There was a time when MCA Records had a truly unfortunate nickname in “Music Cemetery of America,” but that’s pretty cruel, inaccurate, and silly. Originally known as Decca Records, the label formed in 1934, infamously turned down The Beatles, stating that The Pre-Fab Four had no future, and famously ALMOST fixed their gaffe by signing their counterparts The Rolling Stones, before going through a name change and rebrand as MCA Records in 1972. Shortly after the modification, the label had an insane starting run with acts like Neil Diamond, Elton John, The Who, and Lynyrd Skynyrd releasing classic albums. Sadly, the label became defunct in 2003, and absorbed into Geffen Records. We attempt to list the top ten underrated MCA Records albums below, so settle in, and let’s take a trip back to a simpler time.
Darwin’s Waiting Room “Orphan” (2001)
You may not have heard of Darwin’s Waiting Room, or the actual Charles Darwin himself, but both the entire country of Jamaica AND the staff at the now legendary hip hop label Cash Money Records sure have… Apology accepted! Honestly, a Shaggy feature would’ve been more than enough to add Darwin’s Waiting Room’s “Orphan” to this here list, but Miami, Florida’s Darwin’s Waiting Room rock so hard that they even epically covered Juvenile’s party anthem “Back That Azz Up” and said rendition appeared as a bonus track on the Japanese edition of “Orphan.” Why this version is NOT on United States editions is beyond us, as the dual vocal combo of lead singer Jabe, yes, Jabe with no last name, and Michael “Grimm” Falk provided a unique/enjoyable rock-tinged listen of a late-90s/early-aughts club banger. To bastardize a quote from WWE’s Sheamus, “It’s HEADbanger after headbanger after headbanger!”
doubleDrive “1000 Yard Stare” (1999)
MCA Records truly had its ears and eyes searching for post grunge-esque active rock in the ‘90s and beyond, as Atlanta, Georgia’s doubleDrive released one of the more high quality and even more underrated full-length debut studio album “1000 Yard Stare” just before Y2K to some, but certainly not enough fanfare. Also, this LP did not have enough staying power as it was the lone MCA Records effort. Want proof? Find someone, potentially ANYONE, who has spoken to you about the lowercase and capitalized act, and even dive into the depths of social media for some shoutouts. Spoiler alert: You’d be hard pressed to find any! Even if you did, they’re all gone now. So, if you want to help the cause, you can tattoo a bruise on your chest, dress yourself in light for the sacrifice, change your belief system, and stand by Mexican Radio like it’s 1999!
Fenix TX “Lechuza” (2001)
Formerly known as Riverfenix, Fenix TX certainly raised the stock of Drive-Thru Records, a then imprint of MCA, with their sophomore studio album, which catapulted the four-piece to a management deal with Mark Hoppus and eventually blink-182’s team, a tour with blink and Bad Religion which eventually got immortalized with blink’s live album, “The Mark, Tom, and Travis Show (The Enema Strikes Back),” legit airplay from popular rock radio stations across the U S and A, and video play from MTV. Tearjerker: Sadly, “Lechuza,” the band’s third and last album as of now, and likely forever, just didn’t connect when it was released quite like its former. Maybe it was because the pop-punk crowd thought that it was way too heavy instead of sunny? The world may never know but thankfully streams have picked up on this one through the years. And now we’re onto the second DTR album!
Midtown “Living Well Is the Best Revenge” (2002)
Easily a top ten Drive-Thru Records release, Midtown’s sophomore full-length studio album “Living Well Is the Best Revenge” is eleven solid pop-punk/pop-rock songs that open with guitar feedback and close with a badass Vinnie Caruana from The Movielife and I Am The Avalanche feature. There has been much lore about the strained relationship between the band and its subsidiary label, but Google and/or Reddit will provide far more intel than us; have fun. The band had one of the better three album runs from 2000-2004, and sadly split up about a year after their ambitious third/Columbia Records LP “Forget What You Know.” Emo hearts in the know collectively grinned when the band announced that they were going to be a support act for various My Chemical Romance reunion shows. So come on, let go, become what you hate, and request “Still Trying” at your next emo night.
Nonpoint “Development” (2002)
Ft. Lauderdale, Florida usually is in the headlines for negative reasons, with the first two words being, “Florida Man,” but it also deserves notoriety for being the home of one of the more underrated nu metal bands. Nonpoint signed with MCA Records and released their third LP “Statement”… and a literal statement it was, and likely the one you know the band from, if you know the band at all! However, their next and fourth release “Development” is where they truly came into their own, and what a day, deserves your time. Also, like the aforementioned Darwin’s Waiting Room, Nonpoint dipped their toes into hip hop with their song “Tribute,” which mashes up Slick Rick, Busta Rhymes, and The Wu-Tang Clan. Funny enough, the song also features one of the vocalists of Darwin’s Waiting Room himself, Michael “Grimm” Falk!
Pretty Boy Floyd “Leather Boyz with Electric Toyz” (1989)
Just two years before Nirvana killed hair metal with a combination of lithium and territorial pissings, Hollywood, California’s Pretty Boy Floyd closed out the ‘80s with their debut LP, the intentionally or unintentionally comically named “Leather Boyz with Electric Toyz.” Sadly this was the band’s lone MCA Records album, but happily, and this is way more en vogue now, the demo version of their song “48 Hours” was in “The Karate Kid Part III,” which featured the debut of actor Thomas Ian Griffith, who played the evil AF Terry Silver, and said role got reprised on recent seasons of “Cobra Kai.” Eventual powerhouse producer Howard Benson of My Chemical Romance and The All-American Rejects fame sat at the helm for this one and the other SWEET hair metal band we’ve yet to mention. Fun fact: Drummer Nick Lane played shows with PBF THIS century, and Sweet F.A. last one!
Semisonic “All About Chemistry” (2001)
The term “one hit wonder” truly works as a double edged sword, as most people would be lucky for their band to have a scotch of a “hit song,” but no one, we repeat, no one, wants just one. If that happens, your band gets forever lambasted and relegated to a punchline that is even older than a swipe at Nickelback. It’s really a shame, but the world is cruel. So, you obviously know that Minneapolis, Minnesota’s Semisonic had a global hit in “Closing Time,” and said song will forever rival “Sweet Caroline” as a number that bar DJs play to forewarn the drunks that they don’t have to go home, but they can’t stay here. Hot take: “All About Chemistry,” the album after “Feeling Strangely Fine,” is an uncut gem and far superior to its former, and we’ve checked your free Spotify accounts, you haven’t listened to it yet!
Spinal Tap “Break Like The Wind” (1992)
This is not a joke, but as Mr. Graffin woah’d, sometimes truth is stranger than fiction. Want some evidence, natural scientists? 1984’s mockumentary “This Is Spinal Tap” will forever top many comedic movie lists, and we’re not mad about it. It is SO quotable, and relatable for ANY musician large or small. Anyway, the then-fictional band Spinal Tap’s first album was technically a soundtrack to the movie, and few expected the “band” to throw a curveball to the world by becoming an actual real band, releasing a second album, and removing the quotation marks that were normally forever applied to the group… And the album rips, bro. Just rips. MCA Records rules for signing Spinal Tap and for putting out “Break Like The Wind” during the throes of grunge, flannel, and Seattle. Still, we bet Layne Staley, Kurt Cobain, Chris Cornell, and your mom loved the crap out of it.
Sweet F.A. “Stick To Your Guns” (1989)
Back to hair metal and not the cinematic or jokey kind! Speedway, yes, SPEEDWAY, an enclave of Indianapolis, Indiana, was the birthplace of a band so freaking underrated that they don’t even have a Wikipedia page for you to make silly edits to called Sweet F.A.! In a cool flex, the band signed a deal with MCA Records less than a year after their first show. In a far less cool antonym to a flex, the band left MCA after their debut “Stick To Your Guns” hit stores, released one more full-length studio album called “Temptation,” and split up shortly after. If you like your blues with an array of hard rock and, wait for it, wait for it, sleaze, Sweet F.A. is an underrated act for you to deep dive now. If not, stick to your guns, and listen to, uh, Stick To Your Guns.
Voivod “Nothingface” (1989)
Canada, eh? You bet. Metalheads love when their favorite band signs to a major label and the band’s sound changes ever so slightly to appeal to a more mainstream audience. Right? Doesn’t everyone love that? This album was successful, but when is the last time you talked about it? We thought so.
Laura is too sweet and empathetic to lead anyone into an apocalyptic frenzy. She believes in the goodness of others and the power of redemption, making her more likely to gather her friends for prayer circles than to convince them the end is near. Her followers would be more focused on charity work than preparation for the end of days.
As pillars of the community, Mom and Dad Asparagus would be more inclined to guide their followers with wisdom and compassion than to exploit them, creating community rather than a cult. Sure, they believe the end times are upon us – emphasizing preparedness in faith, hoarding goods & guns, and surrendering one’s possessions. They’d likely run a tight ship, intent on survival rather than the rapture.
Jimmy and Jerry Gourd might seem like harmless, food-obsessed goofballs, but beneath their bumbling exterior lies the potential for a dangerously misguided leadership. Their love for comfort and indulgence could easily translate into a doomsday cult focused on hedonism and excess, where followers are encouraged to “live it up” before the Christian apocalypse hits. While they lack the ambition to lead a full-blown movement, their laid-back approach could lure in those looking for an easy way out of the end times.
Madame Blueberry’s materialism could lead her to exploit her followers under the guise of preparing for the end times. She’d probably convince them to give up their worldly possessions—for her own gain, of course—but her focus would remain on accumulating wealth rather than spiritual fervor. She might toy with apocalyptic themes, but she’s too self-serving to take it all the way.
With his old-school wisdom and penchant for storytelling he might initially seem like an unlikely cult leader. However, his deep understanding of tradition and scripture could be twisted into something more sinister. He’d use his extensive knowledge to create elaborate narratives about the apocalypse, presenting himself as the sage who holds the key to salvation. Despite his seemingly benign exterior, his would demand dogmatic obedience and self-sacrifice under the pretense of guiding his followers through the end times
The Scallions are natural troublemakers, and they wouldn’t hesitate to use apocalyptic fear-mongering to their advantage. They could easily whip up a frenzy among their followers, convincing them to forsake their lives in preparation for the rapture. Their cult would ultimately be more about anti-government propaganda than anything of religious consequence. Their motivations would be more about causing chaos and watching the world burn than any true belief in their cause.
Everyone knows Mr. Nezzer has always had a taste for power and control, and he could see the apocalypse as a way to solidify his dominance. He’d likely position himself as a messianic figure, demanding absolute loyalty from his followers in exchange for their salvation. He’d preach about the end of days while gathering up several wives, lining his pockets, and skipping town when his followers caught on to his ruse.
Jean-Claude and Philippe, the clever and mischievous French Peas, have always been sharp-witted, and it’s this intelligence that would make them dangerous cult leaders. These two would have no trouble twisting biblical passages to suit their agenda, using their deep knowledge of scripture to manipulate their followers. They’d expertly reinterpret the Bible, taking verses out of context to justify whatever commands they issue. Their followers, drawn in by their charisma and apparent wisdom, would be eager to do their bidding. Jean-Claude and Philippe would lead their cult with precision, turning faith into a tool for control and obedience.
Petunia’s love for spreading kindness and positivity makes her the least likely to embrace a doomsday narrative. While she would absolutely join a cult of some kind, hers would be more based on love and freedom. She’d rather hand out lavender-scented candles and do yoga than preach about fire and brimstone. In the end, the worst Petunia would do is convince her followers to become vegan anti-vaxxers.
Anyone with a German accent is capable of starting and leading a doomsday cult, it’s basically built into their DNA. Whether they are human or just a gourd, all Germans should be viewed as suspicious. However, Dr. Flurry has softened over time and he is much more interested in tinkering with inventions these days rather than concociting a special potion for all his followers to drink so they can ascend to the afterlife.
The Peach’s narcissism and deep-seated personality disorder make him a prime candidate for doomsday cult leadership. His overwhelming need for validation and admiration would drive him to establish a cult where he’s worshiped as a messianic figure. But beneath his charming exterior lies a dangerously unstable personality, prone to erratic behavior and delusions of grandeur. His behavior would include in increasingly extreme demands, from total loyalty to acts of self-sacrifice, all to feed his insatiable ego. As his grip on reality loosens, The Peach would lead his cult down a dark, destructive path, where his every whim becomes a divine command and his followers’ lives are mere tools for his self-glorification.
Junior Asparagus’s innocence and fervor could be dangerously twisted into a cult leadership role. As a young and impressionable leader, he might genuinely believe he’s been chosen to guide others through the apocalypse. Surrounded by “yes men” who constantly affirm his every word, Junior would start to believe his own lies and messianic visions. His youthful zeal would draw followers into a world of blind faith and unquestioning obedience. As Junior becomes more convinced of his own infallibility, his demands would grow increasingly extreme, leading his cult down a dark path of self-destruction. His naivety, combined with his growing self-deception, would make him a particularly dangerous leader, unable to recognize the harm he’s causing until it’s far too late.
Mr. Lunt’s smooth-talking ways and business acumen would make him a formidable cult leader. A nonbeliever himself, he’d see the Christian apocalypse as a prime opportunity to manipulate and profit, convincing his followers that he’s the key to their salvation. Under his leadership, the cult would become a well-oiled machine of exploitation, with Mr. Lunt at the helm, extracting every last possession and ounce of devotion from his flock. He’d sell salvation by the pound, all while keeping his true intentions hidden behind a charming smile. Believe the rapture comes, which is soon – he promises, he would make his followers work to the bone making “artesian” crafts, furniture, shed, and barns that he can sell at local farmers’ markets.
Archibald Asparagus is the epitome of rigidity and order, and it’s this obsession with control and strict adherence to scripture that makes him a prime candidate for doomsday cult leadership. Archibald would position himself as the ultimate authority on the Christian apocalypse, convinced that only his interpretation of the Bible is correct. His cult would be a tightly controlled society, with followers forced to comply with his every decree, no matter how extreme. Under his leadership, the cult would become a suffocating regime where any dissent is met with harsh punishment and, ultimately, total annihilation, all in the name of divine order.
At the top of our list is Bob the Tomato, the character who’s always been the moral compass of VeggieTales. Bob’s unwavering faith and deep sense of responsibility could easily be twisted into a dangerous fervor. In his quest to save souls, he would come to believe that he is the chosen one, destined to lead his followers through the apocalypse. Bob’s sermons would grow increasingly intense, filled with scriptural imagery of the end times and promises of salvation for those who follow him without question. His conviction would drive his followers to extreme measures, from surrendering their possessions, breaking contact with their loved ones, even embracing mass suicide; all in the name of a better world beyond. Bob’s earnestness and unshakable faith make him the most likely to lead a doomsday cult, convinced that he’s doing God’s work, no matter the cost.
As die-hard fans of old-school death metal, it absolutely breaks our heart to put a Suffocation album from the early nineties in last place, but the production on this one steals the clout from a collection of truly well-written songs. The band themselves seem to agree with this, as the fact that they went on to re-record six of these tunes on later albums doesn’t necessarily stand out as a ringing endorsement. With that being said, there’s a lot to dig here, and the release sees the band in a perfect middle-ground between the raw punishment of their debut and the technical mastery of “Pierced from Within.” So make that glass half-full and view the rough production as a charming, nostalgic asset, and you’ll get some pure joy out of this one. After all, that’s how we enjoy almost every black metal album from that time.
This one’s got it all. Great riffs, great production, technical proficiency that doesn’t equate to audial masturbation, and vocals that would make Pazuzu himself jealous. Just listen to that double bass under the haunting starting riff at the onset of the title track. Goddamn, this one comes in hard! On the whole, there’s really not much we can say to criticize this album other than pointing out that it just doesn’t stand out much when compared to the below entries. We can’t shake the feeling that we’d be revering this much more had the band not possessed such a vast catalog, but whatever, this is the Hard Times, not Rolling Stone. Feel free to tell us we fucked up on this one; we’ll be too busy enjoying the riff on “Come Hell or High Priest” to give a shit.
Original frontman Frank Mullen’s swansong with the band came with this 2017 opus, and by God he went out on a high note. Just listen to him growl “You choke, cannot swallow, the truth has made you vomit” on “The Warmth Within the Dark.” We’re not sure what that means, but…hell yeah, we’re on board! Newbies and current members Charlie Errigo and Eric Morotti shine in the open slots at guitar and drums, respectively, and effortlessly keep those mind-bending Suffocation tunes we’ve all grown to know and love coming. It gets a little too technical for our tastes at times (we hear you, “Your Last Breaths,”) but we’re just nitpicking. Max out the volume on this baddie and go mosh some unsuspecting strangers.
We’ve gotta admit, we have a soft spot for “Souls to Deny.” This was their first full-length album in nine years when it came out, and there’s just something about a comeback album by Suffocation delivering a mallet to the crotch of every shitty Taking Back Sunday and Yellowcard song we were hearing at the time that results in us viewing this through rose-colored glasses. Or maybe we just have some residual teenage angst left over from our high school years. What do you want from us? We’re going to go watch the “Surgery of Impalement” music video. Seeing the band tear shit up in a junkyard or whatever should help us sort through these feelings. Fuck therapy.
Guitarist Terrance Hobbs is the only remaining original member at this point, as Disgorge’s Ricky Myers makes his debut as head crooner, and goddamn does he fill those shoes nicely. Just listen to “Immortal Execration.” Is it the apocalypse, or is he just happy to see us? This album gets a little slammy at times, but we’re actually going to give the band props for that. Times are a changin’, and we like to see one of the most important creators of brutal death metal making the moves necessary to stay in the game. Also, bonus points for that album cover. We presume Ganon is dwelling somewhere at the end of those spine ramps, and it’s our destiny to hit that fucker with some light arrows. BRB, we’ll see you at #4.
Alright! From the get-go, you know they’re not fucking around when “Abomination Reborn” starts up. This album takes the technical precision of “Souls to Deny,” hones the production, ups the ferocity of the vocals, and leaves us with a true exemplar of brutality that stands among the band’s best. Just try to listen to “Bind, Torture, Kill” without ending up with an A&E documentary about you in 20 years. Lyrics get a little silly at times, but whatever. There are only so many ways you can convey beating someone to death with a hammer, and the band had been well into its second decade at this point, so who are we to judge? Just appreciate Mike Smith’s drumwork and quit your bitchin’.
And we’ve reached the pinnacle of post-reformation Suffocation (in our humble opinion.) “Pinnacle of Bedlam” shows itself as a perfect modern iteration of their nineties genius, with twisting riffs, solos that range from eerie to frantic, and crushing drumming from Dave Culross in his only full-length appearance in the band (though not his last appearance on this list.) There’s even a bit of melody in those riffs we’re hearing on the title track, and for some reason we’re not upset. The album cover is sick, too. It’s like Metallica’s “…And Justice for All” if it was brutal death metal with audible bass and infinitely less insufferable band members. Count us in.
Are you about to head out on a two-mile run and are scrambling to put together a playlist to get you through it? Here it is. Done. You’re welcome. Just make sure to obtain proof of your time, because there is a 100% chance you’re going to end up qualifying for the next Olympics. Everything about this EP fucking rips, and we find ourselves revisiting it as often as the two albums below.
Focusing on rhythm without sacrificing on the brutality of its predecessor, “Pierced from Within” may very well be your favorite Suffocation album. In fact, it was very close to being ours. Every song is twisting, unpredictable, and above all, crushing. This is a landmark death metal release that has something to appeal to everyone. Odd time signatures? Done. Gut-wrenching death growls? Done. Masterful drumming? Done. Fucking arpeggios? Sure, why not? And it all works seamlessly. There’s a reason the band still opens its live shows with “Thrones of Blood” to this day. So quit reading this and go listen, you fucking nerd.
We know what you’re thinking: with such a glowing review of “Pierced from Within,” why isn’t it number one? It’s because we’re fucking cavemen, that’s why. The abstract concept of brutality didn’t exist until the band laid down “Liege of Inveracity” some storied day in the early nineties, and we are forever grateful for that. Everybody in the band is absolutely crushing on this one, and Frank Mullen delivers a masterful performance; sounding like something out of a goddamn nightmare, and is even boosted by death metal stalwart George “Corpsegrinder” Fisher on “Reincremation” and “Mass Obliteration”. What more could we ask for? Maybe an accompanying shovel with our purchase so we could dig along to “Infecting the Crypts,” but now we’re just being persnickety.
