I hesitate to write about music, because it’s hard to do so without sounding like a pompous ass who is trying to impress people with their “ecclectic” and “sophisticated” tastes. But I’m not in the mood to talk baseball today, so I’ll give it a shot.

With that disclaimer, here are 12 albums (in alphabetical order by artist) that changed the way I think about music. Most of them I like, some not so much. All of them have made me think. Maybe they’ll do something for you, too. Or maybe there are other albums that move you?

• Jeff Buckley, Grace. The late Buckley’s vocal range and command are his primary legacy, and they are definitely impressive. What hits me most about his material, though, are the unusual chord voicings he employs. A schooled musician, Buckley juxtaposes open strings and fretted notes to great effect, making his songs sound “larger” than they actually are. He was a brilliant singer, but also a great composer and arranger. Grace is a terrific listen.
• Cocteau Twins, Heaven or Las Vegas. This now-defunct band from the UK created moods like no other. From Liz Fraser’s elusive and often incomprehensible vocal stylings, to Robin Guthrie’s overprocessed guitar sounds, to the tasteful use of sequencers and drum machines, these guys could weave some of the most hauntingly beautiful songs imaginable. Their earlier albums tended to be more aggressive and raw, but as their career progressed, melodies and sheer ambience came to the forefront. With its glasslike 12-string guitars dripping in chorus, insane feedback shrieks set against somber piano riffs, and passionate vocals, Heaven or Las Vegas is a sonic feast that continues to reward the listener even years later.
• Kurt Elling, Close Your Eyes. Chicago jazz crooner incorporates beat poetry, vocalese, and heavy doses of improvisation into his work. His voice is distinctive and forceful, and his phrasing seldom predictable. It may take a while to get used to his style, but once you do, it’s a thing of beauty.
• Grant Green, Green Street. This guitarist’s phrasing and tone are in a totally different league. Green Street was recorded in 1961 but still sounds fresh today. And although Green’s playing sounds free and easy, he is doing some pretty sophisticated stuff. The mark of a master: make what’s very difficult sound very easy.
• Heavy Vegetable, Frisbie. Droning guitars, wandering vocal harmonies, elements of math rock, goofy lyrics, and a general sense of chaotic fun. Quirky songs that are really well assembled and delivered. Rob Crowe has since gone onto greater success with Pinback, whose songs are tighter and more polished than those of Heavy Vegetable. But for my money, the intensity of Crowe’s earlier work is pretty tough to rival.
• Charles Mingus, Ah-Um. Recorded in 1959, this album from the great American composer and bassist is about as good as it gets. Once you’ve heard these tunes, they never leave you. It would be remarkable enough for any record to have the likes of “Better Git it In Your Soul” or “Goodbye Pork Pie Hat” on it; but Mingus somehow managed to create two absolute masterpieces and fit them on the same record. I don’t believe in “required listening” but Ah-Um makes me at least consider it.
• Radiohead, OK Computer. This album is relentless. The guitar riffs sound familiar (Pink Floyd?) but the tone is perfect and all art is stolen anyway, so who cares. There is so much energy in the songs, and the album is so meticulously produced. The only clunker is the overindulgent “Fitter Happier” (think “Revolution No. 9″ from The Beatles’ White Album and you’re on the right track), but it’s not enough to mar an otherwise flawless record.
• Rush, Hemispheres. Quick, name a band that has had the same lineup for 30 years. Yep, it’s Rush. This isn’t their best effort (I waver on that question), but it’s the one that made me see the possiblity of incorporating “movements” into rock music. Yes and King Crimson, to name but two others, did much the same but for whatever reason, they never demanded my attention in the way that Rush did (and still does). Hemispheres features many innovative ideas and great musicianship. Geddy Lee’s vocals are what they are; I know they’re a deal breaker for many, but I’m not going to debate that. Alex Lifeson’s guitar playing is, as always, fantastic.
• Elliott Smith, Roman Candle. What stands out for me about this album is how strong the songs are. Roman Candle was recorded on a 4-track in Smith’s basement. There are literally no frills, but the vocal and guitar melodies are so beautiful and captivating that none are needed. This may or may not be Smith’s finest work, but it is among the most engaging and compelling.
• They Might Be Giants, Pink Album. Many people first think of the odd lyrics, but I’m drawn to TMBG’s ability to create solid pop compositions with intricate arrangements despite the complete lack of a budget. Sure, the songs on the Pink Album are a little left of center, but thanks to fantastic craftsmanship, clever use of tape loops and drum machines, they absolutely work. Quirky. Inventive. Resourceful.
• Andy Summers, Green Chimneys: The Music of Thelonious Monk. Summers is best known for his work with the Police, but his interpretations of Monk on guitar are rich and moving. If you only know Summers through his minimalist stylings in Sting’s old band, you’re missing a lot of what this guitarist has to offer. Beautiful album.
• John Zorn, Cobra. I can’t actually listen to this one, but the concept behind it is fascinating. Plus I discovered Bill Frisell through Zorn’s work, and anything that introduces me to a musician of Frisell’s caliber can’t be all bad.

There it is. Padres are off today and begin a three-game set with the Cleveland Indians Tuesday night.

And remember, I’ll be on “Outta Left Field” Wednesday night. Show starts at 5:30 p.m. Be sure to swing by the Hall of Fame bar if you’re at the game or call in if you’re watching on Channel 4.