Jellyfish - Spilt Milk (1993)

This album is absolutely timeless. As each track weaves its way into the next, I sometimes forget that this album was released in 1993 by a band on the brink of destruction. This album feels more like a classic rock band (The Beatles, Queen) at the top of their game creating the masterpiece for which they'll be remembered.

This album has vocal harmonies that would make Freddie Mercury proud. Envious, in fact. In fact, the vocal work, on this album oftentimes sounds like a fusion Freddie Mercury and Brian Wilson's (The Beach Boys) . Really, the whole album is very reminiscient of Queen, with its ability to change dynamics at the drop of the hat; piano stabs transition into a hard-rocking stomp on the second track "Joining a Fan Club" which was preceded by a lullaby simply titled Hush.

It's really this album's ability to retain a sense of child-like wonder while still sounding totally honest that fascinates most. Sebrina, Paste and Plato is one part the tale of a classroom having lunch, two parts love song, 1 part random heavy riff, one part majestic orchestral fanfare outro. All in two minutes flat.

With its dopey but classic keyboards, expertly composed orchestral parts, laboured vocal harmonies and catchy melodies this album is already a winner. But with all the innocence and beauty, does it find any time to kick ass? With all the throwbacks to 60s and 70s rock, does it find a way to not sound dated? Hell yes, it does. Check out "All Is Forgiven", a track that almost rocks too hard for this album.

Spilt Milk is an eccentric mess... but not at all unaccessible. Check it out, because with its organic, one-take sound and the way it wears its feelings on its sleeve, it manages to evoke something that most music today can't: genuine human emotion.

Weezer - The Blue Album (1994)

1994 was a difficult year for commercial rock. Grunge was just about finished thanks in no small part to Cobain's untimely passing and mainstream pop was particularly uninspired. Everyone was rebelling violently and cursing angrily at nothing in particular. It began to feel as if in order to truly rebel, you had to be happy. And that's exactly what Rivers Cuomo did.

Combining the best elements of The Pixies, Nirvana, The Beach Boys and The Beatles Weezer's debut record set the world on fire. With its combination of thick distorted guitars over poppy hooks, clever dynamic changes and unprocessed vocals, it felt as if the album was recorded in the band's garage. The playing on the album has the energy and vigor of a high school band featuring the songwriting talent of a seasoned pro.

The album's lyrics are not technically jawdropping (Cuomo is no master of prose) but they feel effortless and pure. They are flawlessly imperfect. "Say It Ain't So," overplayed as it may be, is still a lyrical tour de force. It is the perfect expression of a young man's fear and resentment of alcohol due to its destructive effect on two of his mother's marriages. And that's not to discredit some of the more basic lyrics, as they all feature clever lines and heartbreaking earnesty.

The home to several hit singles, the album was both a critical and commercial darling. "Undone (The Sweater Song)" might just be the catchiest song ever written about an existential funk and "Buddy Holly" is a heartwarming tale of platonic love. But it's the deep album tracks that prove just what a unique talent and entity Weezer was. Despite not making a great album in over a decade, their fans have always stuck with them, and when you hear the final jawdropping guitar solo finale to the epic album closer "Only in Dreams", you will see why.

The Beach Boys - Pet Sounds (1966)

Brian Wilson was the original tortured genius of modern pop, forget everything else you've heard. How do I know this? Well because when I entered "Tortured pop genius" into Google, searching for an artist to compare him to, I saw that he was the first result. But I also know this because of the Beach Boys' legendary record Pet Sounds

Pet Sounds was released on May 16, 1966 and is notable for featuring some of the most beautiful love songs of all time as well as numerously catchy pop singles. The album is notable for its peppy organ and keyboard work which is perfectly enhanced by an orchestra. The cherry on top of this aural sundae is Brian Wilson's pitch-perfect falsetto delivery and moans.

This album isn't just about love, though. Brian Wilson, especially for this time period, was writing some really personal lyrics, often revealing his insecurity, loneliness and sorrow. This is especially apparent in the album's arguably greatest moment: a song called "I Just Wasn't Made For These Times." It is a song in which Brian wonders why things always seem to go wrong for him and confesses the title statement with a voice so sorrowful it makes him sound much older than the 23 year old he was while recording. Combined with the utterly relateable sentiment of the lyrics and the mindblowing background vocal harmonies, it is a shiver-inducing, mind-blowing song and yet... it still feels human. And that is a perfect example of why Pet Sounds is revered by nearly everyone who gives it a shot.

Albert Hammond, Jr. - ¿Cómo Te Llama? (2009)

As the second of his self-penned albums, ¿Cómo Te Llama? is an important moment for the Strokes rhythm guitarist Albert Hammond Jr. as well as his solo career. Thankfully, this is not that all-too familiar story of a sophomore screw-up. Improving off of his debut in every way, Albert Hammond Jr. weaves together a unique mesh of sounds and styles. Albert's vocals are not all-that impressive, but their power and presence transcends any weaknesses he may have as a vocalist. Almost every song is full of rebellion, positivity and catchy melodies and big choruses. It is, however, the slower numbers "Spooky Couch" (a beautiful instrumental piece) and "You Won't Be Fooled By This" (a wistful ballad) which reveal a much more tender side of Albert's songwriting and prove to be the album's greatest strength. He may not have as many songwriting credits as his Strokes band-mates, but on this album he proves his influence on the group, showing why he is an integral part of the garage-rocking collective.

All in all, though, the best song on here (and one that I urge everyone who reads this to check out) is definitely the opener, "Bargain of A Century." The song has a rapidfire bass intro which builds to a beautiful, keyboard-covered main hook, followed by a melancholy verse. The highlight of the song is the utterly heart-rendering guitar solo that is restrained and yet show-stopping. And that right is the perfect way to describe ¿Cómo Te Llama?.

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