though his polished style can sometimes veer into safe and overly sentimental territory. TOP ALBUM: Tender Lover (1989)
BERNARD WRIGHT (1981-1992) Dazzling keyboard skills and youthful funk-jazz brilliance shone on his early ’80s work, but his career momentum faded quickly, leaving him more of a cult figure than a mainstream star. TOP ALBUM: Nard (1981)
BJ THE CHICAGO KID (2012-Present) Blends soulful authenticity with modern R&B flair, but his projects sometimes lack the standout hits needed to push him into wider recognition.
TOP ALBUM: In My Mind (2016)
BROWNSTONE (1995-1997) Delivered rich harmonies and polished ’90s R&B grooves that earned them chart success, but their brief run and limited catalog kept them from leaving a lasting legacy.
TOP ALBUM: From the Bottom Up (1995)
BLU CANTRELL (2001-2003) She burst onto the scene with powerful vocals and the unforgettable hit “Hit ’Em Up Style,” but her career quickly lost momentum, leaving her as more of a one-hit memory than a lasting force in R&B.
TOP ALBUM: So Blu (2
BUDOS BAND (2005-Present) Their heavy, horn-driven fusion of funk, Afrobeat, and psychedelia delivers raw instrumental power, but their albums can sometimes blur together with a formulaic intensity. TOP ALBUM: Budos Band II (2007)
BEVERLEY KNIGHT (1995-Present) Her powerhouse voice and dynamic stage presence earned her the title of Britain’s “Queen of Soul,” though she never quite achieved the international breakthrough her talent deserved. TOP ALBUM: Who I Am (2002)
BEN WESTBEECH (2007- Present) Seamlessly blends soul, jazz, and electronic influences with smooth vocals and stylish production, but his genre-hopping has sometimes diluted his artistic identity. TOP ALBUM: Welcome to the Best Years of Your Life (2007)
BERNHOFT (2008-Present) His soulful voice and inventive one-man-band performances showcase his artistry and charisma, but his music has often flown under the radar outside niche audiences. TOP ALBUM: Solidarity Breaks (2011)
BREAKESTRA (1999-2009) Live-band approach to funk and hip-hop delivers infectious grooves and authentic energy, but their reliance on retro styles can sometimes feel more revivalist than forward-looking. TOP ALBUM: Hit the Floor (2005)
BLESSID UNION OF SOULS (1995-2021) They scored heartfelt ’90s hits with uplifting, melodic pop-rock, but their earnestness often tipped into cheesiness, limiting their staying power. TOP ALBUM: Home (2005)
BABY ROSE (2019-Present) Her deep, smoky vocals bring a haunting originality to modern soul, but her unconventional tone can be polarizing and limit mainstream appeal. TOP ALBUM: To Myself (2019)
BROOKLYN FUNK ESSENTIALS (1995-Present) They fuse funk, jazz, and world grooves into vibrant, eclectic jams, but their sprawling sound can sometimes come across as unfocused or overly jam-heavy. TOP ALBUM: Cool and Steady and Easy (1995)
BUSTY AND THE BASS (2017-Present) Deliver high-energy funk and soul with infectious brass-driven grooves, but their polished party vibe can at times overshadow deeper songwriting substance. TOP ALBUM: Uncommon Ground (2017)
B ANGIE B (1991-2016) Her smooth vocals and early ’90s R&B charm earned her comparisons to pop divas of the time, but she never established a distinct identity to rise beyond one-hit-wonder status. TOP ALBUM: B Angie B (1991)
BETH ROWLEY (2007-Present) Her rich, bluesy voice lends warmth and authenticity to her soulful pop, but her limited output and long gaps between releases have kept her from wider recognition. TOP ALBUM: Little Dreamer (2008)
BILL CANTOS is a skilled pianist and songwriter whose smooth jazz and pop sensibilities showcase refined musicianship, but his work often stays in the background rather than breaking into mainstream awareness. TOP ALBUM: Love Wins (2000)
POP
- BRITNEY SPEARS – Blackout (2007)
- BLEACHERS – Strange Desire (2014)
- BRANDON FLOWERS – The Desired Effect (2015)
- BTS – Map of the Soul 7 (2020)
- BAT FOR LASHES – Two Suns (2009)
- BRUCE HORNSBY – The Way It Is (1986)
- BEAUTIFUL SOUTH – Blue is the Colour (1996)
- BASIA BULAT – Tall Tall Shadow (2013)
- BIRDY – Fire Within (2013)
- BASTILLE – Bad Blood (2013)
- BENEE – Hey u x (2020)
- BACKSTREET BOYS – Millennium (1999)
- BANANARAMA – True Confessions (1986)
- BRETT DENNEN – Loverboy (2011)
- BOY – We Were Here (2015)
- BETTY WHO – Take Me When You Go (2014)
- BENNY SINGS – Art (2011)
- BONNIE TYLER – Faster Than the Speed of Night (1983)
- BAZZI – Cosmic (2018)
- BECKY HILL – Only Honest on the Weekend (2021)
- BBMAK – Sooner of Later (2000)
- B*WITCHED – B*Witched (1998)
- BEN JELEN – Give It All Away (2004)
- BLEU – Redhead (2003)
- BISHOP BRIGGS – Church of Scars (2018)
- BLESSID UNION OF SOULS – Home (1995)
ELECTRONIC
- BOARDS OF CANADA – Music has the Right to Children (1998)
- BJORK – Homogenic (1997)
- BEACH HOUSE – Teen Dream (2010)
- BRONSKI BEAT – The Age of Consent (1984)
- BASIC CHANNEL – BCD (1995)
- BROADCAST – Haha Sound (2003)
- BOOKA SHADE – Movements (2006)
- BUGGLES – The Age of Plastic (1980)
- BEL CANTO – Birds of Passage (1989)
- BIBIO – Ambivalence Avenue (2009)
- BOY HARSHER – Careful (2019)
- BOMB THE BASS – Into the Dragon (1988)
- BIS – The New Transistor Heroes (1997)
- BIRD AND THE BEE – The Bird and the Bee (2007)
- BREAKBOT – By Your Side (2012)
- BLANCMANGE – Happy Families (1982)
- BT – ESCM (1997)
- BOYZ NOIZE – Oi Oi Oi (2007)
- BLACK BOX – Dreamland (1990)
- BODY LANGUAGE – Social Studies (2009)
- BENNY BENASSI – Hypnotica (2003)
- BUCKETHEADS – All in the Mind (1995)
- BABEHEAVEN – Home for Now (2020)
- BITTER SWEET – The Mating Game (2006)
- BIG DATA – 2.0 (2015)
- BODYROCKERS – Bodyrockers (2005)
- BASSHUNTER – Now You’re Gone-The Album (2008)
- BEAUTIFUL SMALL MACHINES – Robots in Love (2009)
- BASIC SOUL UNIT – Motional Response (2012)
Before we get into the unfortunate crowd that Missed the Mark (yes, the ones who didn’t quite live up to the hype or just couldn’t stick the landing), let’s take a palate cleanser. I’ve pulled together a quick-hit, 10-song video playlist…a breezy sampler of highlights to reset your ears and remind you why we bother digging through all this music in the first place. Consider it a little intermission entertainment before we lower the boom on the next batch.
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 ‘B,’ 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.”
BEADY EYE: Oasis without the hits, the charm, or the faint illusion that anyone besides Liam actually wanted to be there.
Big Audio Dynamite / Brand New / Big Head Todd / Bash & Pop / Beat Happening / Bear’s Den / Beatsteaks / Beth Bombara / Bex Marshall / Big Chief / Big Wolf Band / Bill Lloyd / Big Sugar / Blackie and the Rodeo Kings / Blackpool Lights / Black Stone Cherry / Blues Pills / Blueneck / Buffalo Tom / Bracket /
BIF NAKED: Her music feels like a motivational seminar accidentally set to guitar riffs that never quite graduated from high school.
Bettie Serveert / Besnard Lakes / Black Box Recorder / Bauhaus / Bad English / Back Door Slam / Backyard Tire Fire / Banditos / Baton Rouge / Bastard Sons of Johnny Cash / Bear in Heaven / Beaches / Becky Warren / Ben Nichols / Ben Weaver / Beki Hemingway / Beta Band / Beta Days / Beth Wood / Better Oblivion Community / Big Harp / Berries / Belly / Bees / Beth Hart / Big Country / Big Thief / Black Lips /
BLACK LAB: The soundtrack to every late-90s teen drama scene where someone stares out a rainy window and sighs for three solid minutes.
Black Top Mojo / Bleed Radio Bleed / Best Coast / Blake Babies / Blindside / Bloodloss / Blossoms / Blue Merle / Boa / Blouse / Blue Stingrays / Bluejuice / Blue Cartoon / Bon Iver / Born Ruffians / Brave Rival / Brazil / Breakup Society / Breathless / Brendan Benson / Bobby Long / Butterglory / Brothers Steve / Brother Cane / Buddaheads / Bo Bice / Base Kids / Bay of Pigs / Bboys / Beatifics / Beaver Nelson / Beehive Rebellion / Belltower / Benny Profane / Brains / Brighten / Brooklyns / Bureau / Bystanders /
BUCKCHERRY: Basically a midlife crisis with a guitar solo sprayed in cheap cologne and screaming “Yeah!” way too many times.
Blow Monkeys / Betty Boo / Beady Belle / Becca Stevens / B Smyth / Bashiyra / Berhana / Becky Horne / Be’la Donna / Bernard Oattes / Binky Womack / Bonfyre / Brian Owens / Bryson Tiller / Brik LIam / Bando Jonez / Barfield the Tyrant / Bradd Marquis / Bria Marie / Brick Fields / Breathe / B5 / Bardot / Belle Perez / Beige / Benson Boone / Beyries / Binki / Blue / Blake Lewis / Blameless / Blaxy Girls / Boomkat / Brandyn Burnette / Boy in Space / Bounty / Brittle Stars / Bertie Higgins / Baiyu / Banaroo / Bandit Heart / Bebe
BUCKS FIZZ: Karaoke ABBA with cheaper costumes and a choreography budget that screamed “community center talent show.
Zahara / Bentley Jones / Bellepop / Bianca Ryan / Billie / Billie Piper / Boys Like Girls / Busted / British Electric Foundation / Baba Stiltz / Ballistic Brothers / Baltra / Bangkok Impact / Bargrooves / Barnaby Bruce / Baxter / Ben Pearce / Ben Gomon / Beta / Bingoboys / Bionic / Blue States / Blue Hawaii / Bliss / Black Buddafly / Blimp Rock / Bonnie Bailey / Booty Luv / Boss in Drama / Bowery Electric / Bravestation / Bright Light Bright Light / Boytronic / Burns / Brooklyn Bounce / Bangkok Project / Barclay & Cream / Barclay & Reeder / Baroque / Baroque Tribes / Bay City House Crew / Bay City Players / Benacci Brothers / Boy Crisis / Bunny Lake / Burnside Project / Bongos / Box Car Racer / Bo Ramsey / Benny Turner / Blow / Beau Williams / Belouis Some / Boy Meets Girl / Brad Gillis / Brat Pack / Byron Miller
BAHA MEN: Once you’ve let the dogs out, the only thing left is regret.
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