While 'Doolittle' is still the Pixies' magnum opus from my perspective, I can't not give this album a 5 star rating. The music is often times bizarre, manic, and yet it maintains an infectious consistency that ranges from enjoyable (Brick is Red, Cactus) to eff'in brilliant (Bone Machine, Vamos, Broken Face, Something Against You). Songs like 'Broken Face' and 'Something Against You' strike me as avante garde punk rock, and the results are amazing. Additionally, while I've heard it countless times and it has somewhat lost its luster, 'Where Is My Mind?' is probably one of the best songs I've ever heard.

There's just something transcendental about Ella Fitzgerald and her voice. It's music that captures a place, a feeling, an entirely different time period. So beautiful.

This is just the greatest fucking album. 19 songs, every single one of them unique and captivating in their own way. The sheer number of musical styles touched on in this one album is insane. Not something you would expect from one of the UK's original 'Punk' bands, but here it is. One of, if not THE, best album of all time in my opinion.

Fantastic. Hauntingly beautiful from start to finish.

Love this album, one of my favourites from the last 20 years. Not a bad track, quite impressive considering its length.

Weird but good stuff. More like 4.5, will definitely listen to this again

'Everybody Needs Love' is incredible. Great album overall, would listen again

Classic! However, I really only knew Pinball Wizard, but this whole album is a banger. 'Christmas' and 'Underture' are my other stand-outs thus far.

Really cool mix of folk and psychedelia. Lots of catchy tunes on here, particularly the title track. Worth a few listens.

Took a few listens, but this is a fun album, with some great lyrics and catchy beats

Terrific dream pop album, reminds me of My Bloody Valentine

'Midnite Cruiser' was EXCELLENT, and I've long been a fan of 'Do It Again'. A great album, although I find 'Reelin' in the Years' to be one of the weaker tracks. 3.5 Stars

Love this album, one of my favourites from the last 20 years. Not a bad track, quite impressive considering its length.

Brilliant! I don't even consider myself a hip-hop fan, but this album slaps. 'Method Man', 'C.R.E.A.M.', 'Wu-Tang Clain Ain't Nuthin Ta F' Wit' are my favourite tracks, but there isn't a bad one on this album.

On my second listen, and enjoying the album overall. 'Cult of Personality' is obviously the stand-out, but there's some other notable tracks on here, as well, like 'Desperate People'. That said, I am feeling that, other than the aforementioned stand-out, the other tracks are fairly generic sounding. The guitar work is incredible, but the songs themselves fall pretty flat. It might be because 'Cult of Personality' is such an incredible song, that it just sets a bar the rest of the album can't match.

I love this - the country/folk mix coupled together with that 50's recording quality makes me feel like I'm playing New Vegas.

One of my all time favourite albums, and definitely among the best albums released in the 90's. While I love 'Siamese Dream' as well, this is the Pumpkins' zenith, and they never managed to top this.

I gave this a few listens, and while I do appreciate the funky, groovy vibe of a lot of these songs, this just isn't something I would want to listen to again.

A fun album with some fantastic guitar work. That said, there are a few too many fillers to warrant anything about a 3.

This was just SO good. This album is sheer energy. Lewis' passion and charisma really shines through, making you feel like you're part of the audience. Just so damn good.

Really enjoying this album after my first listen. Some impressive musicianship, and this Latin-infused psychedelic, progressive blend is so interesting

Some good tracks on here, feeling it a bit more than I did the last soul/funk album I listened to. Isaac Hayes also has a great voice. That said, this isn't something I'm going to be coming back to with any regularity.

This is the good stuff. These guys rock hard and they sound amazing live.

This album is pretty dope - lots of really catchy loops and beats. 'Three Little Birdies Down Beats' and 'Chico's Groove' are the highlights for me. Easily a 4 star, closer to 4.5

My initial impression is that it's alright - I do like drum n' bass, and there are some great beats, but I just don't know if I'm feeling it all that much.

'On Some Faraway Beach' is such a great song, as are a few others on this album - 'Needles in the Camel's Eye', in particular. A lot of really weird ones, too - very avant garde

Only three songs in and I am already loving this album. Super catchy, great energy, just really fun.

The flute addition really gives this music such a unique vibe. The guitar work and musicianship is commendable, and I'm a big fan of Ian Anderson's voice. I'm between 4 and 5 stars right now.

A fun, catchy album. You can really hear how this album would go on to influence the synth, new wave pop of the 80's.

Didn't pay super close attention to this album, but the beats were decent. Worth a few listens, not too bad.

'Opera' is an appropriate label for this album. It's lengthy, and I often found myself feeling that length. The musicianship on this album is often noteworthy, and a number of the tracks, including 'Zip City', are stand-outs. That said, I can't say I loved this album, nor do I think I'll find myself listening to this again anytime soon. Worth an initial listen if you're wanting to hear a slightly alternative take on southern rock.

This album is great. Purely instrumental with a really engaging, low-key, atmospheric sound. 'Along the Banks of the River' has been my favourite so far. 4 stars, easy.

Simply beautiful, I can't believe I've never heard of this album before. Absolutely love it, an easy 5 stars. What a gorgeous voice, and every song is worth listening to.

Great album, such a stark, haunting yet beautiful tone throughout. 'Leaving the Table' is the highlight, but it's definitely worth a full listen.

Interesting stuff - sort of a Nick Drake vibe, but with a bit more psychedelia thrown in. 3-4 stars. Big fan of 'Broken Heart'

'Bodhisattva' by itself is enough to give this album 3 stars, but the rest of the album was really enjoyable, too. I definitely prefer this album to 'Can't Buy a Thrill'

Only on 'Reynardine', but I'm really feeling this. Sandy Denny has a gorgeous voice. I'm leaning 5 stars on this one, I'm such a big fan of this electrified yet traditional folk vibe.

Great album, you can really hear the influence of 80's pop and new wave, but it's infused seamlessly into Cohen's stripped back style.

Damn, this album is something else. It just goes freakin nuts in 'Miles Runs the Voodoo Down' - its like some weird, psychedelic musical odyssey. But what an album, I can't not give this 5 stars.

Pretty dope album. 'Man Out of Time' is the standout track for me. 4 stars.

I feel like I'm listening to a 90's boy band. Respect where respect is due, clearly George Michael's music influenced those acts, and I can objectively recognize this is good pop music, but I am in no way feeling this. It's not my music.

Not my first time hearing this - I love this album. They really started off with a bang - so catchy, yet infused with that unique sound that is unlike any other music out there. 5 stars.

I'm not a huge fan of this genre of hip hop, but I have to admit that some of these songs are absolute fire. The vocal varieties in the group help to keep the tracks engaging, and the incorporation of more melodic, pop-based choruses and beats, not to mention the creative sampling techniques, help to make the stand-outs really stand out. We've all heard 'Killing Me Softly With His Song', but there's a lot to enjoy here - Ready or Not, Zealots, Fu-Gee-La, How Many Mics are all terrific tracks. Closer to 3.5, but I'll give 4.

Good stuff. Not much to say here, some really enjoyable pop rock on this album.

Peak 90's Indie/Alt rock. I've always preferred 'Slanted and Enchanted', as I find some of the tracks on here, like 5-4=Unity or Hit the Plane Down, as rather jarring, but I suppose they ultimately help make this album unique. Regardless, this is still a 5 star.

I thought I would have been a bigger fan of this than I actually am, but Morrison's voice is just too jarring for my tastes.

Such an iconic album, though I'm between 4 and 5 stars, only because I can't say that I love every song on here. I would give 4.5 stars if I could.

It's hard not to love this. Aretha's voice is next level

Damn, this album is really good. It's like a harder pre-cursor to the pop-punk craze of the mid to late 90's. Every song on here is a banger. 5 stars.

There's just something transcendental about Ella Fitzgerald and her voice. It's music that captures a place, a feeling, an entirely different time period. So beautiful.

I wasn't feeling this. Not really paying attention, but it also wasn't speaking to me.

One can debate however much they like over how "Wish You Were Here" or "Animals" are arguably better albums that lack the self-indulgent filler-ness of tracks like 'Any Colour You Like' or 'On The Run', and yet, you just can't deny that Pink Floyd tapped into something other-worldly with this album, lyrically, musically, and even conceptually. The guitar solo in 'Time' remains, for my money, the most striking, visceral, and all-around greatest guitar solo I've ever heard, and few songs hit as hard as 'The Great Gig in the Sky', 'Us or Them', or 'Eclipse'. People like to give "Money" flack, but you have to admit the cleverness of putting a track called "Money" at the centre of an album that's arguably about life and the various facets of human existence.

Not too bad, probably an album I would want to listen to a few more times to really appreciate. It didn't stand out on my first listen.

While I'm not normally a fan of this genre of electronic hip hop (grime, I guess it's called?), I was surprised at how much I enjoyed this album overall. There's a terrific energy and drive to most of the songs, and Dizzee's rap prowess is impressive.

Some really catchy stuff, although I wouldn't expect any less of Paul McCartney. Lots to enjoy here, and I appreciate the variety of tone and style across the album.

Terrific album - a great mix of rather melancholic yet infectious, low-key tunes.

I love 'classic' rock, yet I've never given the Stones an honest, full album listen until today. I loved this, lots of more classic blues-infused tunes, along with some Stones classics I've heard before like 'Gimme Shelter'.

I'm a huge fan of The Smiths, so naturally, I've always appreciated Morrissey's over-the-top emotion that he injects into his songs. And yet, while that is very much on display here, there's just nothing here that really stands out. All the songs oscillate between decent to good, and yet, after several listens, I can't say that I'm all that inclined to revisit this album anytime soon.

Not too bad. The album is consistently decent throughout, with a few worthwhile standouts, including the album's opener, 'For Tomorrow'. That said, I wouldn't be listening to this album again anytime soon.

Really enjoyable album. So much variety that ultimately results in a highly satisfying listen.

Definitely not one of Bowie's stronger efforts. The album has its charms, including his inspired cover of 'Across the Universe', but overall, this isn't up to his usual level.

I had a great time listening to this album. CCR's energetic, blues-heavy brand of rock is on full display throughout these 11 tracks, all of which are well-crafted and worth a listen. Some of the band's biggest hits, like 'Up Around the Bend', 'Lookin' Out My Back Door', and 'Who'll Stop The Rain' are all here, but even deeper tracks like 'Ooby Dooby' or 'My Baby Left Me' are delights to listen to. One of the biggest stand-outs here is John Fogerty's voice - he can really belt these tracks out, and the slightly gravel-y quality to his tone adds so much to the overall impact of the songs. Great album.

A thoroughly enjoyable album from front to back. Fran Healy's airy vocals are the perfect complement to the low-key, often acoustic-driven musical arrangements. A great example of what the late 90's/early 2000's 'Britpop' genre had to offer.

I gave this a few listens, and while I can appreciate the musicianship and songwriting, this unique, new wave-y blend of rock, pop, and R&B just isn't my sort of music.

'Boring' is the word that keeps coming to mind. I can appreciate that Kravitz is a talented singer and musician, but nothing on this album is standing out for me.

Certainly not bad. Upon my first listen, none of the songs really jumped out at me, but rather, there was a consistent quality of fairly catchy, entertaining indie dance music. That said, this isn't something I'll listen to again.

'So Hard' was a stand-out for me - really catchy through the verses and chorus while also injecting these abrupt tonal shifts that work surprisingly well. Other than that, these songs blurred together for the most part. There was a light catchy-ness to most of them, so it was a pleasant album to listen to, but isn't one I would listen to again.

Even though I still feel this album has some arguably filler-ish tracks - 'My Wife' in particular, and 'Love Ain't for Keeping' always felt a bit bland - the strength of the songs are just too great to justify anything other than 5 stars.

Interesting album - sort of an alt rock and shoegaze-y mix. Good stuff overall, 3/5.

This is just the greatest fucking album. 19 songs, every single one of them unique and captivating in their own way. The sheer number of musical styles touched on in this one album is insane. Not something you would expect from one of the UK's original 'Punk' bands, but here it is. One of, if not THE, best album of all time in my opinion.

This album is a world unto itself. I've listened to a lot of music, but there's nothing else quite like this. Such a unique and often bizarre blend of post-punk-infused pop with a hint of psychedelia.

Classic jazz album, huge fan

Like so many other albums I've listened to, the opener to this album, 'Violet', is arguably the best song on the album. Courtney Love's raw, savage energy and vocal performance is inspiring, her shouts of "Go on, take everything" chill-inducing. Fortunately, while 'Violet' is my favourite track on the album, it's far from the only good one. The album oscillates between higher intensity, punk-rock driven tracks ('She Walks on Me' being one of the heaviest) to more mellow, introspective tracks like 'Doll Parts'.

For all its grandiosity and self-indulgence, this is an incredibly tight 26 track album. As a concept album, it works commendably well, telling a coherent story throughout and moving through a notably diverse range of musical styles as it does. Some of Pink Floyd's best regarded tracks, like Comfortably Numb and Hey You, but there's so much more to enjoy here, such as the desperately sad yet beautiful 'Nobody Home' or the bombastic opening notes of 'In The Flesh'. Not Pink Floyd's greatest album, but this is their last great album.

Can't say I was really feeling this.

Always heard a ton of good things about this album but had never listened to it until recently. Overall, I was really impressed - such a unique blend of musical styles, it comes across as so much more than just a rap album, reminiscent of West's "Dark Twisted Fantasy"

This was really well done. I'm not a huge fan of electronic music, but Daft Punk really brings their own unique degree of artistry to these songs.

Not too bad, there are some strong poppy punk songs, although the latter half of the album blurred together and felt rather filler-ish.

Not too bad - definitely had that 70's alternative, art rock sort of feel.

Certainly not bad for a hair metal album. As I've often found with these sorts of albums, you'll have a small number of terrific songs, and then a large amount of filler that tends to blur together. I concede that the 'filler' on this album is of a higher quality, but still, very few tracks standing out to me beyond the ones you'd expect, e.g. "Pour Some Sugar on Me" and "Hysteria".

While 'Doolittle' is still the Pixies' magnum opus from my perspective, I can't not give this album a 5 star rating. The music is often times bizarre, manic, and yet it maintains an infectious consistency that ranges from enjoyable (Brick is Red, Cactus) to eff'in brilliant (Bone Machine, Vamos, Broken Face, Something Against You). Songs like 'Broken Face' and 'Something Against You' strike me as avante garde punk rock, and the results are amazing. Additionally, while I've heard it countless times and it has somewhat lost its luster, 'Where Is My Mind?' is probably one of the best songs I've ever heard.

Terrific album - Drake's smooth, often haunting folk music is on full display here.

My first 'Police' album. Like so many others, I've heard 'Every Breath You Take' countless times, but the rest of this album has plenty to offer. The music is such a unique blend of new wave and alt rock. Well worth a listen.

Gloomy as all hell but fantastic. Ian Curtis's voice really makes the album.

Big fan of this album.

Terrific album, particularly the first four tracks. Things fizzle out a bit once we've passed Limelight, but the whole album is still worth repeated listens.

Really enjoyed this album - you could definitely hear the post-punk influences of the time. There was an element of Joy Division, but with a stronger emphasis on melody and catchiness and the dreariness removed.

It's hard not to love the Carpenters. Karen has a gorgeous voice, and their songs just have such a beautifully wholesome and melodic quality to them. Some of the duo's biggest hits, 'We've Only Just Begun' and 'Close to You' are here, but every track is worth listening. Their cover of The Beatles' 'Help' is inspired, and I've always been a fan of their somewhat less popular but still fairly well-known track "I'll Never Fall in Love Again".

'Physical Graffiti' is a Zeppelin album that I've had to warm up to over the years. The diversity of musical styles on this album is just unreal, with each track hitting you in its own unique way. At first, it didn't grab me the same way Led Zeppelin II or IV did, but as time has past, it has come to be, for me, Zeppelin's greatest accomplishment. These songs just feel like the culmination of Zeppelin's unparalleled songwriting ability and overall musicianship.

I love this album. It's so bizarre, even a little creepy at times with the unsettling atmosphere created by the spoken word lyrics and off-kilter melodies, but it's an amazing experience overall. The quiet-loud dynamics carry such a powerful punch, my favourite example being in 'Good Morning, Captain'.

Some catchy tunes on this one. Karen O's distinct vocals are key in making these indie/garage punk-y worth listening to.

This was fantastic. Sam Cooke has an incredible voice - so much soul and feeling going into every song. Well worth multiple listens.

A unique sound but this isn't really for me.

I loved this album. You can really hear the impact it would have on subsequent acts. Terrific music.

This took a few listens for me to truly appreciate, but over the course of those listens, I became a bigger and bigger fan of this album. In classic concept album style, the songs weave together and tell the story of Arthur and his experience in a post-war Britain. There's so much to enjoy here - the bombastic opener 'Victoria', the cheeky, Beatles-esque 'Yes Sir, No Sir', the highly energetic and catchy 'Shangri-La', just to name a few. This is quality 60's pop rock, and is well worth several listens.

Really enjoyed this album - such an interesting fusion of various genres, ranging from rock to folk to more experimental sounds.

I have yet to hear a bad Steely Dan album, and this one is no exception. Their musicianship is always commendable, and the unique fusion/funk vibe they have going in a lot of these songs definitely makes this worth a few listens.

I am not a fan of this iteration of Bad Brains. I've long been a huge fan of their hardcore punk self-titled debut, and while I appreciate the band expanding their musical repertoire and having this more gradually-paced, rock-driven sound, it's just not doing it for me.

Big fan of Wilco, and overall, I've really been enjoying this album. 'California Stars' is the stand-out, but I have yet to encounter a bad song in the bunch.

What a terrific album. Front to back, every song on here is worth listening to - Debbie Harry's voice is fantastic and oscillates seamlessly between the punk-ier vibes of a song like 'One Way or Another' to the lighter, airy vibes of songs like 'Fade Away and Radiate' or 'Heart of Glass'. The album ends perfectly with the delightfully melodic and catchy 'Just Go Away'. Worth many, many listens.

While it's not necessarily a genre I explore often, I've heard plenty of electronic music in the past that I've enjoyed - everything from techno, house, and dubstep to more obscure genres like drill n' bass. With all that said, I can't stand this album. I'm not sure what warranted its inclusion on this list - perhaps it was more of a trailblazer upon its release - but these songs range from boring at best to grating at worst.

This album is something else. While it very much feels like a product of the 1980's, carrying it with it the feel of the decade's pop or new wave artists, the way those elements are fused with the rock/alt-rock underpinnings results in something unlike anything I've ever heard. It's like The Smiths or New Order, but poppier and dance-ier. The album starts off incredibly strong with 'I Wanna Be Adored' and 'She Bangs the Drums', the latter being my favourite track on the album. However, it remains strong throughout - 'Waterfall', 'Bye Bye Bad Man', 'Sugar Spun Sister', 'Made of Stone' - this album is filled with bangers.

I certainly appreciate the creativity and experimentation on this album - Bowie remained a musical tour de force down to the very end. With that said, in terms of how much I enjoyed this album, that is nowhere near my fondness for some of his other works. This is worth listening to a few times, but I won't be returning to it anytime soon.

'Stop' is a FANTASTIC track - the guitar work is Navarro at his very best, and the rest of the band absolutely shines, as well. Unfortunately, from my perspective, the album blows its proverbial load right out of the door and never quite captures that same energetic infectiousness again. The next three tracks - No One Leaving, Ain't No Right, and Obvious - have this dull, uninspired, repetitive vibe. To be fair, 'Been Caught Stealing' is a welcome reprieve, and is a great song that will always remind me of GTA: San Andreas.

I'll lead off by commenting that this is one of the more intriguing album covers I've come across. It's so simple, and based on the story I read on wikipedia, is well-meaning - it's meant to reflect the more positive tone of the album compared to Pop's previous albums. And yet, I can't shake this feeling that there's a certain mysterious ambiguity to his smile. Fortunately, the music itself is nowhere near as cryptic - the title track 'Lust for Life' is one that I've heard numerous times before in various movie soundtracks, and it's a terrific introduction to this worthwhile album. 'Lust for Life' and 'The Passenger' are the two well-known tracks on the album (for good reason, they're excellent songs), but there's plenty to enjoy here - 'Some Weird Sin', 'Success', the surprising blues-y nature of the aptly named 'Turn Blue', or the album closer 'Fall In Love with Me'.

Another great album by this group. It didn't hit quite as hard as 'The Holy Bible', but the songs still had that same catchy, aggressive pop punk tone that I'm a fan of.

What a bomb album. Chris Cornell is the main star here with his incredible vocal performances, but the rest of the band does a commendable job creating that heavy, grunge-y sound throughout. Everyone knows 'Black Hole Sun' and 'Spoonman', but there's so much here to enjoy - 'Head Down', 'Superunknown', 'Fell on Black Days', 'Let Me Drown'. Yeah, really terrific. I would give it 4.5, but I'll round up to 5.

First song on the album was a banger - it's theme from 'Vikings', and has a terrific brooding, atmospheric vibe. There are a few others songs on the album that come close to that same feeling, and I appreciate the eclectic mix of musical styles on display here, but I can't say I would return to this album anytime soon.

Fantastic. Hauntingly beautiful from start to finish.

Absolutely brilliant, and one of my favourite indie rock albums of the 1990's. Just a few minutes into the album's fantastic opener, 'The Stars of Track & Field', you know you're in for something special. The rich, engaging lyrics, the gentle acoustic guitar tracks, the surprising but perfectly placed trumpet solo, and the extended crescendo to close out - so good, and yet the album is only getting started. Every song on here is skillfully composed and so enjoyable.

What I will say is that a lot of modern country music sounds like this, some 31 years after this album came out, so kudos to Dwight for being well ahead of his time. Having said that, it's notable that this album and its lyrics lack the shallowness you sometimes hear modern country. "I Sang Dixie" was a highlight for me

The epitome of 'chill indie beats'. A terrific modern example of a brilliant debut album. As with so many albums, the first track is the standout - the aptly named 'Intro'. However, the entire album is worth a listen, with 'VCR', 'Crystalised', and 'Stars' being some other notable standouts in my opinion.

As with anyone who grew up in North America, I've heard Elvis songs off and on my whole life, but this is the first time I've ever listened to a full album. This is very much 'Blues-y'/slower Elvis, rather than his rock n' roll approach in the 1950's, but it's just so damn good. There's nothing quite like Elvis' soulful voice, and all of these songs are just so delightfully melodic and well-written, both musically and lyrically.

So this is the album that has "There She Goes" - good to know! The album as a whole is decent, but other than the well-known hit I already mentioned, I wouldn't say there's anything else on this album that really grabbed me.

Nothing like another excuse to listen to this unparalleled collection of 80's alternative rock. I've listened to a lot of Sonic Youth, and they're really in a league of their own - their music ranges from the insanely catchy to absolutely deranged and borderline unlistenable, and I feel they found the perfect balance of the two on 'Daydream Nation'. With that said, I will caution that the first song on this album is, at least in my opinion, far and away the best song on the album, the best song Sonic Youth ever wrote, and one of my all-time favourite songs in general. The hazy dream-pop-y intro, the relentless energy and drive, Thurston's vocals - it's just a brilliant accomplishment of a track. With that said, it's worth sticking around - you get a lot more of the band's tendency towards the more experimental later on in the album - distortion-heavy breakdowns and weird tunings are evident on such tracks as 'Total Trash' and 'Rain King', but at the end of the day, each of these tracks is enjoyable in its own way.

One of those jazz albums that anyone, including people that don't normally listen to jazz, can listen to and appreciate. The only other Miles Davis record that I've listened to extensively is his aggressively eclectic 'Bitches Brew', which I'm inclined to argue is, at the very least, more memorable than 'Kind of Blue'. With all that said, this album is still incredible, and is the sort of thing that everyone should listen to at least once. Even non musicians can appreciate the exceptional musicianship on display here.

Since this is one of those albums that has long ago been placed in the echelons of rock music's greatest hits, I think it's one that people might be too eager to jump to the conclusion that it's overhyped or not deserving of the praise it receives. But of course, that's nonsense. Even if you're tired of hearing 'Smells Like Teen Spirit' for the billionth time, it's hard to deny that Cobain tapped into something otherworldly with not only that indie and punk rock inspired masterpiece, but with every single track on this album. Putting aside the well known singles (for my money, Lithium is the superior of the four), not only is every song on this album worth listening to, every song on this album is fan-freaking-tastic. Who can forget 'Drain You', it's bizarre 'guitar solo' and a punk-rock yet Beatles-esque catchiness? The haunting closure of 'Something in the Way', or Cobain maximizing how much gravel he can incorporate into his signature screams in 'Territorial Pissings'. There's no denying so many of these songs saw additional life breathed into them due to Nirvana's seminal 'Unplugged' album, but that doesn't make them any less impressive.

Damn, what a start to this album - the 5 song combination of 'Politik', 'In My Place', 'God put...', 'The Scientist', and 'Clocks' is incredible, and shows Coldplay (at least this version of Coldplay) at their artistic and creative peak. Fortunately, while the remaining 6 tracks on the album don't hit quite as hard, they're well worth a listen, particularly the touching acoustic track 'Green Eyes'.

'Boring' is the first word that comes to mind. Perhaps when this album came out, it was a bit more compelling, but listening to it today, there's nothing that really stands out to me.

This era of The Flaming Lips has always been some of my favourite music. The trio of albums - 'Clouds Taste Metallic', 'The Soft Bulletin', and 'Yoshimi' - is peak psychedelic indie pop. While 'The Soft Bulletin' is the greatest of the 3, 'Yoshimi' features some unforgettable tracks, and one can't help but admire its creative spirit. For me, one of the most under-rated songs on this album is 'Are You a Hypnotist??'. The drums on this song are as close to 'melodic' as a percussive instrument can get, and there's such a hauntingly beautiful quality to the chorus. Of course, 'Fight Test', 'Yoshimi Pt.1', and the hit 'Do You Realize??' are the most accessible tracks on the album, and they're all examples of how endearingly poppy The Flaming Lips could often be.

Like so many other people, the first My Bloody Valentine album I listened to was their seminal 'Loveless'. Consequently, any other MBV albums I listen to are ultimately going to be subjected to comparisons to 'Loveless', which is arguably an unfairly high bar. Few artists are ever able to accomplish something as incredible and striking as 'Loveless', which probably explains why it took the band another two decades before they released anything else. With all that said, I was comparing throughout my listen of 'Isn't Anything' while still trying to keep an open mind. So no, this album is not anywhere near as good, but you can hear indications of what was to come. MBV's mastery of the 'shoegaze' genre and the incredibly atmospheric, moving soundscapes they would go on to create clearly has its roots in songs like 'Lose My Breath' or 'Cupid Come'. On the other hand, songs like the album's opener 'Soft as Snow' all go to demonstrate that the band still had some growing to do. So, overall, the album is good - certainly much better than countless bands could hope to accomplish on their debut album. But I feel this is an album that will forever live in the shadow of what's to come.

'Sunshine of Your Love' is such an incredible song, but the rest of this album is well worth a listen. Clapton's guitar work is legendary.

Arguably the end of Metallica's thrash metal era, and what an end it is. Of Metallica's classic thrash metal trio (Ride the Lightning, Master of Puppets, and ...And Justice), I'm inclined to say Master of Puppets is the best album, and yet, there's a certain 'maturity' to these songs that really demonstrates just how much the band had grown as songwriters and musicians since 'Ride the Lightning'. While my opinion might change from day-to-day, 'One' is probably my all-time favourite Metallica song and just one of the best songs I've ever heard. Never has a 7.5 minute song felt so short - the beautiful guitar work in the song's first half, the face-smashing heavy-ness of the song's latter portion, Hammet's legendary solo, the lyrics; it's all just so damn good. And yet, there's so much more to like on this album than just 'One'! Blackened, the title track, The Shortest Straw, Dyers Eve - these are brilliant songs, each of them on their own the sort of songwriting that the majority of musicians can ever hope to achieve, and Metallica has them all featured on one album. So yeah, 5 stars.

Not a bad album. Songs like "Heart of Gold" and "Old Man" are particularly strong, although, on the whole, I wouldn't say this album blew me away.

A much different vibe than 'Are You Experienced' or 'Electric Ladyland', often leaning towards a far more mellow, almost experimental sound, such as the more laid back groove of songs like 'Up From the Skies', 'Wait Until Tomorrow', and 'Little Wing', or the creative dynamics and transitions in 'If 6 Was 9'. The results are nothing short of incredible, particularly with 'Little Wing' - while only about 2 and a half minutes in length, Hendrix packs more soul and feeling into his guitar playing than many other artists can in a lifetime. On the other hand, songs like 'Spanish Castle Magic' or 'You Got Me Floatin'', you see the album mirroring the more frenetic energy of 'Are You Experienced', with Jimi's bombastic guitar virtuosity is put on full display as he oscillates seamlessly between rich, full rhythm playing and his technically marvelous solos. Additionally, it bears saying that, while Jimi Hendrix is always the one who gets the (well-deserved) recognition, Mitch Mitchell's drumming is incredible throughout. It's not easy to rhythmically complement Hendrix's guitar work, but Mitchell rises to the occasion. Moreover, I'm a huge fan of 'She's So Fine', where bassist Noel Redding took on vocal duties. The song has an infectious rhythm and energy, with Mitchell's ceaseless wholloping on the drums going hand in hand with Hendrix's drive. So yeah, there's a ton to enjoy here.

One of my favourite albums and a seminal record for anyone who is interested in the Indie scene of the 1990's. I would imagine this album could be quite polarizing - while the band's rich, melodic, dreamy soundscapes are likely the most appealing aspect of the album (the verses on 'Only Shallow', 'Looper', 'When You Sleep', 'Come in Alone', 'Sometimes'), MBV also incorporates rather jarring sound effects in many of these same tracks. The net effect, for me, is incredibly enjoyable, but when you take these more experimental elements and combine them with the signature muted vocals, this might not be for everyone.

When you hear some of these songs, it's hard to believe this was released in 1967. Songs like 'Sunday Morning' or 'There She Goes Again' are just so far removed from the typical sound of music at the time. It's not surprising that this album is flagged as being as influential as it is - you can hear the influence this album had on the alternative/indie rock scenes of the late 70's and 80's. This album is absolutely bizarre at times, but in a brilliant, unforgettable sort of way. The album's centerpiece, 'Heroin', is an excellent example, beginning in a more mellow way before gradually building into an eruption of cacophonic screeching and twisted guitar sound effects. The Velvet Underground were clearly experimental pioneers in their day - to this day, I've never heard another song that reminds me even faintly of 'The Black Angel's Death Song'. And yet, amidst all that weirdness are just some of the most melodically pleasing songs I've ever heard. 'Sunday Morning' is an amazing start to the album and captures the often ethereal feel to many of these tracks. Nico's vocal contributions to the album pair perfectly with some of the album's more psychedelic tracks, including the stand-out 'All Tomorrow's Parties'. "I'll Be Your Mirror" is simply beautiful, and I'll always appreciate the pronunciation of 'Clown' as 'Clon' on the catchy 'Femme Fatale'.

A 90's classic and still unique and fresh sounding nearly 20 years since its release. The way Reznor oscillates seamlessly between a heavier, industrial metal sound and the softer, atmospheric vibes of songs like 'Hurt' and 'A Warm Place' makes for a terrific album.

What a bumpin' album. We've all heard the jokes about 'Wonderwall' or the greatest lyric of all time on 'Champagne Supernova', "Slowly walking down the hall...faster than a cannonball" (that's sarcasm), but putting all those aside, this album is simply a banger from beginning to end. 'Hello' is a terrific opening, capturing the overall energy and engaging feel practically all these songs have. 'Hey Now', 'Some Might Say' (A highlight for me, personally), 'Morning Glory' - this album is incredibly consistent, and one of those rare few where listening to it cover to cover is an absolute must.

This album starts out SO strong - "It's On!" is an excellent opener and gets the listener pumped up for the album's best two tracks, 'Freak on a Leash' and 'Got the Life'. After that, you can stop listening to the album and not miss all that much. 'Children of the Korn' is interesting, what with Ice Cube's cameo, and there are some worthwhile moments in the other songs, but for the most part, it just feels like filler.

An extremely solid album from beginning to end. The overall quality does ebb and flow, but the quality is never poor - you either have excellent tracks like 'Bridge Over Troubled Water', 'Cecilia', 'The Boxer', or 'The Only Living Boy in New York', or tracks that are thoroughly enjoyable.

I've listened to a lot of metal throughout the years, but to this day, 'Hanger 18' remains one of my all-time favourite metal songs, and my favourite Megadeth track. It's no secret that the shortcoming of Megadeth's music has always been Dave Mustaine's voice, but on 'Hanger', he manages to mostly avoid his signature squeaky, nasally sound and deliver a decent vocal performance that really works with the rest of the song. Then again, this being Megadeth, we're here for the guitar virtuosity of Mustaine and, on 'Rust In Peace', Marty Friedman. And holy shit, is that on full display in 'Hanger 18'. The solo trade-offs in the final portion of the song, interspersed with that fantastically heavy riff, is just genius. Putting aside my love of that particular track, there's lots to enjoy on this album. 'Holy Wars' is another Megadeth staple, and for good reason - the face-melting nature of its opening, its well-known flamenco-style interlude, the sheer head-banging goodness of the remainder - yeah, that's a hell of a track. Fortunately, while many of these other tracks are forgettable vocally and lyrically, god damn does the music really shine. 'Take No Prisoners' and 'Five Magics' are great examples, particularly the insane guitar solo work at the end of 'Magics'. And then, after what's a gradual, slow-paced beginning to 'Poison Was the Cure', it just erupts in this incredibly energetic, thrash-y riff that carries the song into its brief yet brilliant ending solo. The remaining songs on the album are all worthwhile, particularly 'Tornado of Souls'. 'Dawn Patrol' is a surprising addition, bringing a much slower-paced, brooding element to the album. All in all, a seminal album of the thrash metal era, and arguably Megadeth's best. 4.5/5.

Synth-Pop, done 70's style. Having listened to plenty of synth-pop, techno, or other varieties of EDM from artists from the 90's onward, it's so interesting to reach back into the origins of this genre and hear the music that would clearly serve as a blueprint for so many artists to come. I'm not a big fan of synth or electronic-heavy music as a general rule, but this album has its own unique charm that's hard to deny. The minimalistic lyrics allow the band's highly experimental yet richly melodic compositions to take centre stage, and they're all worth a listen.

This album was a joy to listen to. Such a terrific variety of music, from the poppy and energetic to the soulful and introspective. 'Liability' and 'Writer in the Dark' are my favourites, but there's nothing to dislike here. Lorde is a fantastic vocalist and a genuine song-writing talent.

A really enjoyable funk/jazz album. The musicianship on this album is unreal, with the various segues into highly experimental jazz can be a real trip.

This album further supports my ongoing opinion that some of the best songs ever written in western music, across all genres, can be plucked from the first tracks of albums. The album's title track is brilliant - enough to bring a grown man to tears with its gorgeous vocal harmonies, heartfelt storytelling, and beautiful message. Fortunately, the album has plenty more to offer. I haven't listened to much of Dolly Parton but there's just so much to love here. She's an incredible vocalist and songwriter, and there's not a single song on here that isn't worth a listen (or several). 'Travellin' Man', 'My Blue Tears', 'Here I Am' are a few other highlights in my opinion.

This album feels like the definition of 'classic rock', which is not a bad thing. It kicks serious ass. The album's first few tracks are staples of classic rock radio, and for good reason - outstanding musicianship, infectious melodies, and great lyrics all contribute to the staying power of songs like 'More Than a Feeling' or 'Foreplay/Long Time'. While those may be the highlights, the whole album is excellent and worth multiple listens.

What a masterful work. Bowie would go on to do so much more musically but this remains, in my opinion, his most accessible, enjoyable, and accomplished work. 'Starman' is one of the greatest songs ever written; 'Five Years', 'Moonage Daydream', 'Ziggy Stardust', and 'Suffragette City' are never far from classic rock radio for good reason. 'Rock 'N' Roll Suicide' is one of my all-time favourite album closers, with its muted acoustic intro transitioning into the bombastic finale of Bowie passionately imploring "Gimme your hands cause you're wonderful". Yeah, this is one hell of an album. They don't write them like this anymore.

Black Dog, Rock and Roll, Stairway to Heaven, Going to California, and When the Levee Breaks, all on a single album - does anything else need to be said? There are three other tracks on here - two of them are odes to Lord of the Rings in classic Zeppelin fashion ('The Battle of Evermore' and 'Misty Mountain Hop') and are well worth a listen. 'Four Sticks' is the other, and while it does feel a bit out of place in relation to the legendary rock classics elsewhere on this album, it's by no means a BAD song. So yeah, this album is incredible. It has stood the test of time for very good reason - it's f'in brilliant. It holds a very important place in the annals of rock history. Easy 5 stars.

A profoundly dreary and yet often beautiful final send-off from this short-lived but incredibly influential post-punk act. Ian Curtis's haunting vocals are the star here, giving so many of these songs such an emotional punch.

I love this album. Like so many others, my "introduction" to Marty Robbins was hearing "Big Iron" in 'Fallout: New Vegas', and that remains one of my favourite songs of his, but there's so much here to enjoy. The primary star here is Robbins' voice; it perfectly encapsulates the soul of classic country music, belting out these charming, captivating lyrics in a manner that is so easy and enjoyable to listen to. There's a beautiful nostalgia to this music, capturing a time and context that has long since passed us by but continues to live on in these songs. An absolute must listen to.

A fun rock album with some of AC/DC's most well-known tracks, including Hells Bells, Back in Black, and You Shook Me All Night Long. These guys weren't much for variety when it came to their sound (I like this music, for the record, but one has to admit there was a certain formula here), but you can't deny that they really perfected their own unique brand of hard-hitting arena rock on this album. Brian Johnson, making his debut with the band, is a worthy successor to Bon Scott, with his incredibly distinct, powerful vocal performances being the perfect accompaniment to Angus Young's high-flying solos and classic rock riffage.

What a banger. While I think Zeppelin would go on to make better albums, I feel they perfected their blues-infused hard rock style on this album. Subsequent albums would see them develop as songwriters and branch out into various styles (with incredible results), but there are few better albums to put on if you just want to rock the hell out.

Regardless of what you think about Morrissey's contemporary public persona, you can't deny that The Smiths were in PEAK form when they released this seminal 80's record. Saying 'every song is worth a listen' feels like such a contrived observation to make about any strong record, but damn, EVERY SONG on this album is so damn good. The band oscillates between the morose and angsty ('I Know It's Over', 'Never Had No One Ever', 'There Is a Light That Never Goes Out') and the quirky and poppy ('Frankly, Mr. Shankly', 'Cemetry Gates', 'Vicar in a Tutu') with such seamless ease. Even if you're long past the feelings of isolation and loneliness that often accompany one's younger years, it's hard to deny that efficacy with which The Smiths capture that moment both musically and lyrically without sounding overly contrived or unrelatable. A beautiful album and one of the best to come out of the 80's.

This is not for me. The overall sound just epitomizes that 'hair metal' genre of the 1980's to a nauseating degree.

I oscillate back and forth between which SP album I prefer - this or 'Mellon Collie'. For all of the latter's grandiosity, I consistently find myself concluding that 'Siamese Dream' is the more accomplished record. From the bone crunching opening chords of 'Cherub Rock', this album delivers again and again on every. single. track. The band moves seamlessly between the melodically tempered and the face-melting heavy, often on the same track (Soma and Silverfuck, I'm looking at you two). While Corgan is obviously the driving force on this album musically and lyrically (not to mention that quintessential whine of his that gave the SP such a unique sound), I'm never not blown away by Jimmy Chamberlin's work on the drums. In the spirit of the greats like Bonham or Moon, his percussion flows beautifully with the music itself. On an album that is so profoundly guitar-focused, it's a testament to Chamberlin's musicianship that his drumming stands out so. One of the great albums of the 90's. While the Smashing Pumpkins would go on to release many more albums, they could never quite top the artistic zenith they achieved on 'Siamese Dream' and its successor.

A seminal heavy metal album that is mandatory listening for anyone who has even a passing interest in metal's roots. That said, this album is basically three classic Sabbath songs and a bunch of filler. Other than "War Pigs", "Paranoid", and "Iron Man", nothing else really stood out to me.

Pop Punk's last great gasp as a mainstream musical force (although it's starting to re-emerge here and there these days, with highly mixed results) and the best album Green Day managed since 1994's 'Dookie'. I still remember being in high school and walking by a group of freshmen huddled together, singing the album's title track. I could be wrong, but it's a rare thing these days for albums to elicit the sort of fandom this album prompted - it's all the radio could play for a solid year; even the 9-minute 'Jesus of Suburbia' got its moment in the sun - when was the last time anyone had patience for a 9-minute song?? Admittedly, Armstrong sort of cheated, given it's not a really a 9-minute song, but a medley of 5 shorter songs, but I'll be damned if I won't listen to that entire thing all the way through everytime I put it on. Putting aside the 5 major hits this album spawned, some of my fondest memories of this album reside in the non-radio hits - the anthemic 'Are We the Waiting?', the poignant sentiment and longing of 'Whatsername', or the band's willingness to segue from the 'concept album' focus and just have a bit of goofy fun on parts of 'Homecoming'. This album is terrific, no matter how you spin it.

Always a pleasure to listen to this brilliant collection of music. The Flaming Lips' brand of highly experimental pop rock often borders on the inaccessible, but they hit the perfect mix of avant garde creativity and beautifully melodic on 'The Soft Bulletin'; it's like taking The Beatles at their prime and throwing in late 20th century studio magic with just the right amount of weird. Not only is this album an accomplishment musically, but the lyrics are also often incredibly poignant and powerful. Songs like 'Waitin' for a Superman' or 'Suddenly Everything Has Changed' do such an amazing job at capturing and conveying emotionally heavy and profound ideas in such beautifully simple ways. An absolutely perfect album and worth many, many listens.

Sonic Youth continued their winning streak of high-quality albums that struck that more accessible balance of guitar-screeching chaos and indie catchiness with 'Goo'. While this album doesn't quite capture the greatness of 'Daydream Nation' or even 1987's 'Sister', there is a ton to enjoy here. 'Kool Thing' is arguably the band's peak radio hit-wise, and yet they still manage to stay true to their alternative, esoteric style, what with the spoken-word bridge conversation. Other highlights include the Lee Ranaldo-led fuzz fest 'Mote', 'Dirty Boots', 'Disappear', and, while not an easy-listening song by any means, I can't deny that the bizarre 'Mildred Pierce' certainly left an impression. On a final point, I can't listen to a Sonic Youth album and not give a shoutout to Steve Shelley - that man can drum like it's nobody's business, and SY's songs simply wouldn't have the energy and punch that they often have without his work on the drums.

Not my favourite REM album but a worthy effort with some excellent tracks, including the seminal "It's The End of the World As We Know It".

The Clash would go on to do much greater things, but this album was a hell of a start. Far more typical late 70s UK punk, and while some tracks are forgettable, others are essential listening for any fans of the band, my favourites "Janie Jones", "White Riot", "London's Burning", "Career Opportunities", or their accomplished cover of the reggae tune "Police and Thieves".

An important album in the world of independent music and hardcore punk, I acknowledge, but it can be grating to listen to after a while courtesy of Rollins' vocals. Certainly worth a listen, but this just isn't my jam.

This was quite the change for Beck, and while I admire the drive to do something different, this album didn't quite land for me. There are some worthwhile tracks on here, for sure - 'The Golden Age', 'Guess I'm Doing Fine', 'Round the Bend', to name a few - but overall, I wasn't captivated in the same way that I was with Beck's older other work, particularly 'Odelay'.

Save me from this painfully dull, generically 'soulful' album. I feel this music is trying so hard to be passionate and lively that it just falls completely flat on its face and becomes the antithesis of those two things. Not a single song on this album stood out to me. Supposedly, Dion himself hated how it sounded after production, stating it sounded like 'funeral music' according to Wikipedia. On that, him and I agree.

Classic. I have to admit, there is a filler-ish quality to some of the songs on here. Songs like "Nightrain" or "My Michelle" can border on the boring, although Slash's virtuosity ultimately elevates them to a firm rating of solid. That said, when this album rocks, it rocks like no other. Some of my all-time favourite songs are album openers, and there are few openers as awesome and memorable as 'Welcome to the Jungle'. 'Paradise City' rocks so damn hard, preceded by the not-quite-as-great-but-still-fantastic "Mr. Brownstone". "Sweet Child O' Mine" has long ago joined the rock n' roll pantheon of "songs whose opening riffs are so seminal you're going to get made fun of if you play them in a guitar store." Kudos to the album for not peaking after "Sweet Child", as it immediately kicks back into the high-octane head-banger "You're Crazy" and comes to a respectable close with "Rocket Queen".

I've always been more partial to 'Funeral', but a few additional listens to this album has convinced me that it's largely on par. This is a fantastic collection of beautifully composed and incredibly varied songs, with each track contributing something to the overall whole and being worth a listen. I was also a huge fan of Regine Chassagne's more prominent role as far as vocals go, with her striking and airy tone enhancing so many of these songs, including the album's arguable highlight, 'Sprawl II'.

Really big fan. The fusion of Irish folk with punk rock sensibilities works so well on all of these tracks. An album that I found gets better and better upon subsequent listens.

Excellent album. Nick Drake's mellow, moody brand of folk music is always a delight to listen to, and 'Pink Moon' is one of the best examples of his craft. The fact that this album sounds surprisingly modern goes to show the profound impact it would have on future acts.

The peak of 90's Radiohead, and, for those who might not appreciate the more experimental route Radiohead would take into the 00's and beyond (except for 'Kid A', you HAVE to appreciate 'Kid A'), arguably the band's best album. Seriously - this is just track after track of brilliant music. The incredibly rich arrangements of "Airbag", the hard-hitting transitions of "Paranoid Android", the melodic perfection of "Let Down", the stark beauty of "No Surprises" or "Climbing Up the Walls". The album is also commendable for its often poignant and haunting lyrics, touching on the ordinary and mundane in a way that helps to make them relatable and all the more impactful, much like Pink Floyd did in their hay-day. Easily one of the best albums of the 1990's - the sort of album you wish you could give 6 stars to.

Nirvana may have kickstarted the "grunge" movement, but I feel Alice in Chains better embodied the spirit and sound of 'grunge', the epitome being this fantastic album. Layne Stanley's haunting vocals and deeply personal lyrics are the heart and soul of this album, although the band itself more than holds their own, a highlight for me being the absolutely unreal drumming on 'Would?'. A high point for 90's alternative rock and an absolute must listen.

Putting aside the profound significance of this album as a cultural landmark of the 1960's that would have a pronounced influence on generations of individuals, musicians and otherwise, I also like to remind myself that the music on this album is just so amazing to listen to, some 60 years on. "With a Little Help...", "Lucky in the Sky...", "Getting Better", "Being for the Benefit", "Within You Without You", "A Day in the Life"....virtually every song on this album is not only a must-listen, but a straight up Beatles classic.

Incredible album. Cash's voice is like silk, belting out this combination of originals and covers in a way that only Cash can do. In the spirit of other truly great live albums, the energy of the performance and the crowd comes through time and time again, making one feel like they're actually there. The way Cash jokes with the crowd, or occasionally stumbles in songs as he laughs at this and that is so incredibly engaging. This music is just brilliant, classic country - 'Folsom Prison Blues', 'Cocaine Blues', '25 Minutes to Go', the moody 'Long Black Veil', the inspired duet cover with June Carter of 'Jackson', the touching 'Green, Green Grass of Home' - there's just so much to love here.

Just because something purposefully sounds bad doesn't then make it good. If I were a musical publication and rating the album on its "importance" and impact to music as a whole, sure, rate this higher. Sometimes, experimentation or art for its own sake is worthwhile, and no doubt 'Trout Mask Replica' is a fascinating example of just that. I'll also acknowledge the musical and technical proficiency required to put together something like this - it sounds awful, but it's awfulness with a purpose. But wow, it's hard to listen to. 3 stars for its impact, as I acknowledge we wouldn't have music like Tom Waits if it wasn't for Beefheart.

A classic Beatles album with rumblings of the greatness to come. For those who prefer their Beatles poppier and only a tiny bit experimental, this is probably the group's zenith. 'Drive My Car', 'Nowhere Man', 'In My Life', 'Michelle' - there's just so much to love on this album.

A defining moment for the Beatles and pop music as an art form. While 'Sgt Pepper' typically receives the majority of the accolades, this is a worthy predecessor and the first clear demonstration of what the Beatles were capable of when it came to pushing the limits of what popular music could offer. From beginning to end, this album is a joy to listen to. The band retains their cheeky, infectious sense of humour ("Taxman", "Doctor Robert") and injects plenty of more 'classically' poppy tunes ("Yellow Submarine", "And Your Bird Can Sing") while also just being relentlessly brilliant on track after track. "Tomorrow Never Knows", "Love You To", "For No One", "Eleanor Rigby", "I'm Only Sleeping"...even today, writing this in 2023, it's just incredible that people could write songs as original, creative, and enjoyable as these. One of the best things the Beatles (or any musician, for that matter) ever wrote.

Hell of a debut album, and the best of the Syd Barrett-era Pink Floyd. While Floyd has always been regarded as a 'psychedelic rock' band, the group's latter and more popular work tended more towards the 'rock' side of things, whereas this album has the psychedelia on full display. The results are something else - utterly bizarre at times, brilliantly melodic at others, but always worth a listen. With Syd Barrett departing the band shortly after, it would be four years (1971's 'Meddle') before the band would start releasing albums that came close to this level of quality.

One of the best things any band has ever done. On "Doolittle", the Pixies took that fervent punk rock-driven energy they had been refining on "Come On Pilgrim" and "Surfer Rosa", refined it ever-so slightly, and packaged it into 15 incredible songs that would go on to profoundly influence the landscape of alternative and indie rock, and for good reason - these songs kick so much ass.

A defining moment of the indie rock scene of the first decade of the 2000's. Considering that indie rock really saw its heyday in that period, that's really saying something. The album begins with what remains one of my favourite Arcade Fire songs and one of my favourite songs in general, "Neighbourhood #1 (Tunnels)". Set amongst an incredibly rich and artfully arranged array of instruments, this song is a masterclass in album opening songwriting that gradually builds to a powerful and memorable crescendo. That the band is able to maintain such quality throughout the entire album is a testament to its greatness. They oscillate between harder-hitting and energetic tracks ('Laika', 'Power Out', 'Wake Up', 'Rebellion') and more subdued, reflective pieces ('Une Annee Sans Lumiere', '7 Kettles', 'In the Backseat') in such a seamless and purposeful way, making for an extremely enjoyable listening experience that is never overwhelming, despite the thematic and musical heft carried by these songs. While Arcade Fire would go on to release more popular albums, in my opinion, this remains their magnum opus. Absolute freakin fire.

An enjoyable and creative techno album. The sampling on this album is relatively sparse but used in an effective way and the group does a good job affecting various moods and atmospheres through their innovative (for the time) use of different beats and rhythms.

Ah yes, the moment when Radiohead officially abandoned whatever Brit Pop-Rock roots they had left after "Ok Computer" and went "fuck it, let's be weird as hell from here on out". And damn, what a result. Even listening to this album 23 years after it first came out, it still sounds fresh, creative, and incredibly enjoyable. Some tracks leave more of an impression than others. For a song where one of the main lyrics is "yesterday I woke up sucking on a lemon", "Everything in its Right Place" is an undeniably beautiful and haunting song. "Kid A" has some compelling atmospheric qualities to it, but the song as a whole is a bit disappointing, particularly in comparison to the rest of the album - you would think they'd have picked a better song to be the title track. That said, tracks like 'Kid A" or "Morning Bell" are more the exception when it comes to what is otherwise an extremely high degree of quality throughout. "The National Anthem" is one hell of a ride - this infections, funky bass line underlays the entire song as it slowly builds to this chaotic jazzy cacophony. "Idioteque" remains one of the band's best songs. More subdued tracks like "How to Disappear Completely", "Treefingers", and "Motion Picture Soundtrack" are further standouts that demonstrate the band's adeptness at creating these melodic, moody, and memorable pieces of music. While I wouldn't say this is Radiohead's best album, it's arguably their most groundbreaking, and is undoubtedly an absolutely essential listen for music fans everywhere.

Certainly not bad, but it would be far from my first choice if I wanted to listen to hard rock from this era. The guitar work is well done, and I can appreciate how this would have sounded novel and creative at the time. Unfortunately, it's not the sort of album that has held up well over time.

It's albums like this that highlight the ultimate failings of the 5-star system. I've given so many other albums 5-stars, and yet, VERY few of them can hold a candle to an album like 'Abbey Road'. So when you see this 5-star rating, understand that what I actually mean is that this is one of those transcendental 5-star ratings - the kind where any number of stars has difficulty really doing justice to the incredible masterwork that is 'Abbey Road'. It is a King amongst Kings, the Beatles' last hurrah, their magnum opus, and a culmination of their unmatched musical prowess that, to this very day, is STILL talked about, lauded, and admired for its unparalleled influence and the pure enjoyment it brings to music fans everywhere. 'Come Together', 'Something', 'Oh! Darling', 'Octopus's Garden' (Yes, this one is an absolute joy to listen to and is pop perfection, don't try to tell me otherwise), 'I Want You (She's So Heavy)', 'Here Comes The Sun' - every single one of those essential, classic tracks is on the same freakin' album, and that's without me even mentioning the incredible medley on the album's second half that's kicked off by "You Never Give Me Your Money". Essentially, this is about as good as any music anywhere gets, and god damn is it ever amazing.