"Most" Albums (Part I)
The first entry in a series considering which records are most representative of a band
Fans love debating what they consider a band’s best or worst album, and sometimes that is tempered by labeling something as their “favorite” album. This article will ponder a different question: what record best captures a band’s qualities and capabilities in full, sonically and/or image-wise? In other words, which album best aligns with the picture you have in your head of what that band actually is- their “most” album? It might be what many of us consider their best record, but more often it most closely conforms to our most common idea of what they represent, in ways both good and bad.
Below are 3 examples of what we might consider an artist’s most album, with notes about why that album best represents their ethos (it could be musical, visual, conceptual, or some combination) and considers whether their most might also be their best…
Queensrÿche, Rage for Order (1986)
With their second full-length, Queensrÿche pivoted slightly from the Maiden/Priest by way of Seattle metal of their debut EP and The Warning towards a more unique sound that was more introspective, more progressive and much more pretentious. At the time, much of the attention centered on the ridiculous outfits and bouffants in the photos, which seemingly tried to position the band as some sort of sophisticated and fashionable gothy hi-tech metal thing (maybe? There weren’t really any words to describe just how ludicrous they looked). Whatever they were attempting, it didn’t work: Rage for Order was a commercial and (at the time) critical flop that put Queensrÿche in a defensive position and on the brink of being dropped by EMI. The one silver lining is that its failure meant nobody noticed when they ditched the horrible clothing. Musically, however, their next album would double down on the progressive overtures, going all-in on a single concept while also slightly focusing on more metallic material.
What makes it their most album?
Their next three albums would sell more copies, but Rage for Order was Queensrÿche at their most Queensrÿche-y: aside from the pictures, this found the band working from their id. Scott Rockenfield’s drumming was overly busy even on the more straightforward numbers, Geoff Tate went for full histrionics and used every facet of his range, and there was a sense of melodrama that didn’t entirely feel earned. Even the cover art suggested that this was a band with deeper thoughts on the brain, and the pseudo-intellectualism and inflated sense of importance played out across the whole record. When all of it is added up, every aspect of the perception of Queensrÿche being arty, progressive, intellectual and smug came to full fruition here.
But is it their best album?
Actually, it comes pretty close. Most would point to Operation: Mindcrime or Empire as Queensrÿche’s best album, but Rage for Order certainly ranks among their best. All of the self-importance actually mostly worked here, effectively ramping up the tension and pathos in tracks like “The Killing Words”, “I Will Remember” and “London”. And there actually was something sort of cutting-edge in the metal, with “Surgical Strike” and especially the magnificent “Walk in the Shadows” merging the force of Michael Wilton’s riffing with Rockenfield’s blocky percussion alongside Tate’s wailing to create a singular headbanger. And if “Screaming in Digital” was perhaps a step too far, it worked in the context of the album. Sure, there was more than a little about Queensrÿche that was insufferable, but on Rage for Order at least these things were more features than bugs.
Rating: 4.5/5
Iron Maiden, Powerslave (1984)
With Piece of Mind establishing them as arena headliners all over the globe, and with a stable lineup for the first time, Iron Maiden went into Compass Point in early 1984 feeling confident in their capabilities. At the same time, the quick succession of albums, especially the one-two punch of The Number of the Beast and Piece of Mind, put pressure on the band to get new product in the marketplace and get back out on the road quickly. As a result, their fifth album would be written and recorded in a fairly short stretch, while at the same time expanding on the themes and ambitions of their previous records. And with Bruce Dickinson and Adrian Smith both establishing themselves as writers alongside primary composer Steve Harris, Powerslave was evenly distributed between straightforward (for Maiden, at least) heavy metal numbers and lengthier pieces. Coupled with the instantly iconic Egyptian Eddie imagery of the cover art, the record was the right album at the right time, fully ensconcing Iron Maiden as a premier concert attraction and opening up the rest of the world to them.
What makes it their most album?
Powerslave was not only one of their most successful albums in America, but it remains a familiar frame of reference. And the reason for that is that every aspect of what we would consider quintessential Iron Maiden is here. The faster tracks are powered by the combination of Harris’ galloping bass and Nicko McBrain’s busy drumming, Dickinson's vocals soar throughout, Smith and Dave Murray trade off noodly riffs and even noodlier solos, and the lyrics are rooted in history and literature (not for nothing did Nikki Sixx refer to Maiden as “literary metal”- and his primary encounter with the band was during the World Slavery Tour). And although Eddie has taken on many guises before and since, his most immediately recognizable look was captured here- it’s certainly in the top 3 alongside The Number of the Beast and Somewhere in Time. Perhaps most of all, Maiden’s reputation as one of metal’s most pretentious acts was cemented with the very literal and very lengthy retelling of the “Rime of the Ancient Mariner”: all of the time changes and histrionics were one thing, but direct quotes from Coleridge’s poem and the spoken word section really sealed it for them.
But is it their best album?
At the time some might’ve said so, and as mentioned it remains a fan favorite in America. But it typically ranks below a handful of other key Maiden records, and for good reason: despite the legacy of four crucial tracks, Powerslave is patchier than most remember. Outside of those four, there is a somewhat pointless instrumental, a rehash of “The Prisoner” that worked much better the first time and not one but two songs about swordplay. All of these have their admirers, and in and of themselves none are actually bad. But they mostly don’t leave a lasting impression and give off a filler vibe- it was very telling that other than “Losfer Words (Big ‘Orra)” getting a handful of airings, none of these were included on the setlist for the World Slavery Tour. That said, “Aces High”, “2 Minutes to Midnight” and the slamming title track are undisputed masterpieces, and “Rime” certainly has more than its share of advocates, and those are more than enough to carry the whole record.
Rating: 4/5
Anthrax, State of Euphoria (1988)
Anthrax broke out globally and assumed their perch among the Big 4 with Among the Living. Although they didn’t have Metallica’s next-level combination of charisma, chops, force and songwriting acumen, Megadeth’s technicality or Slayer’s full-throttle menace, Scott Ian and crew had passion and a strong work ethic, and always seemed super stoked just to be there. None of that discredits the songs on Among the Living, which were uniformly strong (although Spreading the Disease was arguably even stronger), and Eddie Kramer’s production made Anthrax sound big-league for the first time. The album went Gold, which was comparable to what Master of Puppets, Peace Sells and Reign in Blood had all done at that time (though all three would eventually sell much more), but Anthrax also stumbled into a Platinum EP with the rap-metal goof “I’m the Man” that same year, so going into 1988 they and Island felt they needed to strike while the iron was hot. From a timing standpoint, State of Euphoria was released within the same 9-month span as So Far, So Good… So What!, South of Heaven and …And Justice for All- actually, it and Justice were released just a couple weeks apart- so the band stayed right there at the forefront of the thrash movement.
What makes it their most album?
Alone among the Big 4, Anthrax presented themselves as regular New Yorkers who enjoyed themselves and loved metal, comic books, sneakers and a good laugh. This stood in stark contrast to the less-than-friendly postures of Metallica, Slayer and especially Megadeth, who were at their most coked-out during this period. This carried over to Anthrax’s image- with their shorts and sneakers, these guys didn’t just look like their fans, they looked like they shopped at the same stores. And perhaps most of all, they smiled. All of that carried over to State of Euphoria in both sight and sound: from the yellow front cover to the Mad magazine-inspired painting on the back cover and goofy photos to the seemingly flippant writing and performance (Joey Belladonna sounded whinier, and Scott’s lyrics were full of gems like “change your attitude just like you change your shorts”), the album played into the idea that Anthrax wasn’t the most serious group out there. And although they would make a point of refuting that notion over most of their subsequent records, to this day the idea that Anthrax is strictly funny and less substantial than their counterparts persists- they are simply not taken as seriously despite actually being the most consistent in overall quality of output. Their peaks might not have been as strong, but their valleys weren’t anywhere near as disgraceful. In this case, calling State of Euphoria Anthrax’s most album is much more a matter of perception than substance, since they hadn’t recorded as many intentionally comical tunes and/or delivered them in an intentionally comical manner before or since.
But is it their best album?
Uh… no. Charlie Benante defends it when asked, but although Scott has been less critical in recent years he still looks down on the record. Mark Dodson’s production was tinnier and felt closer to Combat or Relativity product, in essence making Anthrax sound like they belonged with the B-level thrash squad. And the jokey qualities haven’t aged all that well. Still, the songs themselves were better structured than they’re given credit for, and many of them do hold up pretty well: “Antisocial” is still a fun concert staple, “Misery Loves Company” is a dark horse gem, “Now It’s Dark” and “Be All, End All" are the better of the “happy metal” numbers and for late ‘80s thrash metal this is arguably more representative of the era than what the rest of the Big 4 were doing, for better or worse.
Rating: 3.5/5
This is the first in an ongoing albeit series of analyses about “most” albums. Another round of artists and records will arrive sometime soon…