Music is one of the most important commodities we have in human life. It’s always been a major part of mine, from childhood to graying middle-aged man. I spent 16 years as a music journalist and dabbled in drumming and percussion, though I tanked on the latter efforts. In my time in the scene, I covered metal, punk, Goth and electronic music on the road, interviewing musicians, reviewing new album and video releases and snapping live concert photos. What many people never realized is how eclectic and diverse my music tastes are. I was always proud to connect alternative rock to metal or country to punk, funk music in hip hop and EDM (formerly known as techno) in a review whenever I heard it. I’m so across the board with my passion for music, I’m my own best friend when having a listening session, since I hop genres faster than you can say “Domo arigato, Mr. Roboto” without the synth manipulation.
I’m going to try you all out with a little weekly exercise and see if it resonates. I’m calling it “Five From the Shelf Friday,” where I grab five albums at random from my collection and briefly chat about them. Many will be recordings you’re familiar with, some likely not. Some will be dust-offs of albums I haven’t listened to in forever. My library is vast, though sadly purged down from when I used to hoard my freebie hard copy CDs, vinyl, DVDs and Blu Rays from the record labels and I had a literal labyrinth of shelves to store all of that media. My fiancée, TJ, would never have agreed to marry me if all of it came, lol….
Regardless, I have maintained a library in the thousands, so let’s have a go here and let me know, readers, if you’d like to see this run as a continuous segment of “Roads Lesser Traveled.”

The B-52’s – self-titled
No doubt every wedding, company social event and New Year’s party you’ve ever attended, you’ve been subjected to “Love Shack” by The B-52’s. For me, that song’s grown cringeworthy, along with “Roam” from the band’s later year, commercially successful Cosmic Thing. A far, more palatable stretch to the common ear than what The B-52’s began with on their 1979 self-titled debut. Considered a new wave pioneer, I always agreed with that assessment, but I liken the early B-52’s to The Cramps and Southern Culture On the Skids in kindred spirit. Mostly in the way each band cooks up a chili con carnage ambience behind their core of twang. Kate Pierson and Cindy Wilson’s run amok screeches, wails, giggles, ooh-wahs and audile lunacy are tough to digest if you just want to stay neo-groovy in a humdrum love shack that’s lost much of its luster from overplay. “Rock Lobster” is one of the most kickass bits of surf-inspired nuttiness anyone’s ever attempted. As a kid, I actually thought The Munsters had recorded a song when I’d heard “Rock Lobster” the first time. True story. You can’t go wrong with The B-52s oddball but piledriving hike on the Peter Gunn theme with “Planet Claire.” Only Devo one-upped them in that regard.

D’Angelo – Brown Sugar
Modern hip hop has lost much of its hipness and its soul, though I do try to dig for diamonds in the new world rap order. My son turned me on to Childish Gambino, 80purppp and the late XXXTentacion. I turned him onto The Jackson Five when he was a child, and I’ve dropped jazz, funk, soul and early hip hop on him over the years. He’s finding his own way in music, and he loves to try me out constantly until one of his jams stick between us. He is finally starting to explore 90s hip hop, which had me steering straight for one of the lost children of classic hip hop, D’Angelo. This dude was a cornrowed, shredded sex symbol back in the day who dropped only a couple albums, but damn, what gems Brown Sugar and Voodoo were. Inspired by Prince (my all-time favorite musician), D’Angelo had a pure knack for blending funk, jazz and hip hop. Strong beats, sometimes with actual drum kits, funky waves and bass that never blew out your subwoofers like today’s rap does. D’Angelo was smoother than silk and deserves a revisit by the hip hop community. Jonz in my bonz, baby…

Hall & Oates – Ultimate Daryl Hall + John Oates
Rock and soul brothers to the nth power, Hall & Oates were dynamic superstars of their time from the 1970s to late 80s, dropping one megahit after another. Anyone who loves these guys but only want a greatest hits package has had to settle for Best of compilations that were always missing a key hit or two. Not this one. Everything’s on this double album, which unfortunately means it gets stuffed with mediocre filler fluff (wincing at you, “Las Vegas Turnaround” and “Possession Obsession”) and cover tunes you may find yourself skipping over. As a child, I daydreamed to “Sara Smile,” “She’s Gone” and “Rich Girl” when they were on both AM and FM radio. I still feel that magic without the static, listening to them in this format. “Private Eyes” became a 45 platter that stayed in my stylus rotation forever. The beat, man, it’s all about the beat. Even today, I can’t help but back up “I Can’t Go For That (No Can Do)” a few times in a sitting, it’s still that seductive. Same for “Say It Isn’t So” and the blissfully corny “Kiss is On My List.” Daryl Hall, you magnificent bastard, you might have the silkiest chops a white guy ever possessed, and the older I’ve gotten, the more I’ve appreciated John Oates’ gnarly backslides.

Sepultura – Chaos A.D.
I’ve interviewed Max Cavalera a few times and he is one the kindest people I’ve ever met. I’ve also interviewed his brother, Iggor as well as Andreas Kisser and Derrick Green from Sepultura, one of the most important metal bands ever assembled. Sadly, the Cavaleras have long since departed, while Sepultura continues to make innovative metal music. I’ve also had the pleasure of hanging on the tour bus for a long spell with Max’s wife, Gloria Cavalera, one of the most brilliant business minds out there. Chaos A.D. was a flip to the script for Sepultura when it came out in 1993. Sepultura being one of the fastest thrash bands around when they started, Chaos A.D. bravely slowed things down with a few thrashers in the mix, instead focusing on grooves, slams, riffs and fusing into the bombastic mix tribal percussion. This inspirational clubbing march motif ushering the game-changing Roots album thereafter. For all the changes, I maintain Chaos A.D. is Sepultura’s heaviest album and it’s inarguably one of the crown jewels of the genre. It remains a scathing indictment against political corruption, social injustice and its combat against racism still haunts true 30 years later. I play Chaos A.D. a hell of a lot and I still get fired up by the title track and “Territory.” Ah, hell, I lose my shit with the entire album. Iggor’s pounding rhythms and blasting tom-snare rolls are incomparable.

Junkie XL – Mad Max: Fury Road soundtrack
I’ll make this short and sweet. I am a junkie (pun intended) for film scores and soundtracks. They fuel my writing. Tom Holkenborg, aka Junkie XL, has a major place in my heart with his scores for Godzilla vs. Kong and Mad Max: Fury Road. The latter film being praised by critics as one of the greatest action films of all-time, I agree a hundred percent. Junkie XL’s score is one of the major elements why Fury Road is a modern masterpiece. The collapsing drums and ripping guitars of “Blood Bag” sends me into pure ecstasy. If I had a workout playlist, it would start with this.
–Ray Van Horn, Jr.