Underappreciated Albums that Deserve to Shine

Ignition, by The Offspring
In another case of “the album before the album that made them famous,” Ignition was the Offspring’s second studio album, released before the monstrously-successful Smash. The TSOL influence is still very strong on this album, but it’s ultimately more cohesive than Smash, and the volley of curse words that kicks off the first song, “Session,” should have gotten a lot more attention than it did, especially because it leads into a great drum riff by Ron Welty. The cynical and provocative lyrics that were the Offspring’s trademark are present here, especially in tracks like “Take It Like a Man,” the politically-charged “LAPD,” and “Kick Him When He’s Down,” whose riffs, pace, and composition make it the best song on the album.

Rio Grande Mud, by ZZ Top
Believe it or not, ZZ Top recorded albums that weren’t Eliminator and songs that weren’t “Legs,” “Sharp Dressed Man,” or “Gimme All Your Lovin’.” In fact, their second album, Rio Grande Mud, is a dirtbag blues-rock masterpiece and one of their best albums. Unfortunately, because it’s the album before the one that made them famous (Tres Hombres, released a year later in 1973), it never gets the attention it deserves. That’s a shame, because tracks like “Chevrolet” and the Hendrix-influenced “Just Got Paid” are close to perfect; despite their greasy, bar blues feel, there isn’t an ounce of fat or any wasted motion in either song. Another standout is “Sure Got Cold After The Rain Fell,” which will leave you waving a lighter in the air by the time it ends.

He Got Game, by Public Enemy
Not only is this album the soundtrack to the 1998 Spike Lee film, it’s Public Enemy’s sixth studio effort, and one of their best records. It also marked the return of the Bomb Squad and Professor Griff, who’d left the group four years earlier (and in Griff’s case, not without controversy). Though the album sold poorly when it was released, it absolutely deserves a second listen; Chuck D’s sports-infused lyrics about basketball representing black male ambition are some of his best ever, and the lead single/title track is a collaboration with Steven Stills that manages to reinvigorate both parties involved. The production, which is slower, less noisy, and more deliberate, was a good change for Public Enemy. And lest things get too serious and dour, Flavor Flav keeps things fun with tracks like “Shake Your Booty.”

Acid Eaters, by The Ramones
The Ramones weren’t strangers to cover songs (one of their early “hits” was a cover of the Rivera’s “California Sun”), but their 1993 album Acid Eaters was an entire album of them in tribute to the Ramones’ influences, both obscure and popular. By this point, the Ramones were taken for granted by most rock music fans (despite the fact that they’d developed into a formidable band with airtight performances), so this album is still an obscurity of theirs. Nevertheless, it’s a really solid outing by the Ramones, and their versions of “Substitute” (with Pete Townshend providing backing vocals), “Have You Ever Seen the Rain?” and “My Back Pages” are superb. In addition to Townshend, infamous porn star Traci Lords makes a cameo, providing vocals for the Ramones’ cover of “Somebody to Love.”

Truth and Soul, by Fishbone
Fishbone’s frenetic mix of soul, hard rock, punk, and ska was difficult for critics (and fans) to parse through sometimes, but their second album is perhaps the best example of how well they blended genres. Featuring hard rock guitar riffs, a bouncing rhythm section, groovy horns, and Angelo Moore’s enthusiastic vocals, Truth and Soul is the perfect album for days where you need to get, and stay, pumped. The opening track, a cover of Curtis Mayfield’s “Freddie’s Dead,” breathes new life into the funk classic, and is immediately followed by the ska-styled “Ma and Pa.” Later, “Deep Inside” mixes punk rock and ska well before that was acceptable. If it seems a little all over the place, that’s the joy of Fishbone: they always give the listener more than they promised.

For The Whole World to See, by Death
Hailing from Detroit, Death played Ramones-style punk rock before the Ramones even existed, and this album, originally recorded in 1976, wasn’t officially released until 2009. Not only was this band unappreciated in their own time, they were mind-blowingly good. In addition to their blazing, protopunk sound, there are elements of the MC5 in the rhythm section and Jimi Hendrix in the vocal delivery. From the opening riffs of “Keep on Knocking” to the anthemic, rousing “You’re A Prisoner,” all the way through to “Politicians in My Eyes,” this album doesn’t slow down or compromise itself for anyone. If a template exists for “must-listen” albums, it’s For The Whole World to See.