Welcome to the third installment of my “Pros and Cons of Modern Music” blog series, where I bravely volunteer my ears to the ongoing sonic assault orchestrated by the Music “Industry”. Think of me as your audio crash-test dummy, taking the “hits” so you don’t have to. Like every other industry, there are a few puppet-masters perched at the top, pulling strings and calling the shots. But that’s a rant for another day. Right now, I’m far more obsessed with the sound itself…the sheer quality (or lack thereof) of the stuff pouring into our earbuds.

Here’s what boggles my mind: humans have supposedly been around for hundreds of thousands – maybe millions – of years. Even if you’re firmly in the “6,000 years, tops” camp, we can all agree it’s absurd that it took us this long to discover electricity… and even longer to use it to make music that doesn’t sound like someone sneezing into a tin can.

I’m reminded of Steely Dan’s song “FM (No Static at All)”. That wasn’t just a hit; it was a statement of technological arrival. Before that, radio was basically a Depression-era group activity with families huddled around the box to listen to a presidential “Fireside Chat.” AM radio subsequently limped along for decades, all tinniness and static, until FM finally swooped in around 1970 to rescue us from scratchy transistor hell. It’s no wonder record producers didn’t bother with sonic quality before then, I mean, who could hear it anyway?

Fast-forward to today: production values are through the roof, yet somehow the music itself feels… degraded. (I’m not a boomer shaking my fist at clouds, since this series highlights plenty of new artists I love.) But let’s face it, we’ve been on a downward slide in substance since Mozart plunked his first piano key.

Which leads me to my current working theory that we’re in some kind of giant, cosmic record-changer cycle. You know the old stackable players where one album would drop after the last had spun out? It seems we’re at that moment when the needle’s screeching off the wax, and the next platter is about to fall. And the irony is amusing because we’ve finally mastered sound quality right at the moment when most of the music being released is unlistenable, So buckle up because when the next platter drops I’m betting it’s going to be either the Renaissance… or a remix of Armageddon.

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, and some deserving music will inevitably slip through the cracks. It isn’t designed to be exhaustive (just exhausting…lol). My focus is on four core genres – Rock, Pop, Soul, and Electronic – while deliberately leaving out rap, country, heavy metal, punk and a few other sub-genres. Only artists who debuted after 1980 are eligible, and if their music isn’t available on Pandora, my go-to platform, they’re also excluded. (For instance, the band Cracker had a decent run in the ’90s, but since their catalog has been unavailable to me on Pandora for years, they simply don’t make the cut.)

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 “C”

#24) CLIENTELE – Suburban Light (2000)

A beautiful, understated record that thrives on mood and texture rather than punchy singles. Though it requires a patient ear, its hazy atmospherics and literate charm make it a cult classic of early-2000s indie pop.

SAMPLE TRACK: “Reflections After Jane”

#23) COURTNEY BARNETT – Sometimes I Sit and Think and Sometimes I Just Sit (2015)

A sharp, witty debut that established Courtney Barnett as one of indie rock’s most original voices. Equal parts funny, anxious, and insightful, it turns everyday life into a soundtrack of wry observations and guitar fuzz. Not everyone will buy into the deadpan slacker vibe, but for those who do, it’s a modern classic.

SAMPLE TRACK: “Nobody Really Cares If You Don’t Go to the Party”

#22) THE CHILLS – Submarine Bells (1990)

Submarine Bells is The Chills’ masterwork…a shimmering, melodic, and emotionally resonant album that elevates the Dunedin sound to symphonic heights. It may lean heavily into polish and prettiness, but its highlights remain timeless examples of how indie pop can be both intimate and grand.

SAMPLE TRACK:

#21) CAR SEAT HEADREST – Teens of Denial (2016)

A sprawling, messy, and brilliant statement from Car Seat Headrest …an indie rock coming-of-age album that captures the confusion and catharsis of early adulthood. Not everyone will have the patience for its length and imperfections, but those who do will find it one of the most resonant and rewarding indie records of the 2010s.

SAMPLE TRACK:

#20) CRYSTAL METHOD – Vegas (1997)

A time-capsule record of ’90s electronic culture that is bold, brash, and built for volume. While it may sound dated to modern ears, its best tracks still deliver pure adrenaline and remind us why The Crystal Method briefly stood shoulder-to-shoulder with the giants of big beat.

SAMPLE TRACK: “Busy Child”

#19) CAKE – Fashion Nugget (1996)

A smart, sardonic alt-rock record that thrives on its uniqueness…part funk, part irony, part lounge act gone rogue. It may not convert skeptics of Cake’s shtick, but for those who get it, this album cements their status as the wry, trumpet-toting oddballs of the ’90s.

SAMPLE TRACK: “I Will Survive”

#18) CULTURE CLUB – Colour by Numbers (1983)

Culture Club’s defining statement: vibrant, soulful, and undeniably catchy. While not flawless, its mix of pop craft and Boy George’s distinctive voice secured its place as one of the era’s most enduring albums.

SAMPLE TRACK: “Church of the Poison Mind”

#17) CARDIGANS – First Band on the Moon (1996)

A stylish slice of mid-’90s pop…whimsical on the surface, but with enough wit and melancholy to reward closer listening. It may be remembered mostly for “Lovefool,” but the album as a whole offers a smart, understated charm.

SAMPLE TRACK: “Been It“

#16) CHRIS ISAAK – Heart Shaped World (1989)

Heart Shaped World thrives on its mood…smoky, aching, and endlessly cinematic. While it may lack consistent highlights beyond its legendary single, the album’s atmosphere makes it a cult classic that rewards patient, late-night listening.

SAMPLE TRACK: “Heart Shaped World”

#15) CORNERSHOP – When I was Born for the 7th Time (1997)

When I Was Born for the 7th Time is an adventurous, genre-blending record that captures the cultural melting pot of the late ’90s. It’s messy at times, but its charm and boldness make it a standout in Britpop’s twilight years.

SAMPLE TRACK: Brimful of Asha

#14) CRYSTAL CASTLES – Crystal Castles (2008)

A visceral, confrontational debut that thrives on chaos and discomfort. It’s not for everyone, but for fans of abrasive electronic experimentation, it remains a defining statement of late-2000s underground energy.

SAMPLE TRACK: Crimewave

#13) CHVRCHES – The Bones of What You Believe (2013)

A confident, polished debut that defined CHVRCHES’ brand of modern synth-pop. While it can feel a little too uniform at times, its immediacy, hooks, and emotional resonance made it one of the strongest electronic debuts of the 2010s.

SAMPLE TRACK: “Recover”

#12) CUT COPY – In Ghost Colours (2008)

In Ghost Colours is Cut Copy’s defining album: euphoric, meticulously crafted, and tailor-made for late-night dance floors. Even if it feels a little time-stamped now, its energy and hooks secure its place as a high-water mark of indie-electronica.

SAMPLE TRACK: “Lights & Music”

#11) THE CHURCH – Starfish (1988)

The Church’s breakthrough and defining moment…shimmering, atmospheric rock anchored by one of the greatest singles of the ’80s. While it occasionally drifts into monotony, its mood and craft make it a cornerstone of dream-inflected alternative rock.

SAMPLE TRACK: Reptile

#10) COCTEAU TWINS – Treasure (1984)

A landmark in dream pop that is lush, mysterious, and hauntingly beautiful. It’s less about songs in the traditional sense and more about conjuring an atmosphere that feels both intimate and cosmic. Not everyone will connect with its abstract beauty, but for those who do, it’s one of the Cocteau Twins’ most enchanting achievements.

SAMPLE TRACK:

#9) CEELO GREEN – The Lady Killer (2010)

A triumph of polished retro-soul meets pop hookcraft. It’s not exactly groundbreaking, but it succeeds on nearly every front it aims for: charming vocals, strong singles, lush and stylish production. If you like soul music with swagger, fun attitude, and strong melodies…this is well worth a listen.

SAMPLE TRACK: Bright Lights, Bigger City

#8) CRAIG DAVID – Born to Do It (2000)

A youthful, hook-laden album that helped define UK garage-pop and launch Craig David into global stardom. While its sound now screams “early 2000s,” the record’s best tracks still stand tall as examples of how to merge underground trends with mainstream polish. A cycle-starter, not a cycle-ender.

SAMPLE TRACK: “Walking Away”

#7) CHARLES BRADLEY – No Time for Dreaming (2011)

Less an album than a testimony, the sound of a man who clawed his way through hardship and finally found a microphone worthy of his soul. It doesn’t reinvent the wheel, but it doesn’t need to: Bradley’s voice, paired with impeccable vintage production, makes this one of the most affecting soul debuts of the 21st century.

SAMPLE TRACK: “Lovin’ You, Baby”

#6) THE CRANBERRIES – Everybody Else is Doing It, So Why Can’t We? (1993)

A lush and understated debut that introduced the world to Dolores O’Riordan’s unforgettable voice. While not as confrontational or hard-edged as their later work, it remains a defining ’90s album for its dreamy soundscapes and emotional honesty. A gentle beginning to a career that would soon roar much louder.

SAMPLE TRACK: “Dreams”

#5) CROWDED HOUSE – Crowded House (1986)

A strong, hook-laden debut that introduced Neil Finn as one of the best pop songwriters of his generation. While a bit anchored in its mid-’80s production style, the emotional resonance of its standout tracks ensures its place as a classic of the era and a launching point for even deeper work to come.

SAMPLE TRACK: “World Where You Live”

#4) CYNDI LAUPER – She’s So Unusual (1983)

One of the great pop debuts of the ’80s…quirky, heartfelt, and packed with classics that made Cyndi Lauper an icon. Though some production flourishes date it, the album’s mix of fun, vulnerability, and individuality ensures it still resonates decades later. A definitive snapshot of pop at its most colorful and bold.

SAMPLE TRACK: “She Bop”

#3) CHEMICAL BROTHERS – Dig Your Own Hole (1997)

Dig Your Own Hole

is The Chemical Brothers’ crowning achievement…a sweaty, swaggering blast of big beat energy that defined an era of electronic music. Loud, brash, and unapologetically maximalist, it remains a landmark album, even if it sometimes overwhelms more than it seduces.

SAMPLE TRACK:

#2) COLDPLAY – A Rush of Blood to the Head (2002)

A Rush of Blood to the Head is Coldplay at their creative peak. It’s lush, emotional, and filled with tracks that defined early-2000s rock radio. While some may dismiss it as overly earnest or safe, its combination of strong songwriting and universal resonance has cemented it as the band’s most enduring and critically acclaimed work.

SAMPLE TRACK:

#1) COUNTING CROWS – August and Everything After (1993)

A heartfelt, lyrically rich debut that positioned Counting Crows as torchbearers of earnest ’90s rock. It may be too dramatic or slow-burning for some, but its standout tracks remain deeply resonant, and its atmosphere of bittersweet reflection ensures its place as one of the era’s defining albums.

SAMPLE TRACK:

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Now it’s time to dig into what I like to call the Worthy Contenders…those albums and artists that don’t quite make it into the pantheon, but still pack enough punch to earn a spotlight. Think of them as the solid second-stringers: maybe not legends, but definitely the kind of records you’d brag about discovering.

And because chaos is not in my DNA (hello, Virgo tendencies), I’ve corralled them neatly by genre, ranking each batch from strongest to weakest. That way, you can not only see who made the cut, but also where they land in the pecking order of their stylistic kin. Consider it a guided tour through the middle tier which, frankly, is often where the most interesting surprises live.

ROCK

CALEXICO Feast of Wire (2003) – Beautifully eclectic mix of Americana and Latin textures, though meandering at times, it stands as their most complete statement. CLAIRO Immunity (2019) – Vulnerable bedroom pop elevated by Rostam’s production, though occasionally samey, it’s a polished and heartfelt debut. CAMERA OBSCURA Let’s Get Out of This Country (2006) – Irresistible indie-pop full of charm, if a bit too sugary, and their defining record. CONCRETE BLONDE Bloodletting (1990) – Dark alt-rock anchored by “Joey,” though uneven elsewhere, it remains a cult classic. COWBOY JUNKIES Lay It Down (1996) – Hauntingly restrained and atmospheric, perhaps too subdued, but deeply rewarding for patient listeners. COTTON MATHER Kontiki (1997) – Beatlesque power-pop brilliance, undercut by lo-fi production, yet a hidden indie gem. CLAP YOUR HANDS SAY YEAH Clap Your Hands…(2005) – Quirky DIY indie that defined blog-era cool, divisive vocals aside, a flawed but influential debut. CLOUD CULT The Meaning of 8 (2007) – Eclectic and emotional with bursts of creativity, though sprawling, it’s their most ambitious work. CHARLOTTE GAINSBOURG IRM (2009) – Beck’s textured production suits her whispery vocals, sometimes overshadowing her, but it’s stylish and moody. CHEVELLE Wonder What’s Next (2002) – Heavy, hooky post-grunge with obvious influences, yet their most solid and successful record. CLINIC Internal Wrangler (2000) – Eccentric, inventive post-punk that can feel affected, but remains a bizarre and brilliant cult piece. CAGE THE ELEPHANT Cage the Elephant (2008) – Scrappy garage-rock energy, sometimes shallow, but a promising debut. CENTRO-MATIC Love You Just the Same (2003) – Gritty alt-country with heart, though a bit uniform, it’s a fan-favorite slow burn. CHARLY BLISS Guppy (2017) – Infectious grunge-pop sugar rush, occasionally bratty, but a joyous debut. CONOR OBERST Conor Oberst (2008) – Warm folk-rock with understated charm, lacking Bright Eyes’ urgency, yet a solid solo outing. CITIZEN Youth (2013) – Cathartic emo with strong hooks, derivative at times, but resonant for its scene. CHERRY GLAZER Apocalipstick (2017) – Bold feminist garage rock, uneven in spots, but fiery and fun. CHASTITY BELT Time to Go Home (2015) – Witty slacker indie with lo-fi edges, and a relatable, clever record. COLLECTIVE SOUL Collective Soul (1995) – Polished radio-rock with big hits, formulaic but quintessential ’90s mainstream. CLUTH Blast Tyrant (2004) – Riff-heavy stoner rock at its peak, with quirky lyrics that aren’t for everyone, yet a fan favorite. CHAIRLIFT Moth (2016) – Sleek synth-pop full of elegance, sometimes more style than substance, but a graceful farewell. COLIN JAMES Colin James (1988) – Confident blues-rock debut, conventional in scope, but a strong career launch. COLD STARES Head Bent (2017) – Gritty blues-rock muscle, familiar but effective, and a solid listen. CUSTARD Loverama (1999) – Quirky Australian pop that’s fun if lightweight, ultimately a charming oddity. CONNECTION Let It Rock (2013) – Straightforward garage-pop revival, derivative but fun, and a retro-lover’s delight. CAITLIN ROSE The Stand-In (2013) – Smart, witty alt-country with polish, maybe too tidy, yet still underrated. CRASH TEST DUMMIES God Shuffled His Feet (1993) – Literate, quirky alt-rock with unique vocals, occasionally tiresome, but unforgettable for its hit. CHUMBAWUMBA Tubthumper (1997) – Political pop with a massive one-hit wonder, uneven overall, yet culturally iconic. CANDLEBOX Candlebox (1993) – Grunge-lite with big hooks, derivative of Seattle peers, but commercially successful. CULT Sonic Temple (1989) – Arena-sized hard rock full of swagger, bombastic at times, but quintessential late-’80s rock. COCO MONTOYA Just Let Go (1993) – Fiery modern blues guitar album, conventional in style, but strong for genre fans. CHRIS DUARTE Lucky 13 (2014) – High-energy blues-rock shredding, lacking variety, but solid for guitar enthusiasts.

SOUL

CHANGE The Glow of Love (1980) – Lush post-disco perfection with Luther Vandross, slightly of its era, but a timeless dance classic. CODY CHESNUTT The Headphone Masterpiece (2002) – Raw and wildly creative neo-soul sprawl, messy in execution, but a cult masterpiece. CORINNE BAILEY RAE Corinne Bailey Rae (2006) – Elegant, soulful debut full of warmth, sometimes safe, but consistently charming. CURTIS HARDING Face Your Fear (2017) – Retro-soul with modern grit and flair, occasionally uneven, but inventive and powerful. CHRISETTE MICHELE I Am (2007) – Jazzy neo-soul debut showcasing vocal finesse, a bit polished, yet undeniably strong. CECE PENISTON Finally (1992) – House-R&B crossover with iconic singles, formulaic in spots, but a ’90s dance essential. CHANTE MOORE Precious (1992) – Smooth R&B debut with vocal fire, lacking distinction from peers, but an underrated gem. CHARLIE WILSON Uncle Charlie (2009) – Veteran funk voice reasserting relevance, leaning pop-commercial, but highly enjoyable. CHERRELLE Fragile (1984) – Breezy quiet-storm R&B debut, lightweight at times, but a promising start before bigger hits CARMEN RODGERS Free (2004) – Warm and soulful indie neo-soul record, modest in scale, but emotionally rich. CECILY Songs of Love and Freedom (2018) – Intimate, thoughtful contemporary soul, modest in reach, but heartfelt and poetic. CORY WONG Motivational Music for the Syncopated Soul (2019) – Funky, virtuosic jam session, a bit niche, but endlessly fun for groove lovers.

POP

CHRISTINA AGUILERA Stripped (2002) – Daring reinvention with powerhouse vocals and iconic singles, a little uneven, but a defining pop statement. CELINE DION Falling Into You (1996) – Grand, emotive ballads with massive hits, occasionally overblown, yet her career-defining blockbuster. CHRISTINE AND THE QUEENS Chaleur Humaine (2014) – innovative art-pop with emotional depth, a bit understated, but universally acclaimed. CARLY RAE JEPSEN Dedicated (2019) – Sparkling, clever synth-pop with fan-favorite depth, slightly overshadowed by Emotion, yet still a gem. CHARLI XCX Crash (2022) – Glossy, self-aware pop maximalism that sometimes favors style over substance, but bold and adventurous. CORRS Talk on Corners (1997) – Polished, radio-ready pop-folk with undeniable hooks, a bit safe, yet their most enduring record. CIARA Goodies (2004) – Infectious crunk-R&B debut with huge singles, patchy beyond the hits, but culturally defining of its moment. COREY HART First Offense (1983) – 80s pop-rock debut with the classic Sunglasses at Night, a little dated, but memorable for its hits. CONAN GRAY Kid Krow (2020) – Vulnerable Gen Z pop with standout tracks like Heather, derivative at times, but a promising debut. CLAUD Super Monster (2021) – Bedroom pop full of charm and relatability, limited in range, but heartfelt and appealing.

ELECTRONIC

CASSIUS 1999 (1999) – A stylish French house landmark with infectious grooves, occasionally repetitive, but still a genre-defining classic. CHROMEO Fancy Footwork (2007) – Irresistible electro-funk revival full of humor and hooks, a little kitschy, but endlessly fun. CHASE & STATUS No More Idols (2011) – Bass-heavy UK crossover with massive singles and energy, though uneven, it cemented their mainstream impact. CALVIN HARRIS 18 Months (2012) – Hit-packed EDM blockbuster that defined its era, formulaic at times, but undeniably effective. COLD CAVE Love Comes Close (2009) – Darkwave debut dripping with atmosphere, occasionally derivative, yet a moody cult gem. CONFINDENCE MAN Confident Music for Confident People (2018) – Satirical, cheeky dance-pop brimming with energy, sometimes silly, but a pure party record. CLAUDE VONSTROKE Beware of the Bird (2006) – Quirky, funky tech-house debut that helped shape his label, a little niche, but innovative and fun. CHARLES WEBSTER Born on the 24th of July (2001) – Deep, sophisticated house with emotional depth, subtle to the point of being overlooked, but revered by genre fans. CRYSTAL WATERS Surprise (1991) – Iconic for Gypsy Woman, though the rest is patchier, it’s remembered as a ’90s house touchstone. CLIENT Heartland (2007) – Sleek electro-pop with icy charm, lacking originality, but enjoyable for fans of the style. CHANNEL TRES Channel Tres (2018) – Funky, intriguing debut EP showcasing potential, slight in length, but a fresh and unique voice. CHRIS LORENZO Late Checkout (2019) – Club-ready bass/house record with big drops, functional but limited outside dancefloors. CLAPTONE Fantast (2018) – Polished, melodic deep house with a conceptual spin, a bit formulaic, yet smooth and listenable. CLEAN BANDIT What Is Love? (2018) – Pop-heavy album stacked with features, commercially successful but scattershot as a full listen.

That wraps up the list of “C” music acts I managed to dig up that might be worth your ears’ attention, or at least your curiosity. When you line up just the three letters we’ve covered so far, it already feels like an overwhelming avalanche of sonic debris tumbling down the mountain, daring you to sort through it. Add to that the fact that nearly every one of these artists has multiple albums, side projects, remixes, deluxe editions, live sessions, and assorted “essential reissues,” and the sheer volume becomes staggering. It’s honestly mind-boggling that this much recorded music can even exist, let alone be sustained by an audience; yet somehow, the industry and its fans keep propping it all up, one streaming click at a time.

As is now tradition, before we dive headfirst into my list of stinkers which I’ve affectionately titled “Missed the Mark”, it’s only fair to balance things out with a Video List of 10 genuinely good songs, this round spotlighting the years 2005 through 2009. Think of it as the musical equivalent of a safety vest before I start swinging the wrecking ball.