2.8 - If you’re 14 and hate your stepdad, this may be the album for you. Amazing drums, though.

2.7 - How can Adele be so talented and yet so boring? This record is totally devoid of any risks, and presents no distinct point-of-view. She's a young woman who's lived with heartbreak, has had a chance to process her pain privately and is ready to move forward with her life. Wow, Adele, so profound, and yet so relatable - it’s like she’s one of us! And I hate that she's consistently chosen to share only the most tiresome parts of her love-life. We see her always at the “crossroads”, saying goodbye with sincere regret but looking ahead to what's next. Has she never experienced the fun of being in love? The giddiness of meeting someone, the anticipation of being intimate? And why has she chosen to sanitize her pain? It's all very vague. Where are the tears that left smears of mascara on her face? What about the hours spent jealously stalking a lover on Facebook? I'm sure critics have praised this as a "mature" record (*wretch*). As expected, Adele's voice is luscious - she's truly blessed. But why use that exceptional voice to convey only the most unexceptional, "everywoman" feelings? By the end I find all the operatic belting and "you-got-this-girl" sentiments nauseating.

4.0 - Sounds like the soundtrack to a 1981 cop comedy, maybe starring Dustin Hoffman and Danny Glover. They have to solve a murder case involving Colombian drug dealers. A wealthy heiress is the love interest. She’s modestly hot in a big-haired 80s way. There’s one sex scene where she’s wearing ridiculous lingerie and we see her tits for half a second. There’s a car chase, a couple explosions, one drunken evening that makes the main character question his choices, finally he cracks the case, the bad guys go to jail, he says goodbye to his partner and the girl. The last scene shows him moving back out West, giving up the cop grind, to work as a ranch hand.

3.8 + Look, I just find Led Zeppelin exhausting. Whenever I hear them I think of my douchey college roommate expounding on how they were “revolutionary.” So, fine, yes this album is terrific - it’s 10 solid tracks with killer drums, piercing vocals and searing guitar. Braun-Yaur Stomp rocks my nuts off. My problem though is that it’s a dialed up sound. It’s like owning a Lamborghini. If all you need is to run out for milk and eggs, driving a supercar can feel like a chore. Same with Led Zeppelin. Sometimes I don’t want music to sound so maxed out. So my college roommate can suck it.

3.2 - “Hey man, it’s Sunday morning around 10:30. Thanks again for letting me borrow your stapler to put together the last of those zines. Listen, I’m about to throw on some cargo shorts and head over to the quad with the boombox. Been digging this new Lemonheads album. I’m bringing a hacky sack and my devil sticks, too. You know, just chilling like a villain. If you get this, maybe grab that Spin Doctors CD if that’s coolio? Alright, brotha, come by the quad if you can, otherwise leave a message on my answering machine. Catch you on the flip side. Peace!”

3.2 + Tagged along with a few buddies back in high school to see these guys play. It was a fun show and I was impressed by Brian Ritchie’s fat bass licks. But listening again many years later, I’m not loving this record. I appreciate that they give voice to the loneliness and sexual frustration that many young men endure, but, thankfully, most of us are able to grow past all this. I no longer enjoy dwelling in this dank, musky headspace of sad teenage jerk off fantasies. Also, it’s off-putting to hear a grown man sing lustily about underage girls with lines like: “Beautiful girl, lovely dress / High school smiles, oh yes.”

5.0 + A masterpiece.

Non-stop party album that blends authenticity of street life with goofs on smoking weed, ragging on homies and other characters in the hood. Flowing rhymes, sharp wit, fun beats, hilarious lyrics ("Ya Mama"). A refreshing counterpoint to the gangsta rap of the early 90s.

What to say that hasn't been expressed a billion times?

5.0 + Getting blazed and listening to this record in my buddy’s Nissan Maxima was among the most formative music experiences of my teenage years.

I'm completely blown away by this album - it's so full of surprises. It starts as a Cold War inspired atmospheric exercise, a la "Spacelab" by Kraftwerk or "Warszawa" by David Bowie. Heavy on rich synth sounds of the era. It moves seamlessly to industrial instrumentals that masterfully layer noise and disparate sounds. Throughout they throw in bouncy pop songs that carry that Soviet synth sound, overlaid with vocals with loads of reverb and echo. Given that this album came out in 1981, it feels like a "granddaddy" reference for so many bands, and albums that would follow. Hell, it sounds futuristic to this day. One of the best albums in recent memory! (And this is one I listened to probably 30 albums into this exploration).

Hard hitting samples, crisp MC delivery, strong lyricism, balance between consciousness and gangster, Brooklyn sound, album cover shows WTC in flames (in 1994!). This one hits hard. Love! Ain't the Devil Happy Da Bichez

3.5 - Interesting as a window into Dylan's evolution as an artist with a singular voice. Besides "Blowin' in the Wind" and "Don't Think Twice...", Dylan sounds like a parrot - a young mind eagerly absorbing a broad array of influences and regurgitating them, sometimes reimagining and reworking certain elements.

Dense with atmosphere - jagged guitar loops, foreboding synth drones, vocal echoes, distorted field/media recordings. Lyrics express paranoia and dread - "I must fight this sickness." Initially what strikes me most is the drum sound. Sparse, driving, machine-like, repetitive, urgent. In this regard, it seems to borrow from Joy Division. This album is not a feel-good crowd pleaser and I'm instantly in love.

I mean, the album starts with "Do It Again" and "Dirty Work." Those two songs alone make this one a heavy-hitter. "Reelin' in the Years" anchors the middle - also another Classic Rock radio mainstay. Overall, this album displays tight songcraft, meticulous studio production, crisp orchestration, and some impressive guitar work at certain parts. A band with a deep bag of tricks. One ding from me would be that it definitely sounds like 70s stadium rock, but it's probably among the best I've heard of that genre/era.

Wonderful collab between Iggy Pop and David Bowie. Borrowing from some of the best artistic elements of the day to create a sum greater than its parts. Drum sounds borrowed from Joy Division, punk vocals and sensibilities through Iggy, Cold War imagery in the lyrics. This record is simultaneously structured and loose, wild and buttoned up, analog and digital. The sounds jump of the record. Incredibly vital.

Though it's not instantly a favorite, I can understand Kate Bush's lasting influence on experimental pop. Brave and assured, if sometimes cheekier and campier than I prefer personally. I do love the muted bass and some of the synthesized sounds, which often seem well ahead of their time. This is an album and artist that will probably reward repeated listens.

Was listening to this fairly regularly from 04-07. The songs sparkle just as much now as they did then. Great storytelling, wonderful slinky and spare guitar work. Everything on this album works and feels lived in while feeling just slightly rough. It's like visiting an old friend.

Hadn’t listened to this in a few years. Starts off hard, first two tracks are amazing. Ice Cube’s delivery on point. I found myself getting a little burnt out after that. Hip hop sound has come so far in terms of production, quality of samples and skill of MCing. Not denying the influence of this record. I just didn’t find it exciting like I once did.

Not for me.

Soulful garage rock. Infectious grooves over a bed of rock-solid bass and drums with some interesting and sparse overlays (synth, guitar flourishes, etc). Nice vocalizations. A good listen from start to finish, few if any weak moments. Didn't blow my mind but it's an album I can come back to.

This album showcases all of what I love about Spiritualized and Spacemen 3 - the droney, hazy, extended musings, usually built around one major chord. Very pleasant both as background and also as a focused listen on headphones. I think I prefer this album to "Ladies and Gentlemen..." which sounds a little more dated at times.

Beautiful as an instrumental album. Great as background. The first track "Djed" is 21 minute opus that goes in several different directions.

Fast and hard charging. Unlike lots of other punk outfits, these guys can actually play. Nice synth additions. Vocals come through clear.

Dark, moody, understated. Lovingly arranged, wonderful restrain. Just enough negative space to allow songs to breathe. This album has outsized influence on 90s downbeat sound. If there's one criticism it's that incorporating the scratching record sounds definitely dates the record.

5.0 + Thanks, Thom Yorke, for turning me on to this record in 2001. It took about a dozen listens before I understood it — at first it mostly sounded like throwing jazz instruments down flights of stairs. Now I appreciate it as a soundtrack for a fever dream. Miles Davis’s sparse and echoey trumpet takes on an eerie, menacing and strangely majestic quality, especially when contrasted with clouds of creeping electric piano lines and muted, splashy drums.

Sensual, feminine, soothing, pretty. Mariah's luscious vocals are on full display. Gorgeous production. Songs mostly address bedroom tenderness, reminiscences, relationships. Overall, this one wraps like a soft embrace. Doesn't speak to me personally but I can appreciate an album well realized.

4.4 + I’ve loved this album ever since I first l heard it at a Newbury Comics listening station. There’s a breathy, shimmery quality that pervades the entire record — appropriately, it makes me imagine floating in space.

Transcendant.

Cynical, snearing with a healthy dose of vulnerability. This one shows Blur probably in their full turn-of-the-century paranoia and misanthropy ("Advert"), mixed with a dose of sensitivity ("Blue Jeans"). Plenty of interesting chord progressions, and the characteristic twists and turns that make Blur messy, good fun. Perhaps not the same towering hits here like in albums like Parklife. Still, a wonderfully solid addition to their catalog, with consistent hooks throughout.

Melodic midtempo British/Manchester rock with notable balance of experimental and straightforward. A testament to tight songcraft done by what feels like a fairly standard four- or five-piece rock outfit. Many of the Stone Roses biggest hits are here - "I Wanna Be Adored", "Waterfall", "Bye Bye Badman."

Some of my favorite Billy Joel songs on this on. Still, it’s Billy Joel.

My first Tom Waits album. Unmistakable gravelly voice. Lyrics evoke the poetry of Bukowski, set in strip joints, cheap bars and dirtbag motels. Clanky percussion and nightmarish organ sounds. Waits is cynical and worldweary. Dry and bitter delivery set over spare acoustic instrumentation with some elements of smoky lounge jazz.

Was surprised to see this album on the list - I suppose some of the 1001 will end up fairly forgettable. This album marked the point where I definitively stepped off the U2 fan train, after enduring the underwhelming "Pop." To me, this album feels more like a vehicle to fuel the stadium-filling U2 tour machine, and less a labor of artistic expression. Most of the songs lean on earnestness and overblown anthematic choruses - the kind that can keep an arena of fans on its feet. Lyrically, this album contains more than a few dud moments (see "Elevation", atrocious word in "Kite"). In the rare occasions I need a U2 fix, I'm reaching for Joshua Tree, Achtung Baby, or maybe even Zooropa, which certainly contain an excess of pop anthems but are balanced with more atmosphere, more experimentation, more fun risks that made U2 exciting to me in the first place.

What's the point of re-listening right now? I already know this one's a goat.

I like the imagery in the lyrics - they read like poems. I also like Nick Cave's voice that's unique. The arrangements are super spare and the recordings sounds live, mostly acoustic and unfiltered. After listening to this album, I understand Nick Cave's mystique but I'm feeling unexcited and a little confused. Perhaps with more understanding of his other albums, I'll have more context to judge.

A pleasant cross-section of 1960s sounds and influences: psychedelic lyrics, folk instrumentation, light roadhouse asides, muted Dylanesque freakouts, British invasion flavors, brief tinkering with sitars and Indian melodies. All added sparingly and tastefully to enhance the songs that are well conceived. It feels like pastiche but somehow it works.

3.6 + The blend of genres, the communal feel, and the sheer funk - you can't deny the ambition and scope of vision here. Purely as a listening experience, though, it can get tiring to wade through some of the extended jam sessions. For me, it sometimes sounds too crowded. I'm a bigger fan of "Maggot Brain" as a more coherent record, though it's not as accomplished as a funk record or amalgam of genres.

I can appreciate the virtuosity and polish of this band and the level of craft within this album - "Shinin' Star", "Reasons" and other tracks have clearly endured. It simply doesn't suit my taste. I associate this sound with wedding music - not necessarily a bad thing, just not what I find exciting personally.

Big, commercial Boomer rock. I finally listened to this album all the way through, and I never have to again. Still, can't knock it too hard - it's got "I'm on Fire" and "Dancin' in the Dark."

3.3 - I suppose context is everything - whereas I've found other Miles Davis albums groundbreaking, to my ears this sounds like laid back big band jazz. Certainly "cool" and pleasant but I'm not feeling that sense of awe and excitement that I'm probably supposed to.

Solid guitar riffs throughout, Steve Tyler's voice rings in its full glory. Strong as far as blues-based 70s hard rock goes. "Sweet Emotions" is still a banger. Some good deeper cuts in this one - all around a good groove from start to finish.

Monster hooks, monster riffs, monster drum fills - the excess of the 80s are in full effect here. Whereas I tend to ding albums for sounding dated, somehow I enjoyed this album much more than expected - it's so over-the-top 1987. There's even a catch-all political track that encapsulates all of the "foreign threat" fears of the era - terrorism, civil unrest, Cold War, complete with a cameo from Ronald Reagan himself. A perfectly realized time capsule.

Beautiful, soulful, timeless. Redding himself has some amazing writing credits on this album - "Ole Man Trouble", "Respect"... The rest of the tracks are rearranged and sung with that grit and conviction.

I enjoyed this one as I've enjoyed Amerikkka's Most Wanted and other Ice Cube albums. He's not one to pull any punches - lyrics hit their target with razor sharp precision. Samples are well chosen if a little repetitive at times. Solid hard-charging vibe from start to finish. Aggressive misogyny and homophobia make this one perhaps more a product of its era and less aligned with my current tastes.

Consistently unexpected song structures and proficient instrumentation redeem this record that would otherwise come off as a campy, kiddy halloween affair, similar to Alice Cooper's stage act at its most worn out. Plenty of great tongue-in-cheek moments to boot ("Grande Finale", "Alma Mater"). There's lots to like here even if it is sometimes insufferably whacky in a 70s "freak-out" sort of way. This is the type of record you'd hear spinning at an independently owned novelty shop.

Forgettable 80s adult contemporary. “Holding back the years” is an amazing standout (though a cover) but that’s about it.

Some strong extended jam sessions, especially "Sex Machine" which clocks in around 10 minutes. Plenty of surprising guitar and organ sounds and Sly sounds great with the Vocoder. Not quite the hits or fire power of There's a Riot...

Cultural appropriation aside, this album is a tremendous feat in bringing together different influences - notably, African - to create a completely singular sound. Consummate production, especially in the bass and rhythm tracks.

A surprisingly contemporary genre-defying oeuvre from 1976 that blends elements of chamber orchestral music, psych-rock and others. Reminds me of The Books.

Definitely interesting and one of a kind as a concept album. I enjoy the conversational, Seinfeld-esque "about nothing" style. I appreciate getting into this guy's life. The instrumentals are spare and usually underwhelming. The delivery is kind of awkward. It requires a close listen to appreciate.

Chock full of 80s tropes, done stylishly. The emotional backdrop of this album interests me - the overall tone is earnest but cool, which allows songs to explore nuanced adult feelings. Some of the synthesized tones, especially the overused vocal backgrounds, sound rather cheap and dated. The songwriting is proficient, the voice and studio production are clear.

Oh, the trials and tribulations of being a grrrrl! This album gives voice to a young, angsty PJ Harvey, creating a playground for grungy guitars, howling vocals, and urgent drums. Hadn't listened to this album in full since I can't remember when - always gravitate to its strongest tracks, "Plants And Rags" and "Dress", which are exceptional and have been on heavy rotation since 2000. Harvey draws from some of the best grunge elements of the era, tempering chaos, raw emotion, with grounded songwriting. This is a terrific preview for "Rid of Me" and "To Bring You My Love", which both expand and mature her sound.

A never ending parade of synthetic intensity, like a bottomless Monster energy drink. If you're looking for music to smoke crystal and gyrate all night until 9am in a sweaty European basement rave to, this album is for you. Just a ham-fisted splooge of blips and bloops, uninspired samples, repetitive beats that mostly go nowhere. Fine if you're in a trance or need something high energy bumping in the background - decent as a workout soundtrack, certainly does not warrant a close listen.

A typical collection of Bob Marley songs: romantic, political, party oriented. The production on some of these is a little low-key - the songs are strong but the production sparkle isn't always on par with Legend.

4.3 - Just listened to Marshall Mathers EP and I can understand why critics find that one slightly more compelling - it's more challenging, brazen and raw than Slim Shady. I just happen to enjoy listening to this album more. The amazing rhymes are here, the incredible flow, and Eminem sounds less jaded, more bouncy and just funnier.

A quick scan of Wikipedia, along with this album, reconfirms my suspicion that I should be spending more time with the Byrds. It's amazing to me how they've managed to apply their chameleon spirit, boosting off their folk rock and psychedelic successes, to fully immerse in country. This album incorporates everything I love about the genre - the relatable storytelling, the hopeful longing, the simple and solid acoustic instrumentation - while retaining that sunny California Byrds sound. I don't know whether this album is considered by purists as part of the country canon but it will certainly be one that I return to again and again.

I can understand why Grateful Dead is known less for their studio albums - the mix on some of these tracks is a letdown. Percussion parts too forward, guitars buried in the background where they can barely be detected. The vocal harmonies are rough at parts - phrases not ending crisply, not nailing certain parts, etc. Admittedly, these same warts likely add to the overall human charm. Despite my gripes, this is an amazingly strong collection of songs - just a happy listen from start to finish.

Cohen's quiet intensity, expressed forcefully through his poetic lyrics, clear baritone, simple flamenco-esque fingerpicking guitar, spare production. Beautiful.

Sounds like the soundtrack to a film of an epic journey - longing, triumphant, poignant, hopeful, sometimes plodding, earnest. Love the subtle incorporation of guitar feedback, so often overdone. Orchestral arrangements are supple and gorgeous. A wonderfully immersive album. My one criticism is that the emotional tone rarely deviates, and for a relatively lengthy album (71 mins), it's a little heavy for a single session of close-ish listening, some moments of levity would help.

In my second tier of favorite Bowie albums. Starts off strong with Station to Station and Golden Years. A few flabby krautrocky moments in the middle, notably TVC15. Ends with some impressive vocal performances in the last couple of tracks. The lore around this album probably overhypes it.

Every music magazine and Sunday afternoon VH1 documentary tried incessantly to convince me of the significance of this album. Taken within the context of 1977, I can see how this might've once felt groundbreaking but by now this entire sound has been wholly swallowed up and digested - there's very little here that to me sounds new or exciting. Certainly it seems like a strong example of early punk - songs convey an appropriately cynical POV, songs hit hard and rapid fire. And the vocals and guitar lines are exceptionally clear - plenty of muscle in the recordings. It's an enjoyable enough listen but I'll be only too happy to re-shelf this one back into the "canon", never to be picked up again.

4.4 - It feels fitting that this album features the band's likenesses carved into Mt. Rushmore. This image though ostentatious, in retrospect feels appropriate given how uncannily Deep Purple seemed to underpin and even portend what was to come in rock, both good and bad. In this album, we hear elements of prog, glam, early metal, free jazz, as well as butt rock, intertwined artfully. It's a sound that so many bands have tried mightily to channel, though lacking the same abundance of virtuosity. Here's a band honed to a razor's edge - the guitar riffs shred impeccably, the arrangements executed with technical polish to almost imbue them with a sense of spontaneity. There's considerable majesty and drama in these tracks - taken out of context, some will find it too audacious. I think much of that criticism may lie in our shared understanding of rock 'n' roll excess, as parodied by Spinal Tap. Taken by itself though, this album is a beacon that well deserves a place in the classic rock canon.

3.8 - Straightforward songwriting, poetic imagery, simple but effective guitar work. Standout tracks: "Cinnamon Girl", "Round and Round (It Won't Be Long)." This feels unrushed and the songs somehow feel fresh, emotionally.

3.6 - Quirky, zippy, lots of variety, brimming with ideas, lots of fun.

2.7 - Wanted to like this but the recording even after a remaster sounds grimy. No real standout tracks. To me there isn’t that much to distinguish this as a psychedelic record.

3.2 - Aside from the towering “Sweet Dreams”, this is some fairly forgettable 80s synth pop. Lennox’s voice is a powerhouse. Songs are constructed around a groove and tend to get repetitive.

3.2 - A strong collection of 90s pop rock. No surprises.

3.5 - Hesitated for 2 months to give this a listen. Good as far as live recordings go - some killer extended guitar solos - but not likely something I'll be excited to listen to unless it's playing on late night classic rock radio, or maybe at some dive bar.

4.3 - More introspective and measured than other Led Zeppelin I've listened to. Also, at 90 minutes, it's among their most expansive. One of my favorite Zepp songs is on here, "Kashmir." The middle of the record is a snoozer, with "In the Light", "Bron-Yr-Aur" and "Down by the Seaside", which are meandering proggy explorations. The last quarter features some rootsy acoustic blues, which showcase the band's incredible range and versatility.

3.7 - Starts with an audibly nervous announcer informing the audience that tonight's performance will be recorded and that everyone should relax, which sets a fun on-edge tone to the evening. By the end of the second track, the singer has fallen off her chair and laughingly improvises a line, "I've fouled up this one really well..." She comes back with intense ferocity on the next track "Just One of Those Things." Vaughan's voice is a marvel. She improvises all the lyrics on "How High the Moon", with some solid scatting thrown in, which rounds out a frenetic, sometimes off-kilter, but assured performance.

3.2 - Solid elements of speed metal, maybe mashed through an Atari filter. Definitely corny at parts, esp. "Charlotte the Harlot." Shredding guitars throughout, which overall make this a righteous affair.

3.1 + This one finds PJ Harvey with a sleeker sound, wearing an on-trend early aughts outfit on the cover and with guest appearances by Thom Yorke at his prime. I remember listening to this in 2000 and seeing her perform in Paris. The concert was blander than expected, and listening to this album again I can see why I found that show disappointing. What's all but absent here is the raw power, the angst and anger, the sexual ferocity. The album's look and sound are like a TJ Maxx version of PJ Harvey.

4.7 - Have loved Cosmic Warrior since I first heard it and love this one maybe even more. Wonderful glam rock, which I love, without the more do-woppy elements of CW that I don't prefer. On initial listen, I'm hearing no weak moments. Just an upbeat, fun and stylish record from beginning to end. Lush orchestrations, shimmery guitar, solid fills and solos, sexy sneering attitude.

3.5 - Draws from different strains of world music - Bollywood, Western inspired rock/pop, funk - while melding Arab influences. Funky, sophisticated. Cheesy at some points ("Imagine" cover) but I enjoyed listening.

3.5 - A fun concept - soundtrack to an imaginary film. Tracks seem to narrate a noir detective story in a seemingly chronological order such that I can almost see the film unfold in my mind. Best to know the song titles as you listen because they give a sense for the "scene." This was a fun listen. Highly cinematic, interest sounds and loops, cool reverb effects.

4.2 + Some beautiful songwriting with surprising quirks throughout. Strong 60s pop.

3.8 + Rollicking good fun. Some longer tracks here. "Stuck Outside of Mobile..." is excusable, even at 7:04. "Sad-Eyed Lady" at 11:19 takes some fortitude.

4.4 - Sophisticated R&B jams, smooth vocals with radiant falsetto, lush instrumentation. A vibe good enough to warrant an immediate repeat listen.

3.8 - Solid early rock 'n' roll, in the vein of Fats Domino. Little Richard is predictably fabulous with his soulful, gravelly delivery. Rock solid backing band with rhythm guitar, small horns section. Drums and bass way back in the mix holding it down. Fun and classic.

2.4 + Had a burned copy of this in 2002 when I was going through a tough breakup. Initially some of these songs hit well but after about a week the goopy sincerity and simplistic song structures and lyrics began to grate. This is a Paulo Coelho-esque, universalist, "we're-all-in-this-together" soundtrack, where the songs paint a very basic emotional landscape - vaguely sad, vaguely longing, vaguely hopeful - such that anyone can fill in the broad strokes with their own flourishes and colors. It's lowest common denominator music aimed at drawing a broad swath of listeners, likely those with less discerning musical palates who seek affirmation in music and eschew any challenge. I imagine it also helps if your English language skills are still developing - Chris Martin's voice labors deliberately through stanzas of simple words, enunciating every "F", "C" and "S." Here's another album that makes me question the premise behind this exercise - is this really an album to hear before I die??

4.6 + This was on heavy rotation on my iPod nano for several years, particularly at the gym. Such a tight backing band without too much extra by way of frills and effects. The bass line in “Is this It” is amazing. Vocals delivered with snearing affect mixed with general malaise. Love this one from start to finish.

4.7 + “L.A Woman” alone makes this a classic. Throw in “Love Her Madly”, “Riders on the Storm” and “Hyacinth House”...damn.

3.5 - Love the vibe and the sound. Long live Fats.

4.7 + The breadth of experiments with sound and the depth of playfulness, is what made this album an instant favorite, and which rewards frequent returns.

3.2 - Vaporous and sunny house pop, with lots of 90s tropes - crackly record sound, house drum tracks, light female vocals. Think of a souvenir shop in a European beach town, or sitting by the pool on Fire Island.

4.0 - Can’t believe I slept on this one for so long - it’s magnificent! The beats from start to finish are impeccable. The way they blend musical samples from so many sources and make it sounds that seamless? Incredible. I love the stories here. The rhymes and the flow are unique - I love that knucklehead scoundrel MC sound they got going. These songs transport you into their world briefly.

3.0 - Solid album of breakbeats. Enjoyable enough as high energy background music. Overall, it sounds frozen in 90s UK.

3.9 - the lyrics on this record read more like an issue of the Economist than a rap album. Songs deal with a very broad swath of hot button “controversial” issues of the era - immigration, environment, homophobia, television, consumer culture, fame obsession, fundies, white supremacy...these issues are still very much ones that plague us today (with the exception of television). In terms of sonics, there’s much to admire. Vocals are put way way out in front of the mix and the lyrics punch through crystalline clear. MC delivery is smooth and even. Much preachier, much headier, much more left leaning politically, more forward-thinking especially in its condemnation of homophobia, not especially violent or menacing in a physical manner, less gangsta, more well read, drawing in historical perspectives. At the same time, there are lots of dilentattish moments where he gets a little lost in his own head. Also the production/beats on some of these songs is often tinny and basic. For all its strengths and warts, I can say it sounds unlike any other hip hop album I’ve heard.

3.6 - Pleasant, easy listening in a good way. Pretty acoustic arrangements. A cozy album to put on on a lazy Sunday morning or rainy afternoon.

4.2 + TVOTR sounded like a band that was able for a brief period to harness their collective talent in full and stretch it to almost to its breaking point. The creative energy and ambition in this record burst forth at every turn. The rhythms, the sounds, the lyrics, the vocals. It’s undeniable.

3.6 + Soothing and soulful acoustic folk.

3.6 - Some solid tracks on this: "Eight Miles High", "Why", "Hey Joe." Sounds like fairly typical hippy guitar rock of this era with some psychedelic elements shining through especially in some of the extended guitar solos.

4.7 + Immediately I'm hooked from the grimy guitars and that first shriek on "Needles...". So many strange images and sounds crammed into these 42 minutes. Just listen to the layers of sound in "Baby's on Fire" - the drum track alone warrants a deep dive. There's the analog synth sound in the middle "Cindy Tells Me" that I can only describe as a cicada flying by my head. It's heady, amphetamine-fuled fun.

3.3 - Is this British dudes ripping off electrified American blues music and amping up the lead guitar? Hey, I know this sound! Some masterful playing on here; however, if you duck into any dive bar in the French Quarter in New Orleans on a Wednesday night, you can hear this music played live while you drink a $3 Budweiser.

4.2 + love that storytelling classic country music. Dolly Parton is an amazing songwriter and this is one of her best.

3.0 - A killer backing band with explosive drums and great guitar work. Non-chord based and almost absent of melody, which actually helps create some expansive soundscapes. But, sweet Lord do I find that lead singer grating! He sings with joyless, grunty disgust and the lyrics just make him seem like a dumb douchebag. Some of the writing seems lazy, leaning on unneeded swearing, which comes off as pretentious. The only standouts are "Curse Me", which has a female vocalist. Absolute gem. And the last instrumental track (again without the lead vocalist) is great.

3.3 - Classic old school hip hop sound. Sunny, poppy, "conscious." Some corny rhymes here and there, but overall there's plenty to like.

3.0 - Admittedly, I struggled to keep an open mind with this one. I'm not a huge fan of that 70s cock rock sound and I generally don't prefer live albums. And why are Irish lads singing “Cowboy Song” and about motorcycle gangs? The album captures a band that's clearly honed their stage act and mastered their sound, but it’s a sound that I don’t love.

3.5 - When an artist is given free reign to produce whatever he wants, without his former bandmates there to break his balls, does it enhance or detract from the final product? In the case of "Band on the Run", absent of John Lennon and his former co-creators, I'd say Paul's product leans too heavily on playful jokiness and I end up missing an emotional connection with these songs. Clearly, Paul's beautiful and unparalleled ear for melody is here. What's also here is some of his hokier and more childish instincts - writing about cartoonish characters (think Rocky Raccoon, Bungalow Bill, etc) and composing music that to me comes off as kids music. Like Raffi on an extreme sugar high. All of it is good but it's hard for me to take songs like "Jet" and "Bluebird" too seriously. Does this guy ever have a bad day, or is he just constantly farting rainbows?

4.0 + This album probably isn't a crowd pleaser - definitely rough in parts ("If It's In You") but there are also so many catchy tunes here! Also, the bedroom recording vibe feels vital to me, especially for the era when so many bands were obsessively layering on the studio lacquer.

4.0 - CCR all day, everyday! (Except their cover of “Heard it Through the Grapevine”)

4.4 - Never having given this album a close listen, I’d thought it was overrated like some of Dylan’s output. But now that I’ve had a chance to actually listen, I see that I was wrong - this album lives up to the hype. The schism between the acoustic portion of this concert compared to the electric one sounds jarring to me as a casual listener and I can only imagine how dramatic that schism felt to the concert goers who were expecting a solemn folk affair. Aside from the lore, Bob Dylan truly shines here. I love the songs. I love the vibe. It’s rare that I find a Dylan album I enjoy from start to finish - he often throws in wrenches to challenge the listener. In this case, by going electric, Dylan propelled this concert to a different stratosphere.

3.7 - Fun, macabre, theatrical. Unlike some of the other hard rock acts of the era, Alice Cooper doesn't take himself too seriously, which I appreciate. He also draws from different genres to create an album that's dense with ideas and lots of surprises.

4.2 - Shimmery pop rock that fits snugly into the late-80s indie era and also signals musical acts to come. Michael Stipe's vocals are throaty, muscular and clear. The album starts strong with "Finest Worksong", coming a peak in the middle with "It's the End..." and "The One I Love."

4.2 - Epic. Speakerboxxx comes on hard and nasty. Bottom heavy sludgy beats. Notable cameos from Killer Mike and Jay Z. The Love Below starts off highly introspective and takes a much different and very interesting turn, exploring the concept of finding one's own true love. It's an epic journey, an undeniably varied and dense of body of work and the sheer volume of music here boggles the mind. Small aside - it's rare that I think the skits make a hip hop album. In this case, the skits provide the glue within the narrative, which makes listening this as an album that much more rewarding.

4.1 - Love how comfortably these tracks reside between genres, refusing to be boxed into any one. Vibes all around!

3.8 - A collection of deceptively upbeat and sing-songy tracks that mostly strike a consistent sunny tone, with the exception of "The Murder Mystery." Underlying the simple chord structures are a meticulous blend of carefully chosen sounds with a keen attention to texture. Listen to the arpeggiated guitar line on "Pale Blue Eyes" and how it interplays with a single tambourine that hits on the 2/4 beats. Tsh...tsh...tsh...

3.8 + Love some Depeche Mode, and some of their best output is here (e.g. "Never Let Me Down Again", "Little 15"). There are also some strange asides ("Pimpf", "I Want You Now", "Agent Orange") where the band experiments with an expanded soundscape. Given the simplicity in the compositions, the almost brute force in the synthesized parts, tracks work best when they're focused around a composed song with standard structure (Verse-Chorus-Verse...). The experimental tracks sometimes sound ham-fisted and pretentious.

4.7 + Love.

3.3 - Probably a good example of early instrumental ambient scifi synth. Some solid and timeless sounds - probably impressive for 1976 but nothing special in 2021.

3.6 - Fun, bouncy blues rock with some synth elements to modernize the sound for 1983. Some of their biggest hits are here - "Sharp Dressed Man", "Gimme All Your Lovin'", "Legs." Also some throwaway tracks, notably "TV Dinners", which sounds like it was written by a 9 year old.

5.0 + One of my top 10 of all time.

3.6 - A glimpse into America, fresh off McCarthy and towards the end of Jim Crow. Sanitized and sweet rock n roll. Wholesome and painfully white but brimming with a soulful innocence. The singing and vocal harmonies really set this off. It’s a pleasant listen that I could come back to again.

3.1 - Just a quick aside to consider this album within the context of Willie’s career: This was his 22nd studio album, by this point he’d been recording for 22 years, he was 45 years old at the time of its release, and now in 2021 he’s 87 years old. I say all this because recording an album of pop standards is a move artists often make in the twilight of their careers. In the case of Willie Nelson, was this album a stopgap to appease his record company, and to give himself just a little respite from the grind of writing and touring? The album is fine. His voice sounds sweet and clear as ever. The arrangements do justice to the original recordings while accentuating Willie’s strengths. It’s obviously more than a little boring. It’s an album you put on when your grandparents are visiting. It also makes me mourn the musical wasteland of 1978 if this is an example of some of the strongest output for that year.

3.7 - Another hip hop album I wish I'd listened to earlier - Missy's a godmother to so many current rappers. Her monologues interspersed give us a chance to better know her POV and to empathize. Some real bangers on here. Also a couple of duds. Above all, Missy comes off as honest, sometimes brutally so.

4.0 - slick production, clever lyrics, some bangers. All around a solid pop album. I’d underestimated Taylor Swift. There’s substance here.

4.3 + lots of fun twists and turns throughout. Boisterous.

3.9 - a pleasant blend of psychedelic and Country-western elements with hippie pop rock. Songs well crafted with pleasant harmonies, condensed to flow creating a cohesive listen with a few interesting experiments with guitar delay and some synth. The Byrds have some outsized real estate on this list (7 albums?) but so far what I’ve listened to has been interesting.

3.5 + Sunny and cozy jams from Cuban music veterans. The album has a nice live feel. Perfect for roadtrips or anytime you want something easy bopping in the background. I acknowledge the quality of this album but if I'm being honest, I found myself unexcited to revisit it. Besides \"Chan Chan\", the songs no longer move me.

4.2 - Starts with "America is Not the World" that finds Morrissey dishing out the kind of on-the-nose anti-US critiques that you might hear in a European youth hostel. Much of the rest of the record contains similar conversational political observations ("Irish Blood, English Heart", "Come Back to Camden). Characteristically, he's managed to seemingly set pages of his personal journal to beautiful melody, delivering them with his signature brooding vocals. I'd written off Morrissey as a solo performer, finding his politics unpalatable and his wordy song titles unapproachable. I'm pleasantly surprised.

4.2 - So many great songs, so much soul. \"Long Black Limousine\", \"In the Ghetto\", \"Don't Cry Daddy.\" It's a testament to Elvis's talent as a singer that these songs don't come off as sappy to my jaded ear. The lyrics and musical arrangements sound like something from a soap opera but he sings them with such conviction. I actually feel emotional listening to \"Mama Liked the Roses\" - I don't know many singers that could pull that off.

3.8 + Look, I just find Led Zeppelin exhausting. Whenever I hear them I think of my douchey college roommate expounding on how they were “revolutionary.” So, fine, yes this album is terrific - it’s 10 solid tracks with killer drums, piercing vocals and searing guitar. Braun-Yaur Stomp rocks my nuts off. My problem though is that it’s a dialed up sound. It’s like owning a Lamborghini. If all you need is to run out for milk and eggs, driving a supercar can feel like a chore. Same with Led Zeppelin. Sometimes I don’t want music to sound so maxed out. So my college roommate can suck it.

3.8 - smash hits on this - “Girls Just Wanna...” and “Time After Time.” Some other minor hits, notably “All Through the Night” that also has a killer synth solo. The sound on this really holds up 40 years later.

3.8 + Solid 80s synth pop mixed with some interesting experiments like “I Am the Law.” Kraftwerk fingerprints all over but with enough pop to set it apart. “Don’t You Want Me” is a radio favorite, too. “Love Action” limps along towards the end. The track ordering is a little whacky - I can’t think of many albums where the smash hit appears last.

3.3 - the image of the flopping fish from the “Epic” music video was seared into my 12 year old memory and it’s a song I’ve loved since. Finally having listening to this album, I’m not surprised that the supporting album to that single is a little thin on substance. Don’t get me wrong, the band and lead vocalist are oozing with skill and talent. When everything comes together, they sound like a more synth-driven metal rap rock version of early RHCP. But there are a few misfires with “Underwater Love” and “The Morning After” that sound especially sophomoric, as well as a forgettable “War Pigs” cover.

4.3 + Just thumping with soul and mellow funk. An amazing album that’s equally at home bumping in the background as it is on a pair of cans.

4.8 + Beatles in the pocket, pushing the envelope on pop sound with the discipline to not descend into self-indulgence.

4.7 + hits you like an ice pick to the temple or oozes on like a bucket of swamp sludge.

3.4 - It's got that turn-of-the-millenium earnest, bedroom-recorded, DIY vibe to it. Given the timing of its release, this album was probably ahead of the Brooklyn-centric zeitgeist of that same sound. At this point, I've listened to my fill of all the Beta Bands, the Grizzly Bears, the Bon Ivers out there. Not mad that I had a chance to hear this one but I probably won't be revisiting it anytime soon.

3.3 - It's like the musical equivalent of drinking a shot of Fireball - less challenging and more pleasant than I would expect. Apparently Slipknot falls into the "nu metal" category, which places it in some unsavory company, mostly bands I associate with that Hot Topic store at the mall. As far as metal goes, this to me sounds pretty poppy, and positively radio friendly - the vocals are crystal clear and melodic, there are few time signature changes, the guitar lines are relatively easy to follow. I wasn't listening too closely to the lyrics but it sounds like they're edgy enough. All in all, this sounds like an album suited for a teenage market, and I can understand why the kids like it.

5.0 - Loved his tropicalia exploration and this one is equally awesome. Classy, warm, sophisticated.

4.4 - A beautifully flowing collection that plumbs some emotional depths to examine even ugly feelings like hatred, jealousy and envy. More approachable than "The Queen is Dead", attaining some highs but without quite the transcendence. I'll definitely be coming back to this one.

3.3 - Pretty and pleasant with a couple standout tracks. In particular, "A Sailor's Life" is a meandering story with some nice extended jams at 11:16. "Who Knows Where the Time Goes?" is a Jefferson Airplane-esque folk tune for the ages. Still, this band is just a smidge deeper into the rabbit hole of 60s psychedelic-folk than I care to venture.

3.7 - Better than I expected! Immersive. Even the instrumentals felt vital to the whole.

3.6 - Took a minute to get accustomed to the thrashy sound. By the 2nd track I was hooked. Screeeeeammming guitar! Towards the end of the album, I’d lost my stamina and was starting to get a headache.

3.2 - Bon Jovi's magnum opus. A high octane hit parade that crams in all the excesses of 80s rock. Richie Sambora slays. This record’s three blockbuster hits continue to dominate radio airwaves, and they're on constant blast at any given stadium, sports bar or dive.

3.5 - Sounds like sipping ice tea on the porch on a summer day listening to grandpa in his rocker reminiscing and pontificating. Some understated guitar work. “No other” is definitely a standout - I love the bottom-heavy sound.

4.7 - Everything I love about Boston. The fucking attitude. The speed. The intelligence, craft and skill. Everything you want packed into 37 minutes, kid!

4.3 - Raw and restrained. A tight, heavy sound with melodic guitar lines and Ozzy’s towering voice. Loads of swagger by a band that already felt comfortable exploiting silence to draw out the power in their arrangements.

3.6 - Transcendent guitar and impeccable speed metal playing. Not sure about the sci-fi lyrics and some of the “tough guy” vocals that sometimes sound goofy. This was my first listen so it might click more after a couple more whirls.

3.6 - I never learned how to connect with math rock on an emotional level. Definitely not sure what these songs are about - it’s likely a lot deeper and smarter than my measly mins can comprehend. Still, I can appreciate the musicianship on this album and enjoy it on an intellectual level.

4.2 + Some beautiful and quirky songwriting with lush orchestral arrangements. It resides in its own corner of popular music, as if the writer had never once listened to the radio and decided to write this album. I’ve come back to this one a lot over the years.

4.0 + Amazing guitar work, full of memorable riffs. Love the songs and the New York attitude. “Marquee Moon” in the middle flags the momentum for me.

2.8 - Ponderous, plodding and overdone. A classic case of virtuosity with no taste. The strings add a maximalist, over-the-top element to songs that already lack subtlety. God, and this album is so fucking long!

3.8 - a solid entry in the androgynous David Bowie-inspired post punk catalog. Slinky and muscular guitar work, sneering vocals.

3.7 - All the good elements of 80s metal with almost none of the annoying ones. Terrific guitar work, interesting song themes (alien invasion, fighting against authoritarian govt of the future, etc).

3.4 - Twangy. Classic country meets pop songwriting. Amazing electric guitar solos, pretty slide guitar fills, sweet vocal harmonies. Buck Owens sings with that clear country twang. Not so rich with storytelling, more about conveying a feeling within a 2-3 minute pop song format.

3.9 + A gentle and catchy collection of songs that explore romantic complications and such. Pretty novel in its sound and songs have some unexpected chord structures and sometimes take different directions in satisfying ways.

2.7 - Fun and cheeky but not special enough to warrant more than the single listen.

3.3 - Music for a lazy sunny Saturday afternoon. You’ve just finished mowing the lawn and you’re lounging in your favorite patio chair. You crack the first beer of the day from your icy cooler, and you fire up the radio that’s set to NPR. This music is spinning - it’s not your first choice - but at the moment you’re feeling fine so you think “screw it” and let it play. You kick up your feet, close your eyes to the sun and think about that handjob the missus promised you later.

3.3 - An unusual sound, combining baritone vocals, gothic choir, electronic percussion, synthesizer and some guitar. A mix between Depeche Mode and “Scary Monsters”, and forward thinking enough to seem to also usher in the sound for both. Dark and atmospheric, often pretentious. “The Corrosion is a standout.

2.2 - A mixed bag - some interesting surprises, some atrocious. It started off with some Irish type ditties but with profuse swearing and grunty, confrontational vocals. Think soccer hooligans. Along the way, there are some interesting instrumental tracks that blend disparate influences, particularly from American easy listening and Broadway. Some of the more traditional Irish/Welsh folk songs sound vital and upbeat.

4.4 - Surprised I hadn’t heard this before. It’s in my Broadcast, Stereolab wheelhouse. Beautiful vocals, interesting bleeps and bloops, and use of noise. An album to enjoy from beginning to end.

4.0 - “Without You” is an indication of the quality of songs on this album. Every song is well composed, many take interesting risks or even seem built on a risk, the synthesized organ sounds come through as confident and bassy as early Elton John. Vocals are sharp and I’d put him up against Mariah on “Without You”, he just crushes on that track.

3.4 - An exceptionally literate sound, one that draws from and pays homage to tons of influences. I hear nods to 60s rock (Beach Boys, Beatles) to glam (Bowie, TRex) to post punk. “Insanely Jealous of You” is one of the best songs about jealousy I’ve ever heard. Still, I think it’s overall good but not great.

3.5 - Is this what Brexit sounds like? Here's a supremely talented band and singer who manage to screw it up because Morrissey can't stop moaning about problems that only the most provincial of Brits would care about.

4.0 - Solid British invasion blues-based rock 'n' roll from the 60s. Spectacular drum sound, soulful vocals, interesting guitar and piano fills.

4.2 - Jonathan Richman manages to sound simultaneously too cool to care and utterly vulnerable with his chatty lyrics and endearing, slacker-y vocals. Extra points for putting suburban Massachusetts on the rock map! Standout tracks include “Roadrunner” and “I’m Straight.”

3.5 - Simple, heartfelt songs that unfold unhurriedly. Lots of Young’s characteristic guitar work - notes sustained with tremolo and loads of gain. Great for an extended road trip. Comforting as a home cooked meal, fills your soul though it may be a little bland.

5.0 + As close to perfect as any album gets.

4.5 + Comes on ferocious with blown out guitars and vocals that fling you in front of a stack of beaten up amps, thrashing around at some dank LA juke. This record captures the manic energy and the menacing immediacy of what I imagine Iggy Pop's live performance must've been like.

2.8 - Disappointing. On one hand, Gilberto retains some of the dreamy, sunny, breathy elements that I loved when she collaborated with Stan Getz. Mostly though this record is saccharine and sounds like a record that an expensive hairdresser in Bismarck, ND would've played for his poncy middle aged clientele, just to add a hint of "hip" to his shop. Astrud Gilberto has always been “easy listening” but here she’s jumped the shark, eschewing subtlety, favoring a campy “swinging” bop. It’s sad that over the next few decades, an army of American studio hacks took this sound, chopped it up into segments, put those segments on an assembly line, glued the pieces together, packed the sound up and commodified it into a dull facsimile of the original Brazilian samba/tropicalia sound. Now you hear echoes of that sound in parking garages, elevators and bargain warehouse retailers everywhere.

4.1 - Here's that legendary Sonic Youth sound I feel like I've been missing. "Daydream Nation" and "Dirty" seem to find the band with some of its edges polished down. Here Sonic Youth is fully immersed in its fascination with feedback, strange guitar tunings, unusual chords progressions and riffs. Some cringe moments like the political musings on "Kool Thing" and when she keeps singing "PU!" on "My Friend Goo." To me, these add to the overall charm of an energetic record that sounds like a reference piece.

4.4 - The epitome of short and sweet. A well-conceived New York timepiece, with tender attention to detail. Some luscious tracks, notably "America", "Old Friends", "At the Zoo." There's also the eponymous "Mrs. Robinson." Terrific as a concept album and just a wonderfully positive listen.

5.0 + Just the fact that so many bands heard this album and immediately decided to try and make a similar one of their own “in response”, is telling.

4.3 + Haunting, majestic, uplifting - like watching the sun rise over a mountain, gradually spreading light over the rocky crags and dissipating the frigid mist.

2.7 - Really nothing special. It's got a straightforward, commercial hard rock sound. Vocals never grabbed me. Uninteresting guitar parts - just a generic high gain drone with the same patterns: power chord-power chord-riff. Songs don't land anywhere emotionally. I'd hear this at a head shop and not give it a second thought. Chuck this album and listen to Superunknown instead.

3.3 - A dim entry in a long parade of Brits parroting American blues that's somewhat redeemed by a few fun psychedelic explorations. Middling as an album - it lacks cohesion and suffers from mediocre mixing and sound production.

3.8 - Right in my 90s music periphery growing up. I've always loved the radio hits, "Queer", "Only Happy...", "Stupid Girl." The album lies at the cross-section of many genres of that moment - electronic, grunge, breakbeat, trip hop. Shirley Manson cuts a convincing frontman both in terms of vocals and appearance. But really Butch Vig as producer/drummer is the MVP here, synthesizing a sound that's slick, durable and diverse enough to remain current 25 years later.

1.6 - The type of bullshit Jeremy and Super Hans from "Peep Show" were into. "This is a Bad" by Goldie might as well be called "This is Outrageous" by Jeremy Osbourne. At best, some (2? 3?) of the tracks might work as background music for an outdated hotel lobby. The rest are junk. What a complete and utter SLOG. Shitty fucking album cover, too

3.2 - After “Take On Me” it’s forgettable 80s electro pop. There are good power ballads but nothing worth a second listen.

3.7 - sumptuous but a little same same throughout

2.2 - Cringey white soul of the late 70s/early 80s.

3.6 - Self-indulgent at times, especially during the spoken word track “The Gift” which drags on too long. Interesting early examples of guitar feedback that work well especially on the last couple of tracks that at times sound like noise rock and metal. One of those records that probably serves as a touchstone for many musicians and genres.

3.3 - from a music history perspective I’m sure there are intellectual reasons to appreciate this album. I hear antecedents or math rock and a Midwestern sound. And there are lots of ideas in these 43 tracks. It’s just not for me.

3.7 - Pseudo-intellectual singer-songwriter coffeehouse done well. Inflected with Paul Simon influences. Some beautiful moments in the middle, some duds towards the end. Overall, a pretty and introspective album that defied my expectations.

3.6 - Some awesome guitar and organ jams on here. Prog rock meets cock rock. “Highway Star” is a highlight.

4.3 - “I’m so boored of the USA!!” Fuck yea.

3.4 - Middle of the road British alt rock of the mid/late 90s.

4.7 + One of several great AF albums but arguably their masterpiece. Set around themes of suburban life, isolation and rebirth. A satisfying arc of songs that grabs you from the beginning and leads you on a journey. So many standout tracks.

3.4 + I fell in love with this album when I first heard it but like many others was crestfallen to learn that all of the crowd sounds are canned and were added after the fact. Hearing that news felt as disappointing as when I learned Santa Claus isn't real. Still, a great live album highlighting Cash as an energetic performer and amazing live singer.

3.3 - I worried initially that this would be another uniquely British album selection on this Euro- and British-centric list. And in this case, my suspicions turned out to be true. While there are some great moments that transcend 1995, especially in the beginning ("Afro Left"), it overall sounds like what you might hear at some tired airport bar.

3.5 - Vignettes that survey English life at the turn of the century, the anxieties, romances, jealousies, struggles… Mixed with a dose of tenderness and plenty of irony. These are thoughtfully constructed songs in the vein of “Parklife”, “The Great Escape” and “Common People.” Unlike those albums, this one feels more squarely rooted to its time and place, lacking a more universal appeal.

4.7 - Yes! This is finally a psychedelic sound that redeems the genre for me, after having choked down so many other buttoned-up commercial examples that crowd this list. Wonderful and incredibly forward-thinking use of noise, electronics and field recordings, all of which add so much dimension. I'd argue the use of secondary sonics rivals contemporary bands like Stereolab and Broadcast. Truly a "garden of earthly delights" that belongs in the psychedelic pantheon alongside "Os Mutantes", "Sgt Pepper" and just a handful of others.

5.0 + I've listened to this album many times over the years. My first listen left me utterly confused. However, being a huge fan of Bowie's more pop-oriented music, I hung in and with subsequent listens that confusion turned to distaste, to understanding, and finally to absolute reverence. My journey to love this album in turn has made me appreciate experimental music and the artists that successfully struggle to present truly original sounds to my ears. I'm grateful for this album, for the supernova forces behind Bowie and Eno that briefly collided, as well as for my being able to finally appreciate the fruits of that collision.

4.0 - Enjoyed this! Honest American songwriting, blues and country inflected. Straightforward instrumentation with a live studio recording feel. Some pleasant storytelling, shoutouts to Louisiana. Nice driving record and a crowd pleaser.

4.2 - Alright, alright, alright, alright! A swinging, bopping blend of big brass jazz and rock-n-roll. Stylish, energetic and fun. Not a stale doo-wop record, this one really pops.

3.7 - An MC with unparalleled rhyming and flow. And an artist who’s clearly working through some stuff. “Stan” marks an amazing high as its narrative unfolds like a thriller. Honest and raw in his lampooning of some of the music industry’s more toxic elements, and he doesn’t throw punches when calling out certain executives in particular. In the end though I found all the self-pity, homophobia, and mommy/Kim issues exhausting. For me while I can appreciate his consummate skill as an MC, Eminem remains an artist to enjoy in small doses.

3.8 - I appreciate this more than lots of other punk records that fixate on punk style (wearing cool clothes, looking tough on the street, being part of the club circuit). These tracks explore more of the punk ethos and mindset - rejecting consumerism, rejecting social norms and expectations. As a band, these guys sound more cohesive than some of the fuckboys that crowd the genre.

4.4 + The album that proves that Devo isn't just an oddball sideshow act. It's raucous, manic and catchy from jump, full of jagged edges and jangly surprises. The sound is a blend of Talking Heads and Kraftwerk, with the sneering irony of punk rock. \"Mongoloid\" is an absolute banger. A good album to play when you're over-caffeinated and needing to crank out some annoying tasks.

4.0 - Easy listening that all heterosexual white men can agree on.

3.8 + So many thoughts and feelings surrounding Sinéad O'Connor. When she first busted onto my radar in 1989, I was utterly fascinated by her beautiful baby face and her rebellious spirit. It seems banal to comment on her bald head but at the time there were absolutely ZERO other female entertainers who had the balls to sport that look. Her baldness made her the butt of countless cheap jokes on American television. Regardless, her two hit videos were on heavy rotation on MTV. \"Nothing Compares...\" is a lush, gorgeous, expansive arrangement that gives Sinéad's voice the backdrop to flutter and soar. The single tear she sheds in the video, with the tight camera shot on her angelic face - for ten year old me, it felt sublime. \"Emperor's New Clothes\" still reads as her mission statement that in retrospect serves as a general narrative to her life as an artists and public figure: \"Whatever it may bring, I will live by own policies, I will sleep with a clear conscience, I will sleep in peace.\" That uncompromising stance has come up again and again - the tearing of the pope's picture on SNL, her born-again Christian phase, coming out as gay, converting to Islam... - she's made choices that have cast her negatively in the limelight but she's stood by what she believes often risking her own image and mental health. Sometimes I wish she were better able to play nice. But surely she'd end up another throwaway whatever-happened-to artist - more so than she is currently. Now, putting aside her status as pop music's Contrarian, we're left with her music. Unfortunately, for me, the quality and luster in these tracks remains inconsistent and sometimes lacking. Setting aside \"Nothing Compares...\", which she made her own heartbreak song for the ages, we're left with songs that might be generously described as \"quirky\" and \"unique.\" Frankly, the arrangements on some of these songs is confusing (\"I Am Stretched On Your Grave\") and the lyrics are sometimes cringe-y in their directness (\"Black Boys on Mopeds\" and \"Three Babies\"). To be sure, there are some solid moments (\"You Cause as Much Sorrow\", \"Jump in the River\"). I've tried over the years to LOVE this album, which is probably her best, because I've often loved Sinead O'Connor's brave, authentic, rebellious persona. But try as I might, I still only like it.

4.0 - Sounds like the soundtrack to a 1981 cop comedy, maybe starring Dustin Hoffman and Danny Glover. They have to solve a murder case involving Colombian drug dealers. A wealthy heiress is the love interest. She’s modestly hot in a big-haired 80s way. There’s one sex scene where she’s wearing ridiculous lingerie and we see her tits for half a second. There’s a car chase, a couple explosions, one drunken evening that makes the main character question his choices, finally he cracks the case, the bad guys go to jail, he says goodbye to his partner and the girl. The last scene shows him moving back out West, giving up the cop grind, to work as a ranch hand.

4.2 + Bought this box set when it first came out and it sat like a brick in my bedroom, and various college dorms. Before this weekend, I may have listened to it all the way through maybe once, if that. On initial listen, the songs felt dashed off, the arrangements sketchy, the vocal performances distracting. Knowing what to expect, I was able to give a more objective listen this time around and I'm left awed by the quality and quantity here. To be sure, there are a handful of annoying old-time ditties as well as a few beat-off tracks ("Love is Like Jazz", "Washington, DC"). But there's a light and casual feel to the album overall that lends humanity to the endeavor and I was consistently charmed throughout. Most of the songs I like best avoid satirizing love song clichés, and instead blend melody with interesting soundscapes. Each song presents interesting ideas, and examines genuine emotions and love song tropes. Despite its warts, it's hard to deny how much Stephin Merritt put into this project and I'd say overall it's extremely successful. I'm glad I finally invested the time, and hope to return someday.

3.7 - Reminds me of all things hipster: selvedge denim, striking facial hair, work aprons, tattoos of octopi, industrial lighting, growlers of IPA. Soothing, tender, well crafted. You remember the voice and the vibe but the songs are forgettable.

3.4 - This came out about a year after Cobain's death. I liked a few tracks I listened to then, and I like it well enough now. Foo Fighters is OK in my book. Dave Grohl seems like a cool dude. It's a neutral-positive for me.

3.5 - Simple, soulful songs that feel emotionally genuine.

3.7 + A fun, light-hearted blend of new wave, surf, disco and punk digested for a pop audience. Out of context, it's a little dull and suffers from filler tracks. But Debbie Harry remains a template for pop starlet and she brings the vocals to back the look. \"Heart of Glass\" by itself could carry this record, it's a forever favorite of mine, but there are a number of other highlights - \"Fade Away and Radiate\", \"Sunday Girl.\" Definitely overrated as an album but good nonetheless.

4.1 + I was an early teen when these guys hit the scene. At the time, I was a huge Smashing Pumpkins fan. I had a buddy who was a Pavement fan. Somehow we always argued about which band was better - the two fanbases felt diametrically opposed, and some vague beef between them further drove a wedge. The fact that Pavement called out SP specifically in "Range Life" feels like a petty dick move. To me the rift feels like the cool kids (Pavement) ragging on the spastic drama kids (SP). The cool kids are all about not trying too hard, while the drama kids suffer, often pretentiously and publicly, for their art. On hindsight, both camps seem insufferable. Setting all of this "who's-in-who's-out" nonsense aside, Crooked Rain Crooked Rain is a cool (again with that word) and composed with interesting guitar textures, poetic lyrics and slack vocals. I understand and appreciate their venerated status in 90s indie rock.

3.3 - Confusing. Vocally, It sounds like an album better suited for Jim Morrison. Unlike on “Forever Changes”, here Lee’s voice sounds strained and guttural. Lyrically, it’s stereotypically psychedelic. I like the jazz exploration on “Revelation” though it’s 19 minutes of a 36 minute album. And is that Chewbacca grunting in the middle of the track??? “She Comes in Colors” is pretty. I love the incorporation of the jazz flute.

2.6 - The sort of anonymous 90s rock that would've appeared on the soundtrack for a high school coming-of-age comedy. Very thin on vocals with flabby shoegaze-type guitars. A couple of pretty tracks ("Oh Yeah", "Gone the Dream") but overall forgettable and inessential.

5.0 + The Pitchfork review sums up the awesomeness of this album better than I ever could. https://pitchfork.com/reviews/albums/6656-kid-a/

5.0 + In my top 10.

4.1 + Starts with two mega-hits that endure on pop radio - "1999", "Little Red Corvette." Both bangers. The middle is a quirky blend of synthesized funk with some extended jams that include interesting monologues, often chock-full of sex talk. "Lady Cab Driver" is a curious one - he's listing various injustices that anger him while pounding that pussy. The album kind of ends with a whimper. Some highs, some lows, some confusing parts. It's colorful and varied and funky and alive.

5.0 + Foists me back in Brooklyn. I’m rummaging through a mental flea market of strange and oblique cultural references. I’m surrounded by cartoonishly menacing characters but I’m drunk and zonked and clowning with my boys and we’re wilding and we’re one with the whole scene. This album is a non-stop troll party. Too many jokes, stunts and memes to appreciate with one listen. As it happens, this was my fifth full listen and I’m only just starting to make headway. Incredible.

4.7 + Love this record almost as much as “Donuts” by JDilla, another legendary DJ (RIP). Sophisticated, evocative.

4.1 + Been a few years and this one still holds up. Lauren Hill sounds incredible, both as a rapper and a singer. Supreme talent. Wish they left out the skits, especially the one in the Chinese restaurant.

3.4 - I like it well enough, I guess? Sort of sounds like "Unbelievable" by EMF. It's got that British rave MDMA vibe to it. I like the guitar effects and other backing tracks. I'm sure the lyrics are interesting, maybe, if I could understand the vocals? I'm probably not taking the right drugs? I'd say I need to probably give it more time but I don't know that I want to.

3.5 - It's definitely better than other examples of nu metal I've listened to recently, like Slipknot. I like the dynamism, especially in the vocals. Serj Tankian sounds like some unhinged court jester - his performance is exceptional. I also appreciate the near eastern influences. I'm too old to relate to the rage and angst, and some of the politics, so probably the opportunity for me to love this sound has passed. It's a fun listen that I don't see myself returning to.

3.3 - Sneering post-punk with noisy-busy guitar, punk vocals, minimal production. But synthesizer sounds exceptionally weak. More tongue-in-cheek than pretentious. A cool enough vibe without any standout tracks.

4.1 - It's got that 125th and Lenox vibe - I'd hear these jams pumping from the street vendors selling bean pies, ginger juice, bootleg recordings of Malcolm X and tapestries adorned with the likeness of Haile Selassie. Uplifting, funky conscious rap that manages to not descend into the preachy and political. I appreciate the tribute to the "Black Woman", nice to hear a shout out to the sistuhs. These are non-stop bops underpinned by hard beats from the old school, and cool samples from jazz, African, R&B, funk. Really, what's not to like?

4.4 - Gorgeous. Cozy like wrapping up in a soft blanket on a rainy Saturday afternoon, maybe with a cup of tea and a smoke. This album epitomizes the Danish concept of hygge.

4.0 + This album wins because it’s honest. Liz Phair can’t sing or really play guitar. All she can be is herself and that’s what I hear on this record.

4.0 - Well, I’ll be damned! What a pretty album this is. Ballads of longing, regret and reminiscence, sung in a rich baritone, inflected with old rockabilly/country crooning à la Cash and Orbison.

5.0 + unmatched for its loose swagger. This recording sounds like a rollicking weekend bender and I wish I could jump in and join.

3.8 - Elvis Costello pushes his vocal performance here. I've always respected him as a rock singer but "I Want You" is completely next level. The rawness and vulnerability of the emotions comes through in his vocal performance. Incredible. Similarly with "Battered Old Bird." The rest is tightly crafted pop-rock that showcases Elvis Costello's flare for dynamics in chord structure, tempo and volume. There are enough surprises to keep the ear engaged, though I'd struggle to remember most of the tracks besides the couple.

3.9 - I found this album tough to rate. I listened to it 3 times this week and I'm still not quite confident in my assessment. Of its 10 tracks, I think the first 7 feel the most polished and coherent. Taken by themselves, these tracks are amazingly accomplished. "Bluebird" sounds more like a mini-symphony in 3 movements, clocking in under 5 minutes. "Mr. Soul" shows great swagger and hard rock sensibilities. "Expecting to Fly" is cinematic and ethereal with swells of string and brass, set off by Neil Young's breathy tenor. The acoustic solo breakdown in the middle of "Bluebird" rocks hard. Along the way, they cram in so many subtle flourishes, and interesting sounds. The album ends on a lull. "Good Time Boy" is an exercise in white soul that falls flat. "Rock & Roll Woman" is all cliché. "Broken Arrow" contains great promise as another opus of several movements but doesn't quite come together. What I also miss is a true standout hit to help anchor me.

4.0 - This is as good a place as any to listen to infectiously energetic mamba, played and recorded impeccably. This sounds like your drive home in the wee hours of Sunday morning when the party's over and all the bars are closed and you've got NPR cranked. Especially love the marimba solo on \"Hong Kong Mambo.\"

4.2 + I've revisited this record several times over the years, and have consistently left confused. There's hardly a music critic that doesn't fawn over it. Several things are immediately apparent and good: (a) the blown out guitars give a dry brightness, providing a fuzzy texture that swallows up most other contrasts in the middle, it makes me feel like standing in a desert at high noon with the sun illuminating everything in hot white with no shadow, (b) the songs themselves are simple, happy and poppy, almost 1950s bubblegum, which I suppose explains partly how they're able to keep the sound from going completely off-kilter, (c) it's impossible not to hear this album's fingerprints on "Loveless" and other shoegaze albums that would follow. Within the context of 1985, this album probably felt like a juggernaut and 35 years later it still sounds so fresh. For me, I feel like JAMC lean too heavily on the fuzzy, trebly, squealing guitar sound, and at turns I find it unpalatable. Songs like "In a Hole" hurt my ears. Still, I get why critically this album's a stunner and in small doses there is so much that speaks to me personally. It's a record that I currently admire more than love.

4.0 + It's impossible to hear those first synth strains on "Europa Endlos" and not feel a swell in my chest! It makes me nostalgic for that optimistic vision of a united Europe that was going to advance humanity towards greater prosperity, peace and peace. Having listened to the English and German versions, I prefer the latter. “Schaufensterpuppen” sounds cooler than “Showroom Puppets.” Kraftwerk’s efficient and minimal production is on display, though sometimes the repetition of song elements feels “endless endless.”

4.0 - It’s got a boppy Go-Go’s vibe that’s been put through the DIY-bedroom recording blender. Add a dash of pink chainsaw to the mix. Fun!

4.6 - Theres a hushed reverence throughout and it’s uplifting, calming, soulful.

3.3 + Back during the Napster days, I downloaded like 3 tracks off this album and didn’t bother to listen to the rest until I found the CD a few years later in some cut-up bin. It’s overlong like so many albums of this peak CD era. The interplay between Frusciante and Flea is exceptional but Kiedis often tanks the sound with his pseudo-intellectual musings and psycho-sexual babble (“Yama daba girl from Alabama…”). To give credit where it’s due, “Under the Bridge”, “Breaking the Girl” have remained among my favorite songs of the 1990s - they are both cinematic and build to dramatic crescendos. “Give it Away” is funky AF. Those would’ve been the songs in my original mp3 stash and 25 years later I stick by that assessment.

3.8 - Sounds like flipping through AM radio in a dream. A really enjoyable listen that I’ll probably need to return to fully appreciate.

3.8 - Solid classic rock record with heavy guitar licks. Rod Stewart sounds convincing on lead - this was probably before he started making questionable career choices.

3.4 - Pretty, understated, often sappy. “Praying for Time” is an underrated gem. The album version of “Freedom - 90” is overlong - much prefer the radio edit - but the song is still a jam. “Waiting for that Day” and “Heal the Pain” are gorgeous. Doesn’t quite jell as an album but still a good listen.

4.0 + Nostalgic like Saturday morning cartoons with the same outlandish caricatures (maladjusted mama’s boy, deranged terrorist, lazy stoner, hapless lunatic). The ultimate ode to teenage angst of the 1990s.

2.8 - Dollar Tree version of a Philip Glass movie soundtrack (e.g Koyaanisqatsi). Uninteresting electronics, linear arrangements, thin textures. I really didn’t get much off this.

3.7 - A post-punk record with softer, less austere instrumentation and more pop-oriented focus. As an album it feels composed, coherent but I'm missing a sense of atmosphere and drama.

3.7 - Impressive as a live recording. The sound mix and quality of performances make it sound like a proper studio album. Lead guitar parts come through powerfully with screaming distortion that gives a paranoid edge to some of the arrangements, especially on "Hey Hey..." Despite the myriad strengths, I think this album is better for diehard fans. Admittedly, I'm not familiar with most of the songs here, and some of them I didn't like on first listen (e.g. "Welfare Mothers", "Sedan Delivery"). Maybe this was one of the SEVEN Neil Young albums that could've been left off this list??

4.4 + I was waiting to be seated at a noodle counter in the Lower East Side one mild January afternoon when the news came through of David Bowie's passing. I had just listened to this album, his last communication with planet Earth. It's hard to decouple that moment when I listen to this album today but to me I can hear a sparkling star summoning all his remaining creative energy to eek out one last beautiful record. Placed within the context of his death, he confronts the end standing on his two feet. There's not an ounce of defeat. This record ranks among his best. What a testament to a rock 'n' roll life fully realized. RIP.

4.3 - Unabashedly kitschy, drawing on a Jon Waters-esque trash-pop aesthetic complete with beehive hairdos, hawaiian shirts and all manner of cultural detritus from late-50s/early-60s. I remember loving this retro look and sound as a kid when I first became aware of it through Pee Wee's Playhouse. Unadulterated cheeky fun with slapping rhythms to keep the hot buns bouncing.

3.8 - Solid southern rock. I hear an exceptionally tight backing band that sounds like they've been honed from years of hard gigging. No breakthroughs in sound but notable as a revivalist, roots-based rock. While I don't share in the gushing love for this band that I've heard over the years, I certainly understand the appeal.

3.7 - A fusion of genres that feels airy and unforced. Sunny California folk country that sounds like a blend of the Doors, Byrds and Van Morrison. Some excellent electric piano work on here as well.

3.8 - Given all the acclaim surrounding this album I was expecting so much more. I enjoy some of the slapdash swagger that's underpinned with sumptuous orchestral arrangements. At times it sounds like the band is about to implode and can only move forward with the support of backing studio players. It's like they hired a string ensemble at great expense and the players arrived to the studio on time with their instruments tuned and their parts well-rehearsed, but the the band itself was visibly absent. Several hours later the band finally shuffles in, still clearly loaded from an all night bender, smelling ripe and needing a shave. They announce that they're ready to start recording and proceed to noodle through the first verse before nodding off into the chorus. Their cover of "Femme Fatale" is particularly confusing - it sounds like a mike check? "Holocaust" is like something from a high school talent show written and sung by that one girl who cuts herself. To its credit, there's a roiling, unsettled atmosphere the likes of which I've heard on no other record. I certainly cannot write it off but having listened to it twice today just to torture myself to write these words on what I think I just heard, I don't foresee returning soon.

4.5 - I feel like I'm enjoying Sunday brunch at a medium upscale restaurant on a sunny day, waiting in relaxed anticipation of that first cocktail. This record starts with peppy big band tracks and then gradually mellows into tender ballads. Ray Charles' voice sounds like gravelly honey.

5.0 + For its production, songwriting, vocals, instrumentation and message of love and acceptance, this album lives on a higher plane than almost any other piece of music. I've listened to this album countless times, and it still inspires awe. He wrote and performed everything on here, and what's more, this album closes the greatest consecutive run of albums released by arguably any music act ever. Such sublime highs at every corner. For me, this might be my one desert island record.

4.7 - Vignettes of New York life from the perspective of the burnouts, vagabonds and losers sung by Waits' gravelly voice over the clangy, moaning and squeaky acoustic instruments. A wonderfully broad swath of genres that envelope a grimy and expansive soundscape. It channels the dirtbag spirit of Bukowski with the unflinching eye of Steinbeck, performed in the trashcan of Oscar the Grouch.

4.3 - They've clearly earned their reputation for being amazing musicians - Bad Brains is head and shoulders above peer bands. The fact that Black Flag and other lesser bands get more accolades to me stinks of racism. Great to hear black rockers that put Washington, DC on the map.

4.2 - I love this record both for its contributions to a conscious hip hop sound, as well as for its sonic explorations of noise, ambience and jazz. At times I hear the precursors for artists like Flying Lotus, especially in track like "Something in the Way..." and "Water." Other tracks ground this record with strong MC'ing and creative beats - "Pussy Galore", "Complexity", Break You Off"... Add neo soul into the mix and you get something sprawling and ambitious that digests and reinterprets sounds of the early-aughts.

4.0 - I can see why this album is divisive. Side B (the "Black" side) goes into some cringe-y prog rock territory that, if I'm in the right mood, I actually find fun and interesting. It's highly dynamic though the pace is often frantic and the tone screechy, especially on "The Fairy Feller's..." Side A showcases Queen's more subtle and subdued instincts though there are anthemic spikes of bombastic glam to keep things interesting. "White Queen", "Some Day One Day", "The Loser in The End" is a pretty sequence of songs. In the end, I appreciate the artistic risks Queen has taken. For me, this album adds depth and color to their catalog and helps justify their vaunted status beyond a few greatest hits.

1.9 - Ugly as an anal wart. That album cover perfectly represents the bile within. Ever wonder what it would sound like to take INXS but have it fronted by George Thorogood, and inflect it all with a heavy dose of Broadway jazz? Fuck I hated this.

4.4 + I can pretty much sing this one all the way through. Still holds up after 30 years.

4.0 - As much as I dislike the word, I'd best describe this record as "groovy." It's got a cool, laid back blues sound that's uncluttered and allows Jeff Beck's killer guitar and Rod Stewart's soulful vocals to shine. Though I finished listening to it in the late morning, I found myself thinking back on this record several times throughout the day and into the evening.

5.0 - Yes, finally! Here's a Sonic Youth album that lives up to their hype! This truly feels like a milestone record that lays the foundation for so much of the music I enjoyed in my teenage years. They've balanced grungy experimentation with structured rock songwriting beautifully.

0.8 - The soundtrack to Trump's American Idiocracy - angry, dim, "deplorable." Busting with swagger and confidence backed with the intellectual heft of a book of word searches. The only positive thing I can say about this utter dreck is that at least "Only God Knows Why" shows one rare moment of humanity, though even this song is bloated and sounds ham-fisted with its auto-tuned vocals. The rest is just trash rap rhymes, reminiscent of the weakest old school hip hop but without any of the joy.

3.8 - Definitely defied my expectations - I was feeling a little burnt out on music from 1968. At 17 tracks, this album is long but doesn't drag. Most songs feel composed but there's enough slack to give a sense of spontaneity. This one's stronger as a unified piece than as a vehicle to deliver hits, which probably explains why it came to be wholly unfamiliar. Worth a second listen down the road.

4.1 - A luscious bedroom soundtrack strictly for grown folks, underpinned by sophisticated orchestration and Marvin Gaye's rich bari-tenor. Smooth and snag-free. My only knock is that "Keep Gettin' It On" sits lamely in the middle of the album as an unnecessary reprise of the title track.

4.6 + Listening to this album is like randomly bumping into an old flame. You remember how intensely you once felt even though those feelings have mellowed over time. You're left wondering why you were estranged. This album feels so wrapped up in a time and place. It's the full realization of the Animal Collective sound that should've influenced music to come but somehow didn't. What a great record, though. Beautiful songs that punch with strong emotion reinforced by walls of electronic sound that somehow sounds so human and organic.

3.1 - I saw the album cover and was totally expecting world music with some chanting (groan). Instead I got easy jazz. Now I'm not sure which I would've preferred. It's definitely sweet and soulful. It sounds like the Saturday Night Live band if they kept jamming on that final farewell song while the audience files out, leaving them to play to an empty studio.

3.4 - The debut of a towering female vocalist that shows her humbler beginnings covering some top-40 hits of the era. Clearly she's got vocal chops - what an amazing instrument. Here she's made clever song choices and the arrangements are tasteful. She's also starting to hone her fascinating persona, which is a compelling mix of empowered woman, sophisticated lady, fun-loving plaything, jilted lover and obliging mistress.

3.5 - This one shows the Beatles' humbler beginnings as a house band that had dialed in the 2.5 minute pop rock format. A couple classics, a couple duds, some unremarkable covers.

5.0 - It's uncanny how this album manages to present these songs, these compositions of considerable intricacy, in a way that sounds spacious and casual. As if Nick Drake and his ensemble are invited friends playing in your living room. Just a few highlights: "River Man", "'Cello Song", "Man in a Shed" (which reminds me of Shrek).

4.4 - At turns this record reminds me of Electric Light Orchestra, ABBA and the Beatles. The songs are exceptionally well orchestrated and express emotional vulnerability through the lyrics and vocals. There are a couple missteps. "Dearest" sounds like a B-side from "Phantom of the Opera" and "Israel" though pretty comes off as dated propaganda. The distinctive Bee Gees vibrato is here with a vengeance, and I'm sure many will take exception with the vocals. Given the shadow "Saturday Night Fever" casts on all that is Bee Gees, I'm surprised at how much I enjoyed this. I'm also surprised at its tepid critical reception and that it's mostly forgotten by time.

4.1 - Took me more than a week and several listens to form an opinion on this. It's not a sound I prefer immediately but I quickly recognized that there's something special here. I really love some of these songs. Above all, "Androgynous" is just such a testament to tolerance and empathy - for 1986, it feels decades ahead of its time. "Answering Machine" captures the moody insecurity when we allow technology to separate us. There are also some fun bops - "Tommy Gets His Tonsils Out."

2.7 - Electro-lounge algorithm filler.

3.5 - Some cool polyrhythmic, call-and-response folk songs. A nice palate cleanser from all the post-punk, British electronica and Neil Young.

3.3 - It's 2009 and I'm sitting at my cubicle with my earbuds in. Pandora's spinning another MGMT track, just for me. I look around. I see my mug. Then my screen. I gaze up at the beige ceiling tiles...Everything's FINE. Everything WILL be fine. Everything feels PERFECTLY FINE... I am feeling perfectly fine...

1.8 - I cringe because I would’ve pretended to like this garbage in grad school to ingratiate myself with my intellectual classmates. It would’ve been playing at some potluck dinner where I and half the guests brought store-bought tabouli. This is music to very deeply contemplate, doing your best to deny the voice within screaming at you to shut it off. Because deep down you know this music sucks. The fusion of genres is an utter mess. And it tries so hard to be a concept album but what’s the actual concept? Nuclear annihilation? Xenophobia? The Indian diaspora? The only reason this album gets a pass is because it appeals to peoples’ need to appear smart and worldly. We choke it down and smile politely like we do with our store-bought tabouli.

4.0 - I've always respected the complete White Stripes aesthetic backed by a unique sound that's modern, direct and stripped to its essence. Meg White thrashes with primitive simplicity and Jack White's voice and guitar duel with squeals, roars and bellows. There are counterpoints to the giddy chaos like "We're Going to Be Friends" that offer sweet levity. Of all their "great" albums, this one may be slightly weaker but there are enough bangers to propel the enterprise forward. In my opinion, their follow-up “Elephant" boosts them to higher highs.

4.0 - Someday I’ll make the good choice to tour the English countryside. One evening I’ll duck into an ancient pub. The local barflies will eye me suspiciously as I order my pint. I’ll walk to the jukebox, attempting to appear unconcerned, and see this album. I’ll remember vaguely having listened to it way back in 2021 but won’t remember any specific track, so I’ll choose one at random. At that moment, a drunk hunched over the bar will suddenly break into a clear, steady tenor. Another bloke will join in, then another and another and soon the whole bar will be singing along full-throatedly. By song’s end, I’ll get a few smiling pats on the back and one geezer might even stand me my second pint.

5.0 - To me, this is the definitive Bob Marley album, more so than "Legend." Most of my favorite songs of his best songs are here. Such an awesome record that I can easily play on repeat.

4.2 + I appreciate the warts on this album now that I'm older. When I was 14, I was disappointed that this didn't sound like "Nevermind 2.0." Steve Albini captures a more live, organic feel, and there's more dynamism in the guitars. Compared to "Nevermind", there are higher highs ("All Apologies", "Heart-Shaped Box"). But there are also lower lows, which almost tank the second half ("Tourette's", "Radio-Friendly Unit Shifter"). Some of the same themes around anatomy and disease are here with some darker kinks ("eat your cancer", basically all of "Milk It", "umbilical noose"...). It's a messier, nastier, less poppy and more interesting record than "Nevermind." My only knock is with those two aforementioned tracks - they kind of stink.

3.4 - Elvis is probably at his most polished and professional. He hasn't yet gone to seed from barbituates, B-film cameos and fried peanut butter and banana sandwiches. To me it sounds like a Michael Bublé album - just a bit dull.

4.0 + A very different direction for Beck after coming off some freaky pan-genre explorations via "Odelay" and "Midnite Vultures" (also terrific records). Here's Beck's breakup album that draws inspiration from the American songbook with soft inflections of other genres, all modernized with subtle studio flourishes to keep sparkle in the background. It's mostly downtempo with uncomplicated chord structures, with the exception of "Paper Tiger" which is just awesome. Some will find this album a little staid and even boring. At times, the breakup aspect of this album feels a little on-the-nose. Still, it maintains a morose atmosphere that I find quite pretty.

4.1 - OK, I officially eat crow. I'd unfairly written off Queen as poncy cock-rock twats. To be sure, there's some of that in full effect here. But, this album comes well before they descended into the realm of "Bicycle Ride" and "Fat Bottomed Girls" (shudder). These songs are undeniably fun, risk-taking and energetic - it's really hard to deny what they're putting out. As an album, it's an incredibly coherent piece, each song interweaving with the next, with reprises at different points. It's also got "Killer Queen", which is a favorite.

5.0 + "Oh, mother, I can feel the soil falling over my head..."

5.0 - If “In A Silent Way" sounds like the onset of sweet slumber, "Bitches' Brew" is your feverish nightmare. I hear many similarities between the two records - the echoey trumpet, the interplay between electric organ and guitar, the approach to composition involving the stitching together of recordings from different sessions. Whereas BB rejoices in chaotic explosions and jagged textures, "In A Silent Way" floats in a gentle and hushed dreamscape.

4.2 - "Lonesome Suzie" exhibits some of the strange alchemy on this record - the unique blend of different genres (country, rock, soul...), the ambitious vocal performances by non-singers who manage to carry some complex melodies while conveying raw emotion, the free and easy instrumentals by seasoned studio professionals. For me, what really sets this album apart and makes it worth revisiting, are the lyrics. There seem to be loads of biblical references that mostly float well above my head.

3.5 - Sort of sounds like someone had to pay off some gambling debts. I’m not mad at it but I do prefer Astrid Gilberto on these tunes.

4.4 + An honest and raw survey of love and sex from the perspective of a young female of color. SZA unbares herself emotionally, and at times it sounds like she's almost ugly-crying while handing me her phone so I can read a text from bae. Despite the rawness of emotion, the songs themselves are sophisticated with interesting chord structures and arrangements. Also, SZA's voice is just delicious. Highlights: "Supermodel", "The Weekend", "20 Something."

3.8 - I loved Trainspotting as a teen so it’s hard not to get pumped for the title track. And there’s the Passenger, too. Aside from those…I don’t know, I guess I was expecting more from Bowie and Iggy. It’s a little tame compared to those early Stooges records. Iggy ‘s kicked off his fishnet stockings for a pair of fitted khakis.

4.5 + Simply the sexiest glam rock there is. So many bops on this record that have held up - my three year old and I can agree on that point. And "Cosmic Dancer" is just such a strange and haunting track that always seems to stop me in my tracks.

3.4 - I was 17 when this came out so this album had every opportunity to make an impact but I never really connected with it. Still, it’s good as high energy background music maybe for a spinning class or if I’m video editing.

2.8 - I just hear a group of awkward suburban dads who decided to relive their glory days gigging in bands - listen closely and you can hear the gurgling beer bellies and flapping double chins.

3.8 - Having lived in Boston for much of my life, it’s hard for me to rate this one. WZLX has played the hell out of these songs. “More Than A Feeling” remains a perennial classic.

3.8 - Others have commented on this album’s youthfulness and that’s exactly what I’m hearing. Youthful in a good way, not in an annoying way, like the Shaggs.

3.7 - Fun and funky but I'm not getting the touted "watershed" in "psychedelic soul." "Runaway Child, Running Wild" is the closest to a mind-bending surrealist track, and I love the "momma momma" breakdown. Otherwise, to me it sounds like standard Motown.

3.3 - Overly crowded with guitar showboating. Undeniably there are some jams here. The problem for me is the jams are too long and I get burnt out on 12-bar blues by the end. Also, I’ve never understood the fascination with “Layla” - the piano outro is boring and, again, it’s crowded with guitar noodling. Obviously Clapton is a skilled guitarist but to me he lacks subtlety, at best he’s able to hammer and bend on the strings.

4.4 + The title track remains the closest example of a perfect rock song, with a vocal performance that's transcendent. There's also an Eno-driven stretch of instrumental songs during the second half that's on par with some of the greatest moments of "Low." If I'm being honest, I like but don't love a couple of the other tracks (e.g. "Sons of the Silent Age") but they certainly don't detract from the overall flow.

4.1 - High camp! Two gay British men surveying nightlife at the outset of the AIDS epidemic, with an unflinching eye towards its seedier side. It's a self-aware parody of pop music but done convincingly well. They're in the music scene but also clearly over it and above it. Standout tracks: "Sex Demon", "Tainted Love" (of course) and "Seedy Films."

2.8 - If you’re 14 and hate your stepdad, this may be the album for you. Amazing drums, though.

4.0 + More interesting as a concept than as a collection of songs to love, this album's more of a "thinker." Still, it's thoughtful and well-crafted, striking the right tone without too much sentiment or intellectualizing. I prefer the raw sexuality of early PJ Harvey but I'm glad it's not bland like some other recent records.

3.7 - Peak 80s adult contemporary. Reminds me of high end stereo equipment of that era. I could imagine a fancier showroom having this in the CD player to show off audio performance. It also would’ve been playing in my friend’s divorced dad’s car stereo - a nice convertible coupe with bucket leather seats, maybe a car phone.

3.8 - Wow, I never would've guessed I'd enjoy listening to this live album of 70s arena rock given "I Want You To Want Me" is its most significant track! Seriously, these guys slayed, as evidenced by the screaming adulations (undulations?) of their Japanese fans. It's not anything mind bending but it does rock hard.

3.1 - I can appreciate its musical complexity and technical prowess but I just don't enjoy this record. I gave it two spins. By most accounts it's a triumph - I've read critical reviews that say this sound is as \"ageless as intelligence.\" Then consider me part of the unwashed masses - I'm not a fan. That jazz-rock combo sounds sterile and smarmy as muzak.

4.4 + France’s pervie uncle can swing. The epitome of cool and composed. First came upon this via Beck’s “Paper Tiger.”

3.7 - High brow this album ain't! It's the type of music you'll hear at Hooters while devouring a basket of wings. It's got “Panama" and some predictably scorching guitar solos.

3.6 - It has its brilliant moments but they seem keener on showing off how cool and in-the-know they are. Definitely impressive how woven into the fabric of modern rock they are but I’m left cold.

3.4 - interesting as a concept but I had a hard time hearing it over the sound of my yawns.

5.0 + What a gift - one of the few records that realizes a fully psychedelic vision, in true technicolor fluorescence. Jimi is a science fiction superhero flying in swirls of brilliant pink, neon green and magenta.

2.8 - Sadly, the backstory, compelling as it is, doesn’t do enough to redeem this record for me. It has an ugly and misanthropic worldview that burns like a chemical fire. Too bad because I really liked the first song “Yes” but that feeling soured quickly.

5.0 + Right up there among RS's greatest albums. Every song is good - from deep cuts like "Moonlight Mile" and "I Got the Blues" to arguably their best ever songs like "Wild Horses."

4.1 + Pulp's flair for dynamics and theatrics are here. "Common People" remains an amazing allegory for the struggles of British class struggle that's catchy and bursting with life. There are also several tracks colored by Cocker's penchant for the Smutty (with a capital "S"). "Monday Morning" reads like a tract from "Tropic of Cancer." In fact, at some point I'll want to give the lyrics more than a cursory skim. There's a literary aspect here that I have yet to fully appreciate.

3.7 - More tuneful than psychedelic, this album's a fun blend of musical theater, pop, rock, white soul, with light inflections of psychedelia. It's definitely better than the record cover suggests - once you get past the awful band name, the silly hit track title, the knock-off Beatles hair and the momma's boy outfits, there's actually a lot to like. Standouts: "Onie", "Sold to the Highest Bidder" and a surprising cover of "About a Quarter to Nine."

5.0 + An amazing touchstone from 1957 that was years ahead of its time. Hard bop at its finest. Warm and wonderfully off-kilter at every turn.

4.0 - Came to this one excited because I love Village Green Preservation Society. Great concept developed in the first 8 songs, which are lyrically amazing, catchy, bouncy and well produced. The Kinks come on facetious in a charming British way - there's a Monty Python feel here, reflected also with the album art. Standouts include: really, all of side A into "Shangri-LA" on the reverse side. After that, I felt an unexpected drop-off in quality. I don't know if I was burnt out or if the songs got worse, maybe both. In any case, the last 15 minutes are a bit of a letdown. All in all, I still like it a lot.

5.0 - Fucking SHIT, why am I JUST discovering this album? It's a non-stop party with the most stylish flair courtesy of the early 1980s, back when British gay culture was probably peaking (on that count, only time will tell). And, just WOW, the radio samples are INCREDIBLE. Even if this album is baldfaced English cultural appropriation, I give Malcom McLaren a huge pass for rearranging so many elements and creating a BULLWHIP of a record!

3.9 - Considering where Chicago ended up in the 80s, it was a surprise to hear where they began. 1968 finds Chicago fusing funk, jazz, rock and R&B, in a similar vein as Sly and the Family Stone and Funkadelic. It's a big and bold sound buttressed by horns and an expanded rhythm section. The studio mastery and high value production that characterizes Chicago's output is on full display. What distinguishes this record for me are the artistic risks, some successful, others not. The protest recordings on "Someday" are poignant and ground the album in its time and place. Conversely, there are some boring extended jams ("Liberation"). My biggest knock is with "Free Form Guitar" which sounds like it's trying to be the "Maggot Brain" of guitar feedback - just a silly, cacophonous jerkoff.

2.9 - There's obviously something special here that I'm not getting. Maybe I'm missing the cultural context, maybe I'm not taking the right drugs, maybe I need to be dancing at some sweaty rave. But I'm just not moved by any of this. At best, I feel it's good background music that might help with studying or coding.

3.6 - White doo-wop pop with nice vocal harmonies and zippy 2.5 minute songs. Buddy Holly’s voice is surprisingly rich tinged with edgy emotion. One surprise is the reverb on the verse in “It’s Too Late” that adds a pretty shadow to the lyric. Some of the guitar solos kind of rip, too. Overall, it’s hokey as expected but it’s good bubblegum.

2.8 - Not much here to elevate Kiss as more than a novelty stadium act. Good on them for creating a brand with mass appeal but to me, it all just smacks of Spinal Tap.

3.4 - I suppose one of the purposes of this listening exercise is to expand my musical horizons. In this case, here's an album I would never think to pick up on my own. I've listened to hardcore punk only in dribs and drabs, mostly struggling to find meaning through the droning guitars and indecipherable growls. I'm left more or less in the same place with Germs but I did find myself attracted by the nihilistic disgust that's grunting and spewing from Darby Crash over some jagged and screechy guitars. It's not music that I connect with personally but I can understand how an angry kid might find solace here. As a side note, it blows my mind that Pat Smear has managed to consistently play in highly influential bands.

3.7 + Not their most accomplished record but certainly distinguished for the time in its sound experimentation and studio mastery. For 1967, they were already well ahead of the pack in exploring psychedelia. “Interestellar Overdrive” drags the middle of the record for me. The second half has some whacky, Syd Barret-y songs with his signature slapdash vocals.

4.1 - Apparently this album stands as a milestone in metal, and that esteem is well deserved. The guitar is undeniably awesome and the rhythms are crazy advanced without sounding pedantic.

2.8 - Thriller was the first album I ever purchased when I was 5 and I remember staying up to watch MJ perform on "Solid Gold." So I was surprised at how viscerally I disliked this album. The tough guy personna on "Bad" sounds phony - MJ was an obviously broken man and his campy biker jacket is no longer fooling me. "Liberian Girl" sounds pious in a "have-pity-for-the-poors" kind of way. Same with "Man in the Mirror." He laments about seeing "kids in the street with not enough to eat" as if he actually observed poverty from anywhere besides his limousine window. "Dirty Diana" paints MJ as the victim of a gold-digging groupie. What could possibly make the most famous pop star in history feel like a victim in that situation? I'm not going to write off all of this record, though. "The Way You Make Me Feel" is still a jam, even though we all know MJ wasn't aroused by anyone with "high heels on." And Stevie Wonder sounds awesome on "Just Good Friends." In the end, this album doesn't pass my sniff test and I'm only too happy to forget about it.

3.7 - Listening to this record takes me back to the 80s when my mom used to watch afternoon soap operas as I would play with my Legos. I hear songs like "Cassandra" and I see her dabbing at her misty eyes. As expected, the sound is glossy, showing impeccable studio mastery. Also as expected, these songs are a little darker than earlier ABBA, expressing regret and longing, lacking the bushy-tailed glamor from their peak. It's too teary-eyed for me but I enjoyed the one listen.

4.4 - Bryan Ferry’s vibrato, cushy bass lines, jangly extended saxophone solos, songs that descend into colorful chaos…and Brian Eno pulls it all together with his studio wizardry.

3.4 - If this album were a beer, it'd be a Carlsberg or something similarly inoffensive. Straightforward love songs expressing regret and longing, strummed on acoustic guitar with mostly 1-5-7-4 chord structures (from what I can tell), sung in a clear baritone, with minimal studio magic. The songs are written thoughtfully and recorded crisply.

4.0 - This album is a great companion for when I'm feeling down. There's a morose vibe that's tinged with some hopeful light that helps buoy my spirit. In particular, I love "Speed Trials", "Ballad of Big Nothing", "Pictures of Me", and "Rose Parade." I love the grunge-like hooks tempered with the somber acoustic guitar anchor and the subtle fills that keep songs sounding tuneful and interesting.

3.5 - One of those soulful voices that seems to emanate deep down to his toes. He’s able to unleash that voice on “Cry to Me.”

5.0 + This record burns scorching hot. The lyrics on “Tombstone Blues” and “Ballad of a Thin Man” read like a surrealist masterpiece.

4.0 - Some gems swirling in the mud here. First, the mud: the guitar sound in songs like "St. Vitus Dance" sounds like a high school kid messing around with gain levels on his amp. But then almost each song suddenly morphs into something different, which makes for an awesomely dynamic experience with killer guitar riffs and solos throughout. And rising up from this swirling mud are a few gems, starting with "Wheels of Confusion" that finds Ozzy riffing melodiously above a droning chord, up and down the scale. "Changes" is a crystalline masterpiece with impressive mellotron violins and Ozzy's singular voice buzzing forward. "Laguna Sunrise" is a gorgeous instrumental and the album ends with an epic sweep with "Under the Sun..."

3.4 - Having been underwhelmed by other one-hit wonders appearing on this list (e.g. A-Ha), I came to this expecting mediocrity but actually ended up sort of enjoying this record. I hear elements of gypsy jazz, ska and Irish folk, which somewhat justifies its place for me since "Come on Eileen" has long ago worn out its welcome.

4.3 - Perhaps it's a testament to the gripping power of "Psychocandy" but my first instinct when listening to this album for the first time is to understand it within the context of "Psychocandy." In actuality, to me this album is way more pleasant and approachable. Songs like "April Skies" are just pop delights. "Fall" has just hints of that fuzzy guitar sound that they'd blow out so completely on "Psychocandy." There's an expansive, shimmery and atmospheric sound - wish I had listened to this album before attempting to understand "Psychocandy." Though my path here feels somewhat circuitous, I'm really happy I finally got to this great record.

3.7 - A tasteful selection of folk songs, arranged simply and sung with an undeniably gorgeous voice.

5.0 + Love Biggie. RIP, King.

5.0 - A true beast of an album, this one plays like a greatest hits compilation. Somehow the songs remain fresh for me (with the exception of "You Shook Me...") despite being mainstays on rock radio.

2.7 - After enjoying Screamdelica, I was expecting to like this but the beats sound dated, the vocals flat and the arrangements excessively noisy.

4.0 - Subtly fuses Afrobeat and jazz, leaning much more heavily on the latter. A warm and inviting sound that showcases skilled electric piano, trumpet and drums. Standouts: "Part of a Whole", "Blues for Huey", "Maesha" and "Ingoo Pow-Pow."

4.2 - I'm not big on prog rock but I loved listening to this album. It's got some of Rush's most recognizable hits like \"Tom Sawyer\" and some extended jams like \"The Camera Eye.\"

4.4 - I was initially turned off by the vocals that struggle to keep in tune with a rather complex melody on "Sea Song." Aptly named, that song floats on a sea of sound that seems to envelope and immerse you in a strange and delightful soundscape reminiscent of "Kid A." In fact, so many sounds seem to directly inform "Kid A" that Thom Yorke could well be accused of ripping it off. There's the riot of woodwinds on "Little Red Riding..." that's reminiscent of "National Anthem" and then there's "Alifib" whose garbled vocals bring to mind "Everything In Its Right Place." Wow, as I'm writing all this, my esteem for this record just keeps rising. Then there are the moments of spoken word, especially on the final track, that add so much atmosphere. And let's not forget the backstory! Yeah, this one's a trip. I'll come back to this.

4.5 + Another intensely dynamic record from Eno. It starts off with pop songs whose rhythms seem to bounce against the skin of each track's bubble ("No One Receiving", "Backwater", "King's Lead Hat"). Some of Eno's more experimental instincts and quirks are still here but he's dialed them down just a little. Towards the middle, he explores more lush and unctuous territory creating soundscapes of seemingly disparate sonic textures, most notably on "Here He Comes." The record then glides into ambient terrain that previews what will define the next phase of his career.

3.8 - As an early punk rock record, this one's got more of the "fuck you" attitude and less of the self-righteous punk posing compared to a lot of its contemporaries. I appreciate the minimal instrumentation - organ, guitar and bass, all anchored by what sounds like a tiny drum kit. It sounds urgent in a slapdash kind of way. I also appreciate the anti-war lyrics that are made that much more confrontational because you can actually hear what they're saying - another reason I like this record better than most other “true” punk records made by the pretentious gatekeepers of that silly genre.

4.1 - I shit on punk rock a lot (justifiably) but to its credit, that genre helped usher in chic, sophisticated New Wave records like this. Lots of terrific songwriting, from the perennial “Brass in Pocket” to deeper cuts like “Up the Neck” and “Tattoed Love Boys.” Chrissie Hynde sounds amazing, striking that balance of tough and vulnerable.

4.1 + A black man who wears multi-colored dreads, plays 6-string bass and sings in a thin falsetto about space travel, cats and video games, is going to confuse some folks. But Thundercat's technical prowess allows his playful spirit to bend and transcend genres at will, creating a colorfully goofy soundscape that's a slice of internet pop culture.

3.7 - Deadly serious, unapologetically macho. Old school R&B beats that give Tupac a canvas to describe the pressures of gangsta life. Some moments of levity with "Can U Get Away" and "Old School."

3.6 - Femi continues Fela's legacy. In fact, to me the two sound identical: staccato rhythm guitar, strong dance percussion, big brass, political lyrics.

3.3 - High energy performance of what I think is mostly rock ‘n’ roll covers of the day. Interesting as a timepiece and solid as a recording but nothing mind-blowing.

3.7 + A fun palate cleanser. Cash sounds loose and intimate, cracking jokes with the audience often at the expense of the prison administration. June Carter sounds sassy on "Jackson." Apparently the crowd noises were added in post-production (Folsom prison required silence of the inmates), which was a huge letdown when I first learned of it. But now I think the crowd sounds are so vital to the record that I can no longer imagine it without the audience as a central performer.

2.8 - The first track “Street Life” sounds cool but the rest is glorified Muzak.

4.6 - It's funny how high school clicks have had such an impact on my musical diet even to this day. I should've listened to this album decades ago but it was a staple of the freaks and goths - groups I was too scared to associate with. I've always loved "Closer" - so much intricacy in the arrangement, and the razor edge in the lyrics appeals to a real sense of lust. Listening to the entire album, I hear Trent Reznor as a perfectionist who's painstakingly dialed in every sound, every moment to maximize impact. No detail is left examined and reexamined. But somehow it ends up sounding crisp, dynamic and dark.

4.0 + My go-to Christmas album!

2.9 - A classic case of an amazing talent that desperately needs an editor. There are moments of deep introspection where Amos confronts past traumas (“Silent All These Years”). But there are too many moments where it’s unclear what she’s going on about (“Leather”). And “China” is probably the worst song I heard this past year. Points deducted for overuse of vocal fry. Overall, the rawness of emotion sometimes works but mostly ends up feeling self-indulgent.

3.4 - Another good (not great) album from B&S but not much to distinguish this from “If You’re Feeling Sinister” aside from a few goofy sonic experiments like on “Electronic Renaissance.” Hope this one’s the last from them.

5.0 - Incredible. I feel like I'm strapped to a gurney, being transported to the mental ward of a massive spaceship.

3.6 - I appreciate the songcraft but still, I’m not a huge fan of The Who. It’s good manly classic rock but maybe too steeped in the canon for me to find exciting.

3.7 - Sitar music has a way of putting me in a trance. I suppose that’s the point. I felt my mind drifting to a pleasant place. The subtle fusions with rock and Moog are gravy.

4.0 + A spirited performance that flows loosely, guided along by Patti Smith's poetic musings.

3.4 - The songs rock but I find the vocals shriek-y, like I'm being yelled at by my girlfriend for 35 minutes straight.

3.6 - Here's a studio veteran that had a hand in some of the greatest popular music ever recorded. So as might be expected, towards the end of his recording career, he's got a supremely deep bag of studio tricks, he's got access to the finest equipment, and a vast network of sound magicians he can tap at will. But, what might be lacking are new ideas along with the energy to explore new emotional territory. I'm hearing loads of subtle beauty in the studio craft. Each song seems like a masterclass in paring sounds, but there's a yawning melancholy that seems to pervade this record despite its considerable sheen.

4.0 - It's hard to judge Elvis based on his own musical merits because he wrote none of these songs. Certainly, he's a soulful crooner and he does justice to most of these songs, with the exception of "Tutti Frutti" and "I Got a Woman" that sound weak compared to their originals. Still, I think it's a great record and a fun spin.

3.6 - The Robert Crumb album art would be the only reason I’d buy this LP. Still, Janis Joplin’s singular rock voice is loud and proud and I do love “Piece of any Heart.” Thankfully there’s more than just 12-bar white blues. “Oh, Sweet Mary” is a dark freak out with some bellowing guitars. Less successful is “Flower in the Sun” that tests Joplin’s limits and makes her sound shrill and slightly out-of-tune. It’s a fine example of San Francisco psychedelic culture, underpinned by LSD, but it feels rooted to its time and place.

5.0 - Damn near flawless. Aretha is queen diva without needing to constantly rub it in your face. She sounds both earthy and ethereal and, goddamn, does she sing with soul. The arrangements and composition are professional but they’ve got swing with just enough negative space so the songs can breathe. Technically, this record sounds razor sharp.

3.6 - This one reminds me of the summer I spent in Houston and a Saturday night we went out for two-step line dancing. Turns out it’s actually kind of fun. And despite the Texas twang, I actually like this record. The songs are crafted honestly and the instruments sound crisp without studio quackery.

3.3 - Meh-donna. Obviously this one’s got her smash hits, “Like a Prayer”, “Express Yourself” and “Cherish”, so my main question coming into this was whether the album works as a whole. To say nothing about its commercial success, as an album I’d say it’s “good enough.” At least there aren’t any gratuitous remixes or covers. The deeper cuts sometimes work but mostly don’t. I was pleasantly surprised to hear Prince on “Love Song” - a nice midtempo jam. “Promise to Try”, “Dear Jessie” and “Oh Father” are real stinkers - saccharine and utterly forgettable.

5.0 + It's hard to pinpoint why this album makes me feel like soaking in a hot bath. There's some kind of strange alchemy between the shimmery guitar and vocals that's mesmerizing. It's a gentle swirl of arpeggiated synth lines, thumping bass and soothing vocal wisps. At times, my mind gets lost in the background sounds and I'm put in a smiling trance.

2.4 - Norwegian kids got psyched about some Warrant and Slaughter music videos and decided to emulate the sound and look. They read every music magazine interview, dutifully practiced their instruments, got rock haircuts, learned to curse like Americans. They almost perfectly emulate the sound of the LA hard rock scene but they’re definitely trying too hard. Too much gratuitous swearing (“Don’t Say Motherfucker, Motherfucker”) and some strange moments where I wonder if lyrics got lost in translation (“Rock Against Ass”). A few screaming guitar solos can’t redeem the endeavor since the record sounds like it was mixed by a chimp. Extra points deducted for terrible band name. Derivative and pointless.

5.0 + Incredible. This one's arguably the most radio friendly of Hendrix's three great albums. Some of his explosive studio theatrics are evident on \"Third Stone From the Sun\" that sounds like soundtrack to a pulp sci-fi novel. But, really, these are well-crafted pop songs with exceptional guitar work, probably the best committed to record. So many radio mainstays here: \"Purple Haze\", \"Manic Depression\", “Hey Joe\" and \"Fire\" to name just a few.

3.7 - Part of the garage rock resurgence of the early '00s along with the White Stripes, the Black Keys and others, but leaning heavier towards punk. This is a speedy, snarly record with amped up guitars and drums and plenty of pop hooks.

4.0 - Lush dreamscapes that are dark and jagged, like waking up in a fever and looking out your window onto an icy winter night.

4.1 + I remember liking lots of the joints off this record back in 2006, especially "Kilo." Sadly, it quickly fell off my radar and I think the skits are to blame. With the exception of "Barbershop" that turns into a fire track, the skits add so much bloat to an otherwise amazing record. At the outset, it's intimidating to look at these 24 track that clock in at over an hour. Overlooking all that, all the actual songs on here are bangers. First, I love Ghostface's writing, his ecstatic storytelling on "Shakey Dog" and the way he adds strange details to his descriptions on "Big Girl." Second, there are recognizable samples to create some insane beats. Third, the collabs: Raekwon, Wu-Tang, BIG, etc.

4.0 + I don't often reach for it but I do know this to be a truly great record. So many amazing songs on here - aside from the big hits, I also love "Lost in the Supermarket" and "Koka Kola."

5.0 - Damn, this record destroys any ambivalence I had about Paul Simon. Yes, the way he parrots and reinterprets various folk genres into his music can come off as inauthentic cultural appropriation. But, as I’ve said about “Graceland”, this criticism is easily overlooked given the quality of the songs. He draws from deeply personal experiences within the backdrop of New York so they end up feeling genuine emotionally. Standout: “Paranoia Blues.”

3.6 + Good but kind of a slog. It’s definitely ballsy for Marvin Gaye to have themed an album around his divorce - don’t know of other artists who’ve done that. The same sumptuous arrangements and buttery vocals are here. Songs like “Anger” give a window into his complex emotional state. Despite these strengths, this record is too far deep into his discography for my taste.

3.8 - A nice Britpop album from the genre's heyday. This sounds like a cousin to "The Bends" - perhaps less hooky, less ethereally beautiful and with fewer slap-your-face rockers. Still, I like the dreamy soundscapes on the more downtempo tracks like "She's Not Dead", "Pantomime Horse", "Sleeping Pills."

5.0 + With stewardship from Steve Albini, this album fully realizes PJ Harvey's explosive potential. Her vocals punch like a fist as she expounds on sexual frustration and deviance, bending genders with violent abandon. The recordings feel raw, like they can come undone at any moment, from the dramatic interplay of soft-loud-soft on the title track, to the jagged string ensemble on "Man-Size Sextet." This album simultaneously defines and typifies an early-90s alternative/grunge sound with more balls than almost all albums of that or any other era. Truly a highlight in an incredible string of albums from her early career.

3.6 - It's good as far as boomer butt-rock goes - I actually write that as a compliment recognizing butt-rock as a distinct sub-genre. It's ZZ Top way back before any synths were introduced. Theirs is an elegant but beefy guitar sound with razor sharp riffs and blues guitar solos that scream and moan. I love the stripped down feel, mostly showcasing only 3 instruments. The minimalism helps the instrumentation sound modern, unlike other 1970s rock that can suffer from too many overlays and loops that muddy rather than augment. As for my criticims: a) the song themes sound very dated, they reference "honky-tonks" and the New Orleans/Chicago blues channel, b) "Sheik" makes them sound ignorant of other cultures, in an average-white-man-of-the-1970s kind of way. Like, it's awkward that the first verse references "Mozambique", "Congo", "Mexico" and "burrito." Conclusion: I'd be syched to see it in the jukebox and might even pick a song off it, but I don't foresee listening to it in full that often.

4.3 - Damn, no wonder people love Lemmy!!! This album feels so rock-solid. Leather jackets and pants, motorcycles, and sluts. Loud, energetic, positive, in charge, getting laid.

3.6 - I remember NME or some British music magazine fawning over this record with bold superlatives, claiming it as the "best British rock" or the "best rock period" or some such. The few songs swirling around failed to grab me and that's how I felt after listening to this album. I bet these guys put on a spectacular live show and I can imagine a packed venue filled with attractive people dancing joyously. I just never connected with this prince of the hooligans persona complaining about nightlife and how girls can be a drag.

2.5 - If this album was a sexual encounter, it’d be a third date and in the middle of dinner she says she’d rather be friends. I’m reminded of live acoustic music you might hear at a winery. It’s contemplative, downtempo. Your mind wanders to boring places as you listen. How does this tiny vineyard town support a music scene? How many musicians make their living playing these winery venues? Why is this dude on the guitar wearing so much turquoise jewelry?

3.6 - A lot gets said about hair metal bands being utterly decimated by Nirvana and the advent of grunge music. I think high energy adult contemporary bands of the 1980s, like Crowded House, that managed to hang on into the early 90s suffered from this "changing of the guard." Consider other similar bands: INXS, Tears For Fears, Simply Red, Simple Minds. Around 1990-1992, most/all of them were arguably past their hit-making primes but still releasing chart-worthy singles. "Woodface" feels distinctly like an album of that era, released just before the American grunge zeitgeist that would expunge these adult contemporary bands from my personal radar and make them culturally irrelevant. Sure, Crowded House went on to release other reasonably successful records but none would have any impact on me, an American teenager at the time. Now having that era in the rearview, it's easier to evaluate this relic on its own musical terms, and I actually like it. The songs are catchy and arranged really nicely. But as I'm listening, I'm reminded of that scene from "Titanic" in which the string ensemble plays in proud defiance as the ship sinks irretrievably into the black Atlantic.

4.7 + What a delight revisiting this album that was a mainstay of my early 20s. It centers around an epic battle between a Dragonball-esque superhero (Yoshimi) and a villainous robot army, set against an interstellar Japanimé backdrop. By the middle of the album good has prevailed over evil and the hero is seemingly pondering her place in the universe and the nature of existence. At least that's my take. This album has the most vastly cinematic and philosophical sweep of any other record of recent memory. So many terrific tracks here: "Fight Test", "Yoshimi Battles...Pt. 1", "In the Morning of the Magicians", "Do You Realize??" My only nitpick is with "One More Robot" - such a terrific song made worse with too much noise and blip-blurp-gurgles.

4.0 - Hadn't heard this Marley album before and initially anticipated muddy recordings like on "Catch A Fire" but thank goodness that's not the case with "Natty Dread." The tracks sound crisp and accentuate Marley's songwriting. I love the heavy vocal reverb, a Marley signature. This album's got a relaxed, lived-in feel that few other artists can achieve at Marley's level. A terrific record to tame an anxious spirit and to keep the calm, happy vibes flowing.

2.1 - An old man ranting in his sleep over royalty-free industrial rock music.

3.3 - A commercial breakthrough for hip hop - "Mama Said Knock You Out" and "Around the Way Girl" were on constant blast, even in my white town. LL Cool J cultivated just enough of a bad boy image to appeal to the youth without scaring our parents. Artistically, this album sounds stale. Songs revolve around two themes: "I'm a great MC and a cool guy (PS: you're neither of those things)" and "I have sex."

5.0 + Sleek and ferocious with smooth jazz samples and non-stop bars. Arguably the pinnacle of New York hip hop, and any hip hop ever.

2.8 - I actually sort of like what these guys are laying down - the guitar riffs are nasty, the vocals are angry and intense in a "fuck-the-world" kind of way, and their sonic palate is broader than other nu metal bands I've heard. I could see blasting some of these songs if I'm having a bad day. But the anger turns hateful, homophobic and misogynistic, which makes the vibe feel anti-social.

4.6 - It starts off inauspiciously - just a couple of shaggy guitars, one in the foreground and one way in the back, a little playful organ and some tambourine. That goes on for about 12 minutes, trance-like. Not unpleasant but not impressive. "The Sad Skinhead" sounds like a Beatles-Zappa jam written and played spontaneously in someone's dressing room between sets. From there, the album launches into a swirly stratosphere. "Jennifer" has this bouncy bass-line that somehow grounds and elevates the entire arrangement before the song turns into a calm ocean of smeared colors. "Giggy Smile" is another extended jam with lots of staccato, which ends abruptly breaking the fifth wall as you hear the musicians conversing in German. "Lauft..." descends into some crazy machine-like click-clacks midway through before turning into an ambient Moog drone. "It's a Bit of a Pain" channels Brian Eno, taking a pretty acoustic ballad and blitzing it with electronic gurgles and guitar squeals.

4.0 - I love that by the end Muddy Waters turned a polite crowd into converts. Awesome.

5.0 + Maybe (?) my favorite record in LZ's incredible discography. This one's got almost everything: super-charged blues rock ("The Lemon Song"), balls-to-the-wall bangers ("Whole Lotta Love"), crazy mid-song breakdowns ("What is And What..."). Also "Ramble On" (still not sure how Bonham gets that tappy-tappy sound on the verse!?!). Not a dull moment.

3.0 - I'm not enough of a hip hop-head to appreciate this album's obvious impact on DJing, breakbeats, etc. Apparently this album started as a soundtrack project for a 70s B-Film, and that's exactly the vibe I'm getting. Car chases, foxy women, afros, flared pants, etc. It's solid background music but I'm not feeling anything beyond nostalgia for Saturday afternoon TV movies.

4.1 + Colorful and varied. There's a quirky dance number with lots of instrumental layers ("One Two Cha Cha Cha"), a pretty love ballad ("Hum Bewafa Hargiz Na Thay") and some lush, cinematic instrumentals that tie in different musical influences (e.g. flamenco, Indian folk, big band jazz, funk...).

4.0 + The Yeah Yeah Yeahs blazed in on a wave of media buzz back in the early aughts so it’s strange to think that they now seem relegated to a mere footnote within that Brooklyn-DIY-indie scene. On hindsight, Karen O's stage persona always smacked of performance art, overly ironic with little heartfelt emotion to draw in the listener (note two exceptions: “Maps” and “Modern Romance”). That said, I do adore Nick Zinner’s guitar sound, a rainbow colored chainsaw.

3.3 - Bland and pretentious. An entitled baby boomer with a hugely inflated sense of self-righteousness. Besides “Imagine”, the song structures sound lazy and the lyrics simplistic (e.g. “My love will turn you on” and “All I want is the truth/Just give me some truth.”)

4.4 + One of Prince's four or five great records. For me, this one's notable for deeper cuts like "It", "Starfish And Coffee", "Forever In My Life."

4.5 - It seems like every one of his records post-Pet Sounds comes with a litany of caveats and disclaimers about the record's originality and authenticity. I'm going to assume I'm listening to a finished record as the artist intended it to be released because I can't be bothered to dive into Brian Wilson's messy backstory. So all that aside, I loved this record! I hear the labor of a tortured artists trying to create something multi-layered and inspired. The flow on this record is top-notch - it leads me on a pleasant journey both between songs but also within songs that often unfold into separate sections. There's so much playfulness, some good and some goofy. On the good side are tracks like "Old Master Painter / You Are My Sunshine" that incorporates an old spiritual into the mix. On the goofy side there's "Cabin Essence" that has some weird vocal back-up ("doing doing...").

4.2 + I love the way this band takes a few sonic elements and allow them to gradually evolve and expand over the course of a track and even across an entire album. It creates such a cohesive album experience.

4.0 - I could be wrong but to me these guys seem underrated. I liked this record. The flows were on point, the rhymes were interesting, and overall it was a pleasant, uplifting listen. Some cool beats, too, especially the last track "Acetate Prophets."

5.0 - Came to this with low expectations and they were immediately shattered. I've come to respect Steve Albini's exalted status as a producer. Now I'm in awe of him as a complete artist. The interplay of brutal drum machine, growly bass and clear vocals situated defiantly in the foreground - these elements make this album feel timeless. And the guitar sounds! Dry, gnarly, industrial. "Kerosene" is an obvious standout - so bleak! How do they conjure a screeching pterodactyl on "Passing Complexion"?? This album sounds nothing like what I know about 1985.

4.5 - It wouldn’t be an exaggeration to call this record an artistic triumph. Cave’s voice is a deep croon that’s equally capable of frothing with rage, brooding with regret and choking with desperation. What an unmatched voice. Some songs unfold as poetic eulogies (“Where the Wild Roses Grow”) and others like dramatizations of grizzly crime scenes (“O’Malley’s Bar”). The instrumental backing adds subtle depth and amazing atmosphere. In particular, “O’Malley’s Bar” feels like you’re actually listening to the killer in the act. Great contributions by PJ Harvey and others to boot!

3.6 - These Massachusetts boys were playing near home so I decided to check them out knowing next to nothing about their catalog, except that they were connected to the 90s grunge zeitgeist that I grew up on. But they were unexpectedly cerebral, utilizing non-standard guitar tunings, math-rocky time signatures and strange chord progressions. Towards the end of their set, I had a mild panic attack and had to exit the venue in a hurry because I just couldn't make sense of the music and it was putting me on edge. I'd say this album displays many similar characteristics as I experienced that evening. For me this album is hit-or-miss. On one hand, I love heartfelt ballads like "Soul and Fire", "Homemade" and "Think (Let Tomorrow Bee). But these sweet moments are spiked with cacophony, like on "Fantastic Disaster" and "Elixir Is Zog." I've read that this is a breakup album, and I think the decision to incorporate equal doses of attraction and repulsion, feels true.

3.4 + “Do you remember the 1960s? It was a decade we learned to party (Woodstock footage), to stand up and be counted (protest footage) and to love (footage of hippies walking arm-in-arm). But most of all, the 1960s gave us the most amazing music! In honor of that incredible decade, Time Life Warner Classics has created “Liege & Lief.” For $19.95, this collection of timeless and beautiful songs can be yours on two CDs or two cassette tapes for a limited time only. This collection is not sold in stores and won’t be around for long, so act now! Operators are standing by.”

4.1 + What an amazing drum sound - just listen to how it kicks in at the beginning of "Where is My Mind?" Also, the guitars sound incredible especially on "Something Against You" - gnarly, overwrought. I love that they included some of the studio banter towards the end of the album, like on "Oh My Golly!" I can see why this album was a huge influence in 1988 and so many artists would flock to the great Steve Albini to achieve a similar sound of loose and explosive swagger.

3.6 - Extended jams. Good for zoning out.

5.0 + It's incredible to hear the hardest working band arguably at their prime. They honed their stage performance to a non-stop onslaught of scream-inducing licks, shrieks and moans, MC'ed by arguably the greatest frontman in history. I'd say their schtick sounds too polished but then I hear James Browns' vocals on "Love Someone" - the way he digs to the bottom of his soul to convey that feeling of heartbreak, that's not a sound that can be manufactured.

3.4 - Aggressively generic. Squarely “acceptable” as “rock” made by “rockers.” Also I hadn’t listened to Navarro after his collab with the Red Hot Chili Peppers on “One Hot Minute” and was expecting more from his guitar work. But it was just standard pentatonic scales with predictable string bends - pretty boring. Not a terrible record, it just sounds like filler music you might hear at a concert as the main act is getting ready to take stage.

4.0 - All the hits off this record still grab me with their intricate guitar work, soaring vocals, surprising harmonies and hooks. I like some of the deeper cuts that I wasn’t as familiar with, especially “Dam That River.” A couple of the late-middle tracks, “Dirt” and “God Smack”, seem to keep pounding in themes of drugs and despair, and I find myself lulled by too much of the same. But “Angry Chair” and “Would?” round out the album perfectly.

3.8 + Hard to not compare this (or any shoegazer rock for that matter) to "Loveless." It's got the whirly, swirly, buzzsaw guitars, which envelope the vocals in an undulating soup of colors and sounds. Somehow it doesn't punch with the same emotional clarity. Standout: "Cupid Come."

4.0 - How is this guy still so under the radar? He's great - he's got the experimental sonics of Harry Nilsson, sardonic affect of Father John Misty and the heartfelt piano balladry of Elton John. Wonderful dry humor throughout. Standouts: "Sigourney Weaver", "JC Hates Faggots", "Silver Platter Club."

2.9 - A mixed bag. The extended guitar solo on "Private Dancer" makes that song extra sensuous. "I Can't Stand the Rain" is a quirky arrangement with cool synthesized effects to capture the sound of rain. On the other hand, the covers add some unimpressive filler to the mix: Tina Turner bashes "Let's Stay Together" with her vocal mallet and "1984" is just bizarre. I can overlook the lame cover of "Help!" since it didn't appear on the original release. Man, and that synthesized harmonica solo on "What's Love Got To Do With It" ruins the whole song for me. Tina Turner is clearly a vocal powerhouse and sexual diva but she made a bunch of tacky decisions here.

4.1 + A funky and sophisticated soundtrack that far outshines the film. Some wonderfully lush string arrangements, politically and socially conscious lyrics, and Curtis Mayfield's unmistakable falsetto. Lots of bangers, too: "Pusherman", "No Thing on Me", "Little Child Runnin' Wild"....

4.2 + A mature and almost methodical exploration of the black experience that still feels deeply introspective and personal. I love the hushed beauty on tracks like "Rise" and "Don't Touch My Hair." There are some remarkable collaborations here, notably with Lil Wayne and Sampha. Solange sounds in full command, and punches with emotional clarity and intellectual heft.

3.5 - The genre designation “quiet storm” perfectly evokes the vibe on this album. The sound is very dated but it’s comforting. I’m reminded of being a kid, holding my dad’s hand as our family spends a leisurely afternoon strolling around at the high-end mall in our neighboring town. It feels safe, warm and worry-free. I probably won’t return to this particular album but I enjoyed the memories it brought back.

3.7 - I love Leonard Cohen but I feel less strongly about this album. For me, the slack vocals and persistent fingerpicking work so supremely well when Cohen unbares some bone-deep pain, as on “Famous Blue Raincoat” or “So Long, Maryanne.” To be sure, there’s poetry and intimacy here, and some sense of longing. But the emotions don’t seem to cut so deep, making the entire affair feel kind of sleepy.

4.1 - I was expecting a bubblegum teeny record but I couldn't have been more wrong. This is full-on grownfolks music, i.e. people be fucking to this. I like the big hits, "Creep" and "Waterfalls" - terrific production on both songs. "Red Light Special", maybe my favorite track on the album, is sexy AF, especially with the bridge that leads to a guitar solo. I even like their cover of "If I Was Your Girlfriend", though not as much as Prince's original. And as far as skits go, "Sexy-Interlude" is actually pretty hilarious.

3.6 - What I imagine the British Airways first class lounge might sound like. Sleek with just a little “urban” edge. Typical 90s house sonics - R&B-style backing vocals, “educated-sounding” rap, vinyl record scratches and pops.

5.0 - Cool and breezy as a June morning on the beach. Incomparable jazz organ. I could listen to this whenever, wherever.

3.4 + This was around when I fell out as a Bjork fan. This one’s dense and only rewards the closest of listens. Overly complex lyrics that feel like they were lifted raw from some teenager’s poetry journal. Rather than edit herself, Bjork elects to build songs around the complexity - a worthy challenge for a musician but less so for the listener. Still, there are moments of striking beauty: “Harm of Will”, “Frosti” and “Undo.” Overall, it feels foggy and I can see why I dreaded revisiting this album.

2.6 - Please God, anything but Everything But The Girl.

3.9 - Compared to other UK dance-rock acts of the era (e.g. Depeche Mode), it seems that New Order didn't get as much exposure across the pond. It's a shame because this is a powerful pop sound melding so many great sounds. I love the bass sound, hollow and plodding. Also great are the interplay of acoustic and electric guitar, along with electronic rhythm elements. Bernard Sumner's vocals sound slack and cool, with an almost conversational cadence and tone. It works best ("Love Less", "Round & Round") when they're able to corral all of these elements into a focused and layered sound. But a couple of tracks ("Mr Disco", "Vanishing Point") struggle under the weight of all these elements. From what I can gather, "Technique" marks the tail-end of a string of great New Order records. I definitely look forward to exploring their catalog further.

4.0 - I'm not normally a fan of big band jazz but this album really swings. I especially love the arrangement on "Whirly Bird" that has some complex brass backing, coupled with amazing solos on the piano and saxophone.

4.7 - Wow, I had very low expectations for this (yet another nu metal album?!) but I actually think it's amazingly innovative. Somehow the fusion of indigenous Brazilian beats and instruments, corny and misguided as it may look on paper, actually comes together and provides for some amazing moments. I especially love the instrumentals "Jasco" and "Itsari" that act as a sort of intermission in the middle of the record. Unlike other nu metal records I've listened to, this one is almost absent of the "I-hate-my-stepdad-and-want-to-kill-everything" vibe. Instead, Sepultura takes on headier topics such as civic disobedience ("Ambush" and "Dictatorshit") and ecological decline ("Endangered Species"). The record ends on a high with "Canyon Jam", a drum circle that sounds like it was recorded in the middle of the Amazon under the moonlight.

4.3 - Look past the silly band name and questionable album name, and you've got a fantastic shoegaze record that takes you on a sprawling, mult-faceted journey. Walls of fuzzy guitar underpinned with strings (e.g. "Leaves and Sand"). Interspersed throughout are nods to different genres (reggae, Beach Boy style psychedelia, 90s Britpop).

4.4 - Another Doors album I slept on because it contained only some of their slightly lesser hits ("Waiting..." and "Roadhouse Blues"). But this is a great record. What this album doesn't have is some of their meandering explorations (e.g. "The End", "L.A. Woman"), instead showcasing tight song structures mostly under 4 minutes. I love the way the freaky "Peace Frog" flows quietly into the gorgeous "Blue Sunday." The mix of songs shows restraint and balance - there are blues-tinged rockers and pretty ballads.

4.0 - Any of these songs would’ve been absolutely PERFECT as filler for a mix CD you gave to your crush back in ’93. It’s actually a solid record - very in the middle of a lot of different sounds from that era. "Jupiter And Teardrop" is a terrific archetypal 90s acoustic/electric love ballad. I like the way "Stars N' Stripes" trails off moodily at the end. "Dixie Drug Store" tells a fun story - very rom-comesque. "America Snoring" and "Grace" showcase some generic political coffeehouse musings. Lots of heart, lots of charm.

5.0 + Blue-eyed soul doesn’t sound like it could be cool but every song on here is awesome. Yet another genre bending triumph in David Bowie’s catalog and one of his best.

3.6 - The one word I’d use to describe this record would be “effective.” The instrumentation is spare. The guitar is punchy with non-stop riffs, sometimes dissonant and jagged. The vocals and lyrics are clear and the songs provide social and political commentary that’s easily discernible. This record would be spinning at an independent record store and I’d think to myself, “this sounds cool, I should ask the clerk what it is.” But then I’d forget to.

4.0 - Some pretty and familiar songs on here - "Teach Your Children" and "Our House." Beautiful arrangements throughout. A sunny day, hassle-free listen, good for a barbecue or by the pool.

3.7 - Not as rich and satisfying as other Paul Simon albums. "Scarborough Fair" is a quiet beauty filled with hushed intensity, a masterpiece. There are other moments of beautiful poetry and melody - "Patterns", "Homeward Bound", "For Emily...". Mixed in are a few misses. The gentleness of "The Dangling Conversation" becomes cloying to my ears. "A Simple Desultory Philippic" is an homage to Bob Dylan that's too fawning. "7 O'click News/Silent Night" doesn't land with the same impact as I imagine they thought it might.

3.3 - Sometimes unlistenable, often downright joyful. It sounds like a rock opera about forest elves who have developed advanced technology. The synthesizer sonics are lame, except around 8:00 on “The Cinema Show.” Genesis ejaculates signature changes and they wank through epically meandering chord structures. There are some laughably bad stretches of ungainly noodling, stepping up and down from one key to another. All that makes for some ghastly melody lines. The lyrics and subject matter, so much as I’ve been listening for them (which I mostly haven’t cared to), seem utterly preposterous. And, unfortunately this is another British album that features Monty Python sounding skits, which seems to be a regrettable trend among Brits of this era. BUT, this album does reward at some stretches. There’s an amazing guitar solo around 5:30 on “Fifth of Fifth.” The vocals are excellent. Peter Gabriel sounds incredible on “More Fool Me.” Glad I gave this a listen.

3.8 - Some good songs on here (“Take Me To the River”, “Warning Sign”) but if I’m being honest I’d say Brian Eno played an overly heavy-handed influence on the sound. To me it’s very similar to Devo’s “Are We Not Men…” that Eno produced at right around the same time. Still, it’s got lots of energy and fun dance-y beats throughout.

4.1 - Another solid "slice-of-life" British record done in the vein of dance-pop with strong political and social commentary. There are also plenty of nods to "the gay experience." "Shopping" describes British power brokering to the highest bidder, no matter the trade-offs. "What Have I Done..." and "Rent" describe sugar daddy romantic arrangements. "It's A Sin" describes homophobia and not adhering to social mores.

5.0 - High energy, sophisticated afro-cuban jazz. Perfect for entertaining or when you need fun background music. The brass section is especially bright and the rhythms are rich.

4.7 - First, "Everybody Hurts" is a perfectly realized pop song with an impeccable structure, measured instrumental arrangement, universally relatable message and transcendent vocal performance. Second, the more "secondary" hits (if they can be called that) are also incredible. From "Man on the Moon" with Stipe's breathy vocals and the slide guitar pre-chorus, to "Drive" with its dark lyrical repetition, to "Nightswimming" with its gorgeous piano composition. Third, the overall album flow is so artful and balanced, striking the right notes at (almost) every turn. Up until now I've remained a reluctant R.E.M fan, having endured "Losing My Religion" played on merciless repeat in '89. Definitively, this album breaks that reluctance. With the exception of "Ignoreland" that somewhat sours the middle with some generic political bellyaching, this is an exceptional record.

3.6 + Yes, it’s deservedly considered a “stone cold classic.” Snoop Dogg has one of the greatest introductions to the mainstream rap game ever (“bow wow wow yippee yo yippee yea”). The rhymes flow, the songs flow and there some undeniable cultural touchstones at every turn. I love the Parliament/Funkadelic samples. And to an extent, I can excuse some misogyny in hip hop (though it feels like I’m reinforcing a double standard). But songs like “Bitches Ain’t Shit” simply take that misogyny way too far for my taste. I’m not denying the importance of this record, but the woman-hate makes it hard for me to really enjoy.

2.8 - Tourist towns across America have the one shop that sells “ethnic” shit: Tibetan rugs, brass Buddha figurines, handwoven hacky sacks, incense cones, crystals… And this is the type of approachable “ethnic” music they have playing.

3.5 - It’s got that swinging 60s “groovy, baby” vibe. Austin Powers probably shaves his balls to this music. Comes with a predictable dose of pedophilia (see “Little Girl in the 4th Row”).

2.7 - How can Adele be so talented and yet so boring? This record is totally devoid of any risks, and presents no distinct point-of-view. She's a young woman who's lived with heartbreak, has had a chance to process her pain privately and is ready to move forward with her life. Wow, Adele, so profound, and yet so relatable - it’s like she’s one of us! And I hate that she's consistently chosen to share only the most tiresome parts of her love-life. We see her always at the “crossroads”, saying goodbye with sincere regret but looking ahead to what's next. Has she never experienced the fun of being in love? The giddiness of meeting someone, the anticipation of being intimate? And why has she chosen to sanitize her pain? It's all very vague. Where are the tears that left smears of mascara on her face? What about the hours spent jealously stalking a lover on Facebook? I'm sure critics have praised this as a "mature" record (*wretch*). As expected, Adele's voice is luscious - she's truly blessed. But why use that exceptional voice to convey only the most unexceptional, "everywoman" feelings? By the end I find all the operatic belting and "you-got-this-girl" sentiments nauseating.

4.7 - So far this is the only Eric Clapton project I've heard that I wouldn't consider completely overrated. In fact, the intersection of blues, psychedelic and early heavy metal is truly special. "Strange Brew" starts us off with a perfect sample of all the colors within this record's palette - there's fuzzy squealing guitar, evocative lyrics and 12-bar blues. "Sunshine of Your Love" a rock mainstay invokes early elements of heavy metal. "Tales of Brave Ulysses", arguably the record's psychedelic apex, starts side B bringing together all of these elements. "We're Going Wrong" reminds us that in addition to being a world class guitarist, Clapton also has some impressive vocal chops. I also love the drumming on that song. "Mother's Lament" closes out the record with a dark little nursery melody.

3.6 + Many of the regrettable 1970s music tropes are represented on this record: long prog-rocky intros, liberal use of disco string fills, falsetto Bee-Gees-style vocal harmonies, synthesized boogie-woogie blues... Sometimes the excess works, sometimes it doesn't. Much of the success of each song depends on the quality of the underlying song itself. If you strip all of the "studio magic" and unbare each song - just an instrument and single voice - what do you get? I'd guess that songs like "Mr. Blue Sky" and "Big Wheels" still sound amazing, and songs like "It's Over" and "Sweet Talkin' Woman" would show themselves to be the turds they are. This album is long and relentless. It gives me a headache to listen to start-to-finish. Still, I like it for a few brilliant songs. And I admire their dogged determination in trying to make me feel happy - all that effort sounds tiresome to my ears but I can't hate them for trying.

5.0 + Wonderful. So much power in Aretha's voice and she tempers it so masterfully with that spark of joy and love. This is a record that showcases all of her talents. Despite being featured in a litany of tampon advertisements, "(You Make Me Feel Like) A Natural Woman" still sounds beautiful as ever. "People Get Ready" feels timely as ever. I even like the alternate version of "Chain of Fools" with the extended guitar intro.

5.0 - Another near-perfect gem from S&G. It starts with the title track, performed almost as a simple lullaby and sung tenderly with naked conviction. Other evergreen favorites include "Cecilia" and "The Boxer." One surprising standout for me is "So Long, Frank Lloyd Wright", a tribute to the late architect - so endearingly light-hearted quirky.

3.6 - I liked it but I clearly don't have as much of a raging boner for Neil Young as Robert Dimery does. Of the five Neil Young albums I've already reviewed so far, this one falls somewhere in the middle. It's got a compelling backstory and some great rough guitar work. But the vocals are pretty shaky. I appreciate the "fresh take" sound, more so on a cerebral level, but it's not necessarily something I'd listen to closely, maybe more as mellow background rock music.

3.6 + Despite some moments of brilliance, this record mostly feels like a hodgepodge. Bowie can be a questionable lyricist, and songs like "Drive-In Saturday" epitomize his penchant for mealy-mouthed asides. I always found the opening track "Watch that Man" annoying because the vocals are so low in the mix. "Let's Spend the Night Together" is a throwaway cover. And I never really connected with "The Jean Genie" even though it is one of his bigger glam hits. Still, Mike Garson sounds incredible on piano, particularly on "Aladdin Sane." And "Lady Grinning Soul" is one of the strongest closers for any Bowie album.

2.9 - This album is smooth as an all-inclusive vacation but about as exciting. Terrific production and musicianship but I can't get into disco. "Can't Stand To Love You" is the one jam I might come back to.

3.4 - At times I like the thumping bass and some of the dramatic arrangements. The opening tracks have some good energy. But it starts to limp along with "All Of My Heart." And while "4 Ever 2 Gether" incorporates some interesting synthesized sounds, it's too cabaret for my taste. "Theme from 'Mantrap'" clinches the musical theater vibe, and I'm only too happy to see the curtain drop.

4.3 - Rock solid, uncluttered, soulful - a testament to the durability of no-nonsense American rock. So many classics on here: "Travelin' Band", "Lookin' Out My Back Door", "Run Through The Jungle", "Up Around the Bend." My only knock is with "I Heard It Through The Grapevine" which, though inoffensive, doesn't hold a candle to Marvin Gaye's original, and falters with an extended jam section. "Long As I Can See The Light" is a new discovery that deserves many future listens.

4.4 - This album captures that 70s soul/funk vibe perfectly. The band sounds impeccable with Jon Kay at the helm. It's impossible to not hear the Stevie Wonder parallels although this album eschews some Stevie's emotional depth, maintaining a non-stop party tempo throughout.

2.6 - This record reminds me of a pack of bourbon flavored gummy bears I was once gifted. I like bourbon on its own and gummy bears on their own as well. Merging the two, though it might seem like a good idea, proved underwhelming. Similarly, this album is an underwhelming combo of Irish/Scottish folk and adult contemporary rock. Listening to it seems utterly pointless to me. The only place I could ever imagine hearing this would be at an Irish pub or a St. Paddy’s day parade or an Irish pride event or some other Irish-themed venue. “Sweet Thing” is one cool track - the fiddle actually works on this and doesn’t feel like a distraction as it does for much of the rest.

4.4 + A delightful country-western record with stories of cowboys and outlaws, set against a sunny desert backdrop. Robbins sings with a clear, bright tenor, supported with barbershop-style backing vocals and guitar. There are also subtle tinges of mariachi. Highlights include "Big Iron", "El Paso", and "Cool Water."

2.8 - "Unique" and "different" don't necessarily mean "good." Not that this record is irredeemably offensive - there are at least some interesting elements. But overall I just find it strange, and a waste of my time. Perhaps the most judicious thing would be to say I simply don't like it and move on. But since I took the time to give it a spin I'll name a few gripes. First, it's got a treble-heavy mix that just sounds weak and wispy. Second, I just couldn't get past David MacCombs' voice. It's actually a powerful baritone but I'm constantly distracted by the effete way he pronounces "s" sounds. Third, the songs explore some strange and pretentious subjects like spirituality and the afterlife. Resulting songs like "Holy Water" and "Jerdacuttup Man" are utterly ridiculous. Listening to this record, I'm somehow reminded of bad dinner theater.

4.6 - Part of an incredible run of albums around '67-72. Two songs have justifiably become part of the rock canon ("Gimme Shelter" and "You Can't Always Get..."). I actually prefer "Country Honk" to "Honky Tonk Women." Jagger's unbridled enthusiasm is often magnetic but can sometimes end up sounding goofy. I hear that goofiness on "Love in Vain" and "Let it Bleed" - the weaker tracks on the album -though they are fine blues recordings. "Midnight Rambler" meanders into an interesting extended breakdown in the middle. "Monkey Man" is another deeper cut worth revisiting - some gorgeous piano arpeggiation that melds with some terrific guitar work. Overall, very full and satisfying.

2.9 - "Is Anthony Kiedis going to ruin this song, too?" That's the question that came up again and again listening to this record. I'm baffled as to why they keep him around. The interplay between Flea's bass and Frusciante's guitar is stellar as ever, especially on tracks like "Parallel Universe." And as with other RHCP records I've listened to, I do actually like a couple songs: "Scar Tissue" and "Porcelain." But on other tracks like "Around the World" and "Get on Top", Kiedis is like a shit-flinging gorilla. Probably the worst offense is "Purple Stain", in which he describes fingering a woman on her period (WTF?!). The backing band is the only thing buttressing Kiedis from tumbling head-first into the gutter.

3.7 - I enjoy this record as a tourist beholding an unfamiliar curiosity. "Golly, these locals sure have some strange customs! I didn't know the human voice was even capable of producing such sounds, no siree!" On a side note, I played "You Suffer" (the "song" that's famously 1.316 seconds long) for my 2 year old and 4 year old, and they were literally ROFL.

4.3 - What an exciting discovery! I never knew "The Soft Bulletin" has a sister album. The parallels between the two records is undeniable. I heard it from the beginning not knowing much about "Deserter's Songs." David Fridmann's discography is vast and impressive. The flow of this album is amazing, from gently orchestrated pop songs to instrumentals featuring theramin. It's dense with atmosphere and explores a vast emotional landscape.

4.0 - At his best, Kanye is able to channel his enormous ego to stoke some incredible artistic output (e.g. the unmatchable "MBDTF"). Sadly, that same ego can also be his downfall, as evidenced again and again in recent years. Both sides of his ego are apparent here, though this record has considerably more hits than misses. "I'll Fly Away" is a spiritual hymn that flows beautifully into "Spaceship." "The New Workout Plan" is witty and fun. "Get Em High" is an arena-ready banger. The collabs are pretty remarkable, from Common to Talib Kweli to Jay-Z...However, the record isn't without its warts. The "School Spirit" skits are pretty lame and on "Last Call", Kanye fully indulges his ego by sharing his backstory. To be honest, I enjoyed the 13 minutes of storytelling where he recounts all the struggles to break out as a rap star. But, really, who wants to listen to any of that more than once? And at 76 minutes, why not just release that last track as a B-side? All in all, he's poured so much into this record and it's mostly great.

4.4 - This is a rare prog rock record I really enjoyed and could see myself revisiting. Similar to other records in the genre, there's loads of production but despite the bombast, Supertramp exhibits something that eludes many other prog rock acts: restraint. Movements within songs feel cohesive to the whole. Relative to other prog rock records, instrument layers aren't crammed on top of one another. Rather, they are arranged strategically to accentuate melodies against a relatively spare background. I use the word "relative" frequently here because, again, there's still plenty of prog rock excess. Still, the record comes together nicely as a continuous 45 minute listen.

3.3 - Unremarkable besides “Novocaine for the Soul.”

3.5 + I gave this record a couple listens back in 2005 while living in Chicago. Common seems like the guy who's friends with everyone - tall, handsome, easy-going, always smiling. He's got powerful friends like Kanye who genuinely want him to succeed. There are some nice tracks on this record, and his vibe is generally positive. I especially love the samples on "They Say" and the fact that it features Ahmad Jamal, another Chicago legend. Overall, though, nothing really grabs me - Common's flow is middling and his worldview lacks a certain edge.

4.2 + It's rare that a top-10 music list doesn't include "Abbey Road" but it's not even my favorite Beatles record. First, "Come Together" is probably the most tired song on classic rock radio. And any cool factor that song may have once had was thoroughly sucked out by Aerosmith with their atrocious cover. Second, people praise this album's cohesion but to me it sounds like a potpourri with few unifying themes or concepts. Going from "Something" to "Maxwell's..." to "Oh! Darling" to "Octopus's Garden" - it feels like they strung together some leftovers from other recording sessions. Third, "I Want You (She's So Heavy)" really drags down the end of side A - it's such a ponderous and pointless slog. Fourth, I dislike "Golden Slumber", both the song and McCartney's grunty vocal performance. Still, there's plenty that I do love on here. "Maxwell's..." is among the best of their cartoonish ditties. "Oh! Darling" is an extravagantly soulful ballad that McCartney actually does manage to nail vocally. "Here Comes the Sun" is an evergreen classic that brightens any graduation or wedding ceremony. The trippy "Because" has some incredible synthesized orchestration and choral harmonies. And the "Medley" is a carousel of colors and images.

4.3 + This might be my favorite Elliot Smith record and it's funny to me how underrated it is critically. Clearly Smith's pigeonholed into this persona of a depressive heroine addict living at the margins, à la "Needle in the Hay." And to be sure, he helped cultivate that image. But beyond the "honesty" and "intimacy" of his music, he was consistently a terrific songwriter, capable of penning pretty pop songs with catchy hooks. This record may not have the grime of "Either/Or" but the evolution towards a poppier sound makes this record just as worthwhile. Songs like "Everything Reminds Me of Her" and "Somebody That I Used to Know" are among my favorites of his.

5.0 + Ragas for gringos - love it!

4.0 - This record was another staple among the cool kids at my elementary school, which made it suspect in my eyes. But like it or not, GNR has been a mainstay in the soundtrack of my life. Wherever people are having fun, "Paradise City", "Sweet Child o' Mine" and "Welcome to the Jungle" are bound to be playing. As I finally give this album a fair listen, I actually think they've pulled off something heroic. They've wrested control of rock 'n' roll from the terrible and tired rock acts that were crowding the radio. I was expecting to hear big synthesizer fills, multi-layered vocal harmonics and typical cocaine-driven studio overproduction. Instead I hear a sound that is raw and stripped down. Axl Rose commands with a single, powerful voice. Slash comes through with blues-inspired licks, unfettered by studio fuckery. This is sex, drugs and rock 'n' roll set against the Sunset Strip. Pretty damn classic.

3.7 - Good thrash metal from 1987. Highlights: “I am the Law” and “One World.”

3.7 - It's good but it's derivative - Courtney Love made herself a chick version of Kurt Cobain. Mostly, I appreciate her swagger - she sings with such a loose but ferocious intensity. And "Violet" remains a standout in the grunge rock canon. But somehow I can't shake the feeling that she's a scenester who wanted to be famous at any cost, and for a brief moment was able to channel that ambition to place herself and her voice in the right place at the right time.

4.0 - For me, this one doesn’t quite live up to the hype, mostly because it drags at certain stretches (e.g. the beginning of the title track). Still, it’s got “Pictures of You” and “Lovesong”, which are among the best pop songs ever. Porl Thompson sounds incredible on guitar.

4.0 - This is a surprisingly tidy record with some excellent guitar work. There aren't any standout tracks but it all flows together surprisingly well. I hear elements of reggae via Clash, Talking Heads, REM, and a solid dose of the Minutemen. And Mike Watt sounds incredible on bass! Plus, it's obscure and midwest-American, so citing it as a favorite record will give you instant credibility amongst hipsters.

5.0 - Another masterpiece, this time drawing cues from the American songbook. There are blues dirges like “Jesus Gonna Be Here” and vaudeville-style ballads like “I Don’t Wanna Grow Up.” Themes of sin, life, death and redemption. This one demands repeated listens and I’ll be happy to oblige.

2.5 - Insipid rock that occupied a general “alternative” gray area in the early 90s, back when that designation was just starting to take hold. These guys were in and out of my radar, along with outfits like Matthew Sweet and Teenage Fanclub, never resonating. The loud guitars hold as much interest as a buzzing refrigerator. The vocals and lyrics are similarly uninspired. If I’m going to bother listening to shoegaze-inflected pop rock, I’ll choose “Chrome” by Catherine Wheel anytime over this.

3.9 - Another Queen album that's completely over-the-top. Mostly the maximalist approach works but it can also be quite annoying. "You're My Best Friend" and "Bohemian Rhapsody" are obvious classics, and still sound amazing despite Queen's recent resurgence in pop culture. I also like a few of the deeper cuts. "The Prophet's Song" is an opus of several movements with an interesting a cappella breakdown in the middle. "Love of My Life" is a lushly orchestrated ballad. But "Death On Two Legs" hits like whiplash and I don't enjoy it as an album opener. "Lazing On A Sunday Afternoon" is similarly campy and theatrical.

3.3 - A very typical mid-90s mid-tempo guitar rock album that sounds like an amalgam of Cracker, Spacehog, The Verve, Kula Shaker and a plethora of the era's other b-tier bands.

5.0 + My musical ground zero - the band and the record that ushered me full-force into rock music as a teen. I listened to this album more than any other, and can sing it all the way through. So many amazing moments here - from the guitar solo in "Cherub Rock", to the contemplative end of "Hummer", to the drumming on "Geek USA", to the trippy middle of "Silverfuck", to the gorgeous homage to shoegazer rock with "Mayonaise"...Confronting past demons head-on, believing in a better tomorrow and swirling with psychedelic color.

4.3 - Having suffered through the ska/swing resurgence of the late-90s, I had a PTSD-like reaction when I saw this early ska album pop up. Bands like "Cherry Poppin Daddies" and "Reel Big Fish" did a serious disservice to the Specials' legacy. Or, perhaps the Specials did themselves a disservice in later albums? In any case, I love this debut album! It's a blend of ska and reggae, with punk sensibilities that keep the arrangements lean and loose. The songs' messages vary from political to complaining about nightlife. "Doesn't Make It Alright" rails against race-based violence, while "Monkey Man" ridicules nightclub bouncers.

3.6 - Downtempo white gospel delivered with a smoldering baritone. Songs in a minor key, with simple chord structures, punctuated by a choir to reinforce a lyrical line. Words that seem to be lifted from the Bible. The consistency of this aesthetic through the course of this album’s 72 minutes gives it a gravitas though a few songs in, it definitely sounds same-y. By the end, the performance borders on schtick. I waiver a lot on my feelings towards Nick Cave sometimes thinking he’s brilliant but often feeling like he’s severely overrated as an icon of chic artistry. For me, this record is one that falls more in that latter description.

3.4 - Aside from "Tiny Dancer" and "Levon", this one's underwhelming. Particularly egregious is "Indian Summer" that sounds like he researched Native American culture in the encyclopedia and strung together the main points.

3.8 - Lots of soaring, operatic vocals and some strong 90s grunge-tinged guitars. Highlights (as expected): "Last Goodbye", "Hallelujah."

3.5 - "Our Lips Are Sealed" is one of those rare songs I'll always listen to until the end when it comes on the radio. This album also has "We Got The Beat", which, as far as 80s pop songs go, ain't half bad. The strength of the Go-Go's lies squarely in their ability to write catchy hook-laden earworms - their sound is decidedly minimal and their song structures relatively simple. While there are a couple of other catchy tracks (e.g. "Skidmarks On My Heart"), much of the rest is pleasant but forgettable.

3.6 - The Atari equivalent of rap. It’s obviously crude - the beats and rhymes are simplistic considering how far hip hop has evolved. But there’s an elegance in the craft and I’m struck by how well the sound holds up. I just want to pop this cassette into a boom box and carry it around on my shoulder. I also hear the beginnings of so many different strains in hip hop that would eventually blossom through other artists, like the call and response style perfected by the Beastie Boys. Similar to an Atari game, on some rare occasions it feels good to revisit an art form in its near-infancy.

4.3 - One of the strongest examples I've heard to date of good storytelling in country music. Another proof point that dismissing the genre as a whole is completely ignorant. Just listen to the the way the narrative unfolds on "The Grand Tour", revealing the detail that his wife left him and took with her their baby, is utterly devastating. Similarly, "She Told Me So" takes an unexpected twist when the singer is describing a lover who worships him but soon it becomes clear that actually he's under her spell.

3.6 - Despite some sophomoric political posturing (e.g. "Open Letter (To a Landlord)"), this is an aptly named album with lots of colorful guitar work. Obvious standout: "Cult of Personality."

3.7 - Overall, this album is a strong sample of its milieu, encapsulating the sound of Brooklyn indie rock around 2010. Pretty songs that unfold with interesting drama.

3.7 - When I was studying abroad in Paris in 2000, this fusion of jazz and rap was still very much in vogue at the jazz venues, which is probably a testament to the influence and staying power of this album. It sounds like "The Low End Theory" with a softer and more funk-forward feel. Standouts: "Quartier Nord", "Ragga Jam."

4.5 + We were in peak-covid when this album dropped. I'd double-mask for the grocery store and immediately sanitize every bag and container with Clorox wipes when I came home. I'd even mask up to go jogging outside. There were strange drunken Zoom calls scheduled late into the night with people randomly strewn within the farthest reaches of my social orbit. It was a weird and unsettling time. My media diet also changed. I was reading less, watching fewer new shows on television. Old standbys like the Sopranos were a comfort. Then, this album dropped and Pitchfork gave it the exceedingly rare "10" rating. It felt like a beacon during a gray and foggy time. I remember really liking it when I first gave it a spin, and upon return, I like it even more. The first four tracks alone are a riot of emotion, tenderness, vulnerability, humor, with splatters of strange percussion. The middle mellows and curdles emotionally with "Rack of His" and "Ladies." Apple's self-exploration teeters between laceration and affirmation, leaning more towards the latter. The fact that she created this brilliant mess mostly at home, quarantining before quarantining was our collective reality, makes this album feel especially poignant.

5.0 - Incredible. The first few tracks sound like Fela Kuti through a neon filter with instrumental solos that sound wildly futuristic even by today's standards. "One in a Lifetime" is a masterpiece of songwriting, imagery and sound production. The tone and tempo mellow for the second half, ending with a Joy Division-esque dirge with "The Overload." This is a nuanced, heady, kinetic and bafflingly awesome listen.

5.0 + Awesomely weird. I love the way Kate Bush combines acoustic elements, like beautiful string section, with strange synthesized woodwind sounds. I also love the steady percussions that create tension without ever fully resolving. And her voice sounds amazing, clear and youthful but able to emit some serious growls. All of these songs are fully realized compositions, executed with precision. Even the album’s most outlandish “Walking the Wish” is a great listen.

3.2 - A sweet country sound, bordering on saccharine. Also extremely feminine. Listening to this record makes me picture a group of middle-aged white women sitting out on camping chairs, sipping white wine, getting a little rowdy, getting a little sad.

5.0 - The first cassette album I ever owned back when I was just 4. And 40 years later it still sparkles. Like everyone else on the planet, I've heard "Billie Jean" countless times and still think it's a banger. Same with "Beat It", especially Van Halen's guitar solo. "Wanna Be Startin' Somethin'" sounds like something cooked up by Fela Kuti and it's non-stop bops. "P.Y.T" is another stone-cold jam. My only criticism is with "The Girl is Mine" - Paul McCartney stinks up the vibe and I just don't believe that the two of them would ever argue over a girl.

3.5 - I'm sitting in my jammies, putzing around before bed and this record is right now a terrific companion. I'd also enjoy hearing this in the background at a used bookstore with a curled up cat dozing in a sunny corner. Standouts: "Mule Skinner Blues", "Cocaine."

5.0 + Stunning, front to back. Also an awkward testament to our parents’ once very vivid and tumultuous sex lives.

3.8 - This album's perched somewhere after Britpop of the mid-90s and just before the advent of more wacked out bands like the Gorillaz. Like Britpop, these songs build to durable, sing-songy choruses and there are harsher noise elements thrown in. I hear bits of Spiritualized, Blur and Flaming Lips, as well as older influences like ELO and the Beach Boys (esp on "Receptacle for the Respectable"). At 53 minutes, it definitely feels overlong. The first five songs propel the record to amazing heights where much of the second half feels a little flabby.

4.6 - A supreme road trip album. Ideally consumed in its entirety in one sitting. Each song fits together like a puzzle piece to build a narrative arc that involves a misfit who won’t conform to an authoritarian regime, gets addicted to drugs and whores which leaves him feeling lonely and ultimately drives him insane. In the last quarter of the album we follow him from institutionalization, to crime, to recrimination. And he’s ultimately executed. Heavy! Lots of amazing and familiar songs along the way (“Comfortably Numb”, “Run Like Hell”, “Young Lust”, “Hey You”).

3.3 + A lot of fuss has been kicked up about these guys and I dutifully gave them their due. I read Henry Rollins’ memoir “Get in the Van” and listened to their records. To me, it’s another case of a band’s backstory being more compelling than their actual output. Not that this record is bad. I appreciate the DIY aesthetic and the guitar work is on point. But as a personality, Rollins is pretentious and abrasive and defaults to a holier-than-thou mindset. All this would be fine if he had the vocal chops to back up the attitude. Though he grunts clearly and enunciates his words to make his meaning understood, I find the message two-dimensional (see “TV Party”). While I like their story, their work ethic and their branding, Black Flag’s music is overrated.

2.9 - Pleasant enough but underwhelming. Tracks build on a few elements - a beat, a repetitive vocal phrase and some dramatic synth lines. I struggle to see what place this record has in the list. Compared to other electronic albums of the era (e.g. "Homework"), this feels staid. I feel like any semi-serious hobbyist could churn out something comparable on Garage Band these days.

3.8 - A very catchy British affair à la the Kinks with a little glam and punk rock swirled in. The songs are bouncy but capture working class frustrations. Great guitar sounds, both hard electric and shimmery acoustic. Standouts: "That's Entertainment", "Pretty Green", "Man In the Corner Shop."

3.3 - I like some of the rhythms ("Felicidade") and sonic elements ("Na Neblina"). But taken all together, it's too lounge-y for my taste.

3.1 - Why even listen to yacht rock if there aren’t any singalong hits? That’s what makes “Can’t Buy A Thrill” so much fun. I have little interest in hearing these dudes noodle about transcendental Buddhism (“Bodhisattva”).

2.8 - I respect the artistry but I really did not enjoy this record. For one, Lorde’s breathy and nasally lisp grates on my nerves - she sounds like she needs to blow her nose. This sounds like the soundtrack to a musical about teenage nightlife, played by actors in their thirties.

3.5 + Some great songs (“Beetlebum”, “Country Sad Ballad Man”) mixed in with mediocre ones (“You’re So Great”, “Chinese Bombs”, “Essex Dogs”). Compared to the highs of “Parklife” and “Great Escape”, I remember this album feeling like a letdown - rougher, moodier, more depressing (all in a bad way) - and that feeling remains.

3.7 - Tuneful and upbeat post punk that works as background music for a cool coffee shop or similar space. Standout: “English Rose”

3.6 - Some bops on here, especially “Lovefool” that amplifies the unreliable narrator motif to fun absurdity. Also, “Your New Cuckoo” and the cover of “Iron Man.” Nina Persson borrows from Dusty Springfield’s playbook and becomes the obliging and world-weary mistress/whore, with the voice and look of a pixie.

3.2 - “Hey man, it’s Sunday morning around 10:30. Thanks again for letting me borrow your stapler to put together the last of those zines. Listen, I’m about to throw on some cargo shorts and head over to the quad with the boombox. Been digging this new Lemonheads album. I’m bringing a hacky sack and my devil sticks, too. You know, just chilling like a villain. If you get this, maybe grab that Spin Doctors CD if that’s coolio? Alright, brotha, come by the quad if you can, otherwise leave a message on my answering machine. Catch you on the flip side. Peace!”

4.0 - I love Muddy Waters and this album is a worthy showcase of his talents. Clear, uncluttered production. I do slightly prefer the rough and urgent bite of the original “I Can’t Be Satisfied”, but the updated recording is also great.

5.0 - When it comes to enjoying electronic dance records, I generally have a spotty history. I'm not sure what constitutes excellence within this genre but for me it has a lot to do with balance between a handful of variables. First is tone: is there a balance between light and dark, heavy and floating elements? Second, is there the right amount of surprise, familiar and unfamiliar? Third involves the beat: how well does it come together? Does the beat sound canned and cheap? Does it sound cool and tasteful? I realize as I'm writing this that there's a certain alchemy to dance music that I can't presently articulate. And I can't pinpoint exactly why this particular album puts me in a joyful trance where other electronic dance albums I've listened to have failed, sometimes miserably (see "Fat of the Land", "You've Come A Long Way Baby", "Darkdancer", "Exit Planet Dust"). But I do know that I'm fully engrossed and my brain is happy.

5.0 + Classic! Young Michael was undeniable. The voice, the funk, the sparkle - he gives it all generously.

5.0 + Of the 500 albums I’ve listened to so far, this one might be my favorite. It’s so dense with bars, and it rewards frequent listens. “Complexion” is my new favorite song off this.

4.1 + A thorough takedown of American pop culture of the 1960s and an important check against the generally utopian portrayal of hippie culture. Frank Zappa exposes all of America's warts, from the lame to the downright reprehensible. I especially love the whacked out doo wop of "Go Cry..." The last stretch of musical montages are among the whackiest and most avant garde of any rock record.

4.1 - Listening to James Taylor sing the blues reminds of the South Park episode where Butters becomes a pimp. If he weren't so damn good at it, it'd be hilariously awful but instead it ends up being pretty awesome and endearing. Standouts: "Steamroller", "Fire and Rain", "Suite for 20 G."

4.6 - As a single, “Moondance” can sound jarring to me - the vocals sound vomited at times, the horn fills kind of cheesy, the flute parts sort of student jazz band-y. But somehow within the context of the album it fits perfectly. Uncannily, this record feels both tightly composed and loosely structured. As an overall listening experience, there’s impeccable flow. Individually, the songs almost feel improvised. I like everything on here and I love “Into the Mystic” and “Glad Tidings.”

3.5 - A cheeky British trifle with clever lyrics, tight orchestral arrangements and baritone crooning. Fun and frivolous.

3.4 - Funky tracks on here but I felt it all wash over me and I've already forgotten about it. Fine as background music.

2.8 - I'm not that knowledgeable about hip hop and I certainly couldn't explain this record's influence on the genre. And this album played no part in my youth so it doesn't connect with me on a nostalgic level. I'm simply listening to this record in 2022 as a grown adult, for the very first time. What I hear are flat rhymes and stilted cadences. And above all, corny-ass lyrics.

3.6 - Not as strong as other slice-of-life Kinks records (e.g “Village Green”) mostly because the songs are about uninteresting characters and situations (e.g “Session Man”).

4.6 - To describe a work of art as "original" sets it on an impossibly teetering pedestal that can fall at the scoff of someone with deeper music knowledge. But to my ears, this record is an original. First, it captures and integrates so many seemingly disparate sounds - from sea shanties to troubadour ballads of the middle ages to Indian folk chanting... Second, there's an organic feel to this record, performed by not so much a band as an artistic collective, or a commune of misfits supporting some larger spiritual endeavor. The strange echos on "The Minotaur's Song" make me picture a large, rickety parlor room outfitted with a few tape recorders, where a group of music students has gathered to share joints and jugs of wine and sing in rough choral harmony. Most songs on this record don't simply unfold, they seem to sprout - twisting and gnarling and blooming in different, unexpected directions (see "A Very Cellular Song"). Third, the lyrics read like poetry with strange imagery, dredging up childhood memories, with the odd reference to transcendentalist philosophy. ("Setting your foot where the sand is untrodden, The ocean that only begins. Listen, a woman with a bulldozer built this house now. Carving away the mountain whose name is your childhood home.") It's a work of audacious ambition - by all rights it should never have been created: the recordings too unrehearsed, the lyrics too obscure, the singers and players not quite up to snuff. And there are definitely parts of the record where you can hear everything unravel ("Swift as the Wind"). But, taken together, the record glows with childlike wonder and a sense of vast creative possibility.

2.3 - The only thing worse than the album cover is the album itself. It’s a prime example of prog rock as a parody of itself. Somehow virtuosic organ playing makes this worse for me. Woof!

3.6 - I was deep into Britpop back in the late-90s but these guys didn't get much airplay in the States so they weren't on my radar. To me this record sounds like a more cooky, less grandiose version of "The Bends."

3.7 - A cool record that evokes a dark, futuristic atmosphere, like driving through a sleeping metropolis in the middle of night. Standouts: “The Other Side of Life”, “All Tomorrow’s Parties.”

3.2 - What is it that I dislike about Bruce Springsteen? Is it the pandering to blue collar America? Is it the emotional grandstanding that oozes with sincerity? Is it the hit-you-over-the-head music production? Is it the stylized leather jacket/tight jeans combo? I couldn't get into "Born in the U.S.A" and I can't get into this record either. I tried. I even kinda sorta like some of the songs. But - I don't know - it still all seems phony, like an elaborate put-on.

3.0 - Besides a stretch of three songs on side B (“The Killing Moon”, “Seven Seas”, “My Kingdom”), this record feels underrealized. The mix on the other songs, with the instruments placed way in the back, mostly sounds wispy.

3.8 - I was expecting a big, fat pop record and this record delivered in spades. I love the beefy production with surprisingly funky bass lines underpinning garlands of female vocals and swells of strings.

3.4 - Some cool tracks on here (e.g. “Rebento”) but overall it means too heavily in the realm of smooth jazz and quiet storm. I listens to the record a second time and found myself skipping many of the songs.

3.5 - Good as background music at your favorite dive bar. Inoffensive hard rock with some tasty guitar licks here and there.

4.3 + Not so much an EDM record as an exploration of sonic textures. Daft Punk have always been supreme composers, knowing how to create suspense, introduce themes and build to climax. The best moments on the record take singular sonic elements and manipulate them like putty, warping them and twisting them and compressing them into fascinating shapes and sizes (e.g “Rollin’ and Scratchin’”).

3.5 - I imagine this is what Dr. Frasier Crain listens to at the end of a long day should he come home to an empty apartment. He’ll slip out of his beige sport jacket and Italian cordovan loafers. He may pour himself a glass of Lagavulin 16 and sit back in his Eames chair as he reaches for the remote to turn on his 5-CD changer. He may even page through the Sharper Image catalog on his coffee table.

2.4 - A muddled and bloated mess. Listening to this album is like watching my 4 year old fingerpaint. He’s eager to experiment with all the colors so he slathers them all on with abandon, smooshes them together such that his canvas ends up looking like a giant smear of diarrhea.

5.0 + Among my top 10 favorite jazz albums and one of my few “anytime” records.

4.6 + Incredible. The righteous rage that appealed to my teenage angst still feels just as urgent and resonant in my 40s. Fantastic bars, amazing screams and truly exceptional guitar work (esp. on “Settle For Nothing”).

3.4 + Nice to revisit a rap touchstone. There are some good tracks on this (“Don’t Believe the Hype”, “Bring the Noise”). Chuck D and Flava Flav are perfect foils and play off each other amazingly. Some of the elements get repetitive: e.g “yea boyyy!”, the screechy siren sounds.

3.5 - I’m newly familiar with “chamber pop” as a genre and I think the designation perfectly describes this record. Thoughtfully crafted songs from an authentic perspective of a gay man. Standouts: “The Art Teacher”, “Waiting for a Dream.”

4.2 + “Enjoy the Silence” was an international smash when my family first got cable and MTV became a fixture in my life. I’ve been obsessed with that song ever since and have listened to this album countless times. It’s been a few years since I gave this a full listen and admittedly the sonics sound thinner and less impressive than I remembered. A couple tracks like “Sweetest Perfection” are clunkers. But the hits definitely hold up and Dave Gahad’s voice is a real force.

3.8 - More an album I admire than enjoy. The guitar sounds create a boundless landscape, harnessing feedback, hollow arpeggiation, scratchy power chords and gritty noise. By themselves, the guitars make this album a compelling listen. The songs themselves, on the other hand, leave me cold. The lyrics convey dry cynicism and a snarky affect, especially when Kim Deal sings on "Drunken Butterfly."

2.8 + Music to get your grandma on the dance floor. Not terrible overall, except “At Least I Am Free”, which is laughably stupid.

5.0 - Classic Southern rock: “Simple Man”, “Tuesday’s Gone”, “Free Bird.” I also love deeper tracks like “Mississippi Kid.” So much soul!

4.2 - Currently, I'd consider myself a casual hip hop fan at best, gravitating more towards the pantheon of great rap records ("Ready to Die", "Illmatic"...). Having spun this record more than twice this week, I still think my ears are too green to appreciate the full extent of what Wu Tang have lay down. Superficially, I can say the aesthetic is unique and pretty incredible. First, I love that they describe themselves as "Voltron assembling" with each rapper bringing his own trademark superpower. Second, the samples from old kung fu movies add so much depth to the formula. Third, the skits, though super-violent, are effective at conveying this record's time and place. All in all, it's just a great record with some interesting cross-genre samples and brilliant MC'ing. I especially love ODB and Ghostface's contributions. I suspect I'll look back at this review as an underrate. Hopefully my hip-hop sensibilities will grow and evolve so I can more fully appreciate what I may be missing.

4.1 - What I’m learning about prog rock generally through this listening exercise so far is that it only works when the band’s awesomeness can offset the genre’s overall ridiculousness. Given the two Rush albums I’ve heard, I’d say they succeed where other prog rock bands get lost burrowing their heads in their own asses. The album starts with a 20+ minute suite of which I was naturally skeptical. But somehow the parts came together creating a dynamic and interesting listen. It’s hard to deny Geddy Lee’s supreme rock vocals, or Lifeson’s incredible guitar performance on “Something For Nothing” or consistently brilliant drumming from Rutsey. Such an epic trio. This album is certainly not an easy-listening experience and is probably best suited for a long car trip where it can take center stage.

2.8 - I read some of the rave reviews for this album on Metacritic and am feeling confused. While I do like some of the production - the guitar feedback and bleeps/bloops - overall, it's pretty forgettable, even despite Iggy Pop's strange lyrical contribution on "Aisha." Besides "Broken Little Sister" I likely won't give this record a second thought.

3.8 - I was skeptical but I ended up liking this album. Gone is the flamenco-style guitar picking in favor of a more "updated" synth background, reminiscent of a Casio keyboard. It shouldn't work but this aesthetic switch is applied with artful subtlety so it somehow ends up sounding sophisticated. I'm reminded of soundtracks for adult dramas of the 1980s. Cohen's baritone sounds smokier and more seasoned, which adds even more atmosphere and gravitas to his poetic lyricism. I like also that he's kept the female backing vocals to punctuate certain lines throughout. Standouts: "Everybody Knows", "Take This Waltz", "Tower of Song."

4.1 - Classic heavy metal! This is black leather, motorcycles, smoky pool halls, and pints of whiskey that are shattered on the ground. Rob Halford plays the part of metal overlord to a tee. Love the screaming guitar solos, too!

4.1 + I hemmed and hawed over this review for a few months and it'd been sitting incomplete for all that time. Originally, I listened to this back in the fall when it was still up on Spotify and thought it was the perfect backdrop for an afternoon drive through vividly colored backroads. Returning to it many months later, I find my enthusiasm cooled slightly. I love the casual way "Out on the Weekend" breezes in on a groove to open up the record. Then there are songs like "Heart of Gold", "Old Man" and "The Needle and..." that are probably my favorite of his songs. But mixed in are a couple forgettable tracks like "Are You Ready for the Country?" Also, "A Man Needs a Maid" I just find strange. I was expecting great but got very good. Still, it's very good.

4.0 - It starts with back-to-back hits of which "Father Figure" is a highlight. It sags a little in the middle and then rebounds at the end with "Monkey." George Michael sounds particularly amazing on "Kissing a Fool."

2.9 - I’m missing the buzzsaw guitars. Karen O has given herself a broader and quieter palette to explore adult feelings. Mostly songs like “Soft Shock” tread water in a liminal space. I wonder if most of these songs are ever going to go somewhere and then the strings swell and they’re over. Humph. And there’s that atrocious “Off with his head!” song that saturated every Spotify playlist I listened to for the past decade. The album ends on a high with the gorgeous “Hysteric” and “Little Shadow” but by that point I’m all but checked out.

3.7 - I know it's cliché but the best word I can think of to describe this album is brave. Anohni "goes there" with lines like: "My My lady story is one of breast amputation." I like the voice and the delicate arrangements. And I heard the influence of this band on contemporaries like Perfume Genius.

4.0 - Unforgivingly minimal, and terribly effective. To me, it sounds like they've recorded everything on 8 tracks - 1) drum machine, 2) bass, 3) rhythm guitar, 4) sound effects, 5) synths, 6) vocals, 7) backing vocals, 8) aux guitar.

3.6 - African blues rock with some fluttery guitar riffs and lullaby melodies sung soulfully.

3.6 - Towards the end of her life, my grandmother’s impeccable cooking skills started to deteriorate. She still prepared huge feasts and she’d lovingly encourage, ply, shame and guilt trip us into stuffing ourselves well past satiation. Listening to the 73 minutes of this album feels like eating at my late grandma’s. Sure, everything served up is okay, even good, and I appreciate the effort to put it all together. But I end up feeling bad for wanting much, much less of it. Standouts: “New Jack Hustler”, “Bitches 2.”

4.0 - I fell off the Björk fan-wagon with "Vespertine", just feeling burnt out on the weight of that album and her cringe-y "Dancer in the Dark" project. This album reminded me of what I love about her as an artist: the cocksure experimentation, the strange mysticism and the haunting melodies. Despite all the weirdness, the record feels light and human. Maybe it's the a cappella aspect, which is both boundary-pushing without being gimmicky.

3.3 - Listening to this record reminds me of interacting with my wife’s extended family in Wisconsin. Everyone is so friendly and adept at making small talk. Should we grill out this evening? “That would be nice.” Maybe go over to the bar later and catch the game? “That would be nice.” Looks like we got another sunny day tomorrow. “That would be nice.” It’s comforting and quickly becomes sickening.

5.0 + The most emotionally intense and deeply atmospheric Leonard Cohen album, and also my favorite of his. Absolutely arresting in its poetry, delivered with a dry baritone and hushed finger-picking guitar. Standouts: "Famous Blue Raincoat", "Last Year's Man", "Avalanche", "Love Calls You By Your Name."

4.6 + Part of Wonder's five-string master opus of albums from the early 70s. Every song on here is great.

4.1 + Definitely a curiosity that adds depth to Eno's rich and varied output. Revisiting this, I'm struck by the tone. One would think ambient music for an airport would be more cheerful. But then I wonder how that upbeat music would make me feel personally if I'm running to my gate towing luggage. Instead Eno creates a sense of calm empathy. As if to say: "I know traveling can be hard. But you'll get through it. Be strong." Also, this album has a vaguely East Berlin feel to it - particularly, "2/2" feels like I'm drifting through rows of gray residential buildings on a sunny day.

4.0 - "Suite: Judy Blue Eyes" is an obvious standout. Other songs feature their sunny harmonies, dynamic song structures (see "Wooden Ships") and tender balladry. Of the deeper tracks "Lady of the Island" is another highlight. At some parts the songwriting sounds reminiscent of the Beatles without the same studio magic (see "Marrakesh Express").

4.1 - Compared to other British EDM I've reviewed, this one is different. I had it bumping in the back while I was cooking and I really liked it. Besides the pointlessly misogynistic "Smack My Bitch Up", this is solid background for when it's time to get stuff done. I especially like the way "Narayan" fades seamlessly into "Firestarter" - it's a moment that feels especially rave-like.

4.2 - Delightful. A beautiful, soaring voice set over a tasteful, minimal jazz ensemble with some fun backing vocals. Standouts: “The Click Song”, “Mbube”, “The Naughty Little Flea.”

4.1 - A kick-ass live recording that makes me wish I was there. The momentum of this performance is staggering.

4.5 - I’d consider this among the most accomplished records within the psychedelic canon. “White Rabbit” by itself is a pillar within the genre. Lots of other great songs here besides “Don’t You Want…” including “Plastic Fantastic Lover.”

3.9 - This is a lot of goofy fun. Lots of medical imagery and nonsense scientific language. The flow is a little inconsistent but among the funniest and most different hip hop I’ve listened to thus far.

3.3 - Starts out loud and dumb as any Jane’s Addiction record. Perry Ferrell doesn’t so much sing as taunt in a “nya nya nya nya” way. Side B lets up on the hard rock bumrush and there are some actually nice moments, particularly during “Three Days.”

3.1 - I can’t blame them for trying to break out of their “nice-guy-sensitive-acoustic-rock” mold but they sound like they’re trying to recreate the Sistine Chapel with crayons. Songs like “Kamera” and “Heavy Metal Drummer” show them at their finest. The rest is a foggy, groggy mess that somehow sounds both overworked and half-baked. I had suspicions that Wilco was overrated. Now I can definitively say that they are.

3.5 - Its strong emotional intensity is too theatrical in a “Phantom of the Opera” sort of way. I like the vocals and some songs like “Daddy’s Speeding” are pretty. But it’s just too big and insistent.

3.8 - I much prefer this more laid back Eric Clapton to his earlier coked out “guitar god” projects. Some nice sunny day driving songs. Standouts: “Let it Grow”, “Motherless Children.”

4.0 - A breezy and fun listen with that classic early Beach Boys sound. Amazing vocal harmonies and interesting chord progressions.

4.2 - I prefer this one to “It Takes a Nation…” The beats are better, the rhymes and cadence more relentless and the focus more devastating. Great use of news soundbites and snippets from political speeches. The brief DJ vignettes between tracks add to the overall flow. Highlights: “911 Is A Joke”, “Welcome to the Terrordome”, “Fear of a Black Planet”, “Fight the Power.”

3.7 - High energy West African pop music. Bouncy guitar fills, flowing rhythms and rich bari-tenor vocals. A few cheesy-sounding ballads but overall a pleasant listen.

4.0 - Besides the bald-faced "Margaret on the Guillotine", this album thankfully finds Morrissey on a less political bent. Not surprisingly, I like this solo project much better than the more abrasive "Your Arsenal." It's got two notable hits, "Everyday Is Like Sunday" and "Suedehead." I also like deeper cuts like "Little Man, What Now?"

3.3 - This album immediately transports me to a hostel lobby circa 2001. There are tapestries of Ché Guevara and Bob Marley hanging on the wall. I'm sipping on a lukewarm cup of Nescafé waiting to use the communal computer so I can book my next train ticket. Some Belgian chick who I just met is sitting across from me explaining why George W Bush sucks. I nod my head politely, mostly tuning her out and listening to this music bumping in the background. "Did the singer just rhyme 'Tijuana' and 'marijuana'?" I think. This scene which may have excited me when I was 20 just seems tiresome now that I'm older. And that's exactly how I feel listening to this record. There's a chill vibe throughout but it's overall uninspiring.

4.0 - Gorgeous in some stretches. I especially love “The Loneliness of a Tower Crane Driver.” I also love Guy Garvey’s voice that reminds me of Peter Gabriel. Sweet melancholy, this is a record for a relaxing evening at home.

3.7 - Finnish hair metal?! Well, not really. Actually I'd say this album draws much more heavily from glam and New York punk, thankfully. In fact, at times they sound like a tribute band to Television or some outfit. Still, the playing is proficient, the songwriting and performance loaded with swagger. I especially like the "lick the lips between your legs" moment at the end of "Lick of Summer." Definitely a curiosity worth revisiting down the line.

4.0 + All the elements that define Beach House's greatness are here - the dreamy guitar work, smoky vocals, splashy and spare drumming, warbly background fills. All of these come together beautifully on "Zebra", "Walk in the Park", "Silver Soul." The latter track marks the record's emotional climax with Victoria Legrand's plaintive refrain: "it is happening again..." I love these and other poignant moments on the record but if I'm honest, I tend to skip over much of the rest, particularly some of the middle tracks. For me, Beach House's dream pop sound, though established most decisively on this record, will be more fully realized on later projects like "7" and "Depression Cherry."

3.6 - This record feels well ahead of its time and perfectly suited for this era of wokeness. "Tennessee" remains a masterpiece of alternative hip hop with its evocative imagery, and worldly consciousness. And who doesn't love "a game of horseshoes!"? But intertwined within all its intellectualism this record includes certain elements of anti-racist wokeism that I personally find unappealing; namely, the holier-than-thou preachiness and the downright dorkiness (see "Dawn of the Dreads").

4.4 + It's hard to think of a record that creates a more dry, dark and austere atmosphere. Amazing how they accomplish this sound with minimal layers and little formal training. But the elements coalesce impeccably. I especially love the unusual bass sound - loaded with gain and played as a separate voicing rather than as pure accompaniment. Ian Curtis adds another off-kilter element with a voice that at times sounds like he's on the verge of a breakdown ("I Remember Nothing"). Standouts: "Disorder", "She's Lost Control."

4.1 - I hear danger in the wildly overamped guitar that constantly sounds like it could spill over at any moment into peals of terrible feedback. Leigh Stephens seems to push that guitar to its groaning/squealing edge. It's impossible to not hear the through-line between this record and Black Sabbath's debut. I also hear inspiration drawn from Hendrix and his guitar wizardry. Standout: "Doctor Please" (particularly the guitar breakdown in the last couple of minutes).

5.0 - What a treasure. So many show-stopping moments on here, from the storytelling on "Four Women" to the intricate piano on "If I Should Lose You" to the vocal bass on "Either Way I Lose." Each song sounds like a classic. Binding it all together is Simone's unmatched chameleonic voice that can equally convey loving tenderness ("Black Is The Color..."), vitriol ("Four Women") and vicious defiance ("Break Down..."). I've been searching for an entry point to Nina Simeone, and I've finally found it.

4.4 - I appreciate having one album that showcases all of Frank Sinatra's charms that isn't a compilation of greatest hits or holiday songs. My opinion on this is certainly not insightful. Sinatra is the consummate party host - a real crowd-pleaser though I never feel like he condescends to connect with me directly. These recordings and arrangements are impeccable - truly a pinnacle in big band jazz music for a popular audience. While I can't think of a time I'd be excited to listen to this record, it does have an uncanny way of livening a mood while adding a dash of class to any occasion.

2.5 - This record shoots its wad early, within the first three tracks. After that, songs churn out on a conveyor belt, each vaguely similar in their glossy sheen but with slightly varied deformities. I like how one critic sums it all up: "a collection of either competent pop songs underwhelmingly executed or underwhelmingly written pop songs competently executed." This is the music you hear as you accompany your tween daughter to purchase her first thong.

3.5 - A little different - sometimes good, sometimes strange. “Love and Affection” encapsulates some of what I like and dislike (dislike: the bass vocals, like: the saxophone solo). “Like Fire” sounds like Dave Matthews at his best, minus some wonky guitar noodling. “Water With the Wine” is funky until you consider the date rape.

5.0 + Lou Reed set out to create a novel-like album and to me this reads like "Thérèse Raquin" by Emile Zola. He offers us an unflinching look at the insanity of drug addiction - we hear children crying out for "mommy" ("The Kids"), delve into messy sexual liaisons ("Oh, Jim"), feel the humiliation ("How Do You Think It Feels") and witness the violence ("Caroline Says II"). Listening to this record, I can almost inhale the stench of these NYC hovels and see the grime on the counters and walls.

5.0 + There are hip hop records I like better but none that brings the flow, bars, beats and bangers with such consistency. This is a record that's equally effective in the front-and-center as it is in the background. There's not a single bum rhyme or questionable moment on this record. I love the nods to jazz legends that make this heady, sophisticated fun.

4.0 - Recordings of live performances work best when they convey the electricity of the moment, and in that regard this record succeeds marvelously. Brel's voice is a triumph - you can hear his lungs, throat, mouth and tongue flexing to project and articulate every line with the muscular proficiency of a bodybuilder. The audience's ovations are deafening, most notably after the first and most striking track "Amsterdam."

4.0 - It’s hard not to compare this to Kraftwerk but the full-on rock drumming lends a lot of heft to the sound creating an approachable hybrid of synthetic and organic. “Cars” is an obvious standout and there are other fun bops. Nothing mind-bending here but it is a composed and elegant record with a stylish and future-leaning aesthetic.

3.8 - This is a very tastefully produced record, from the cover art and album title, to the spare and subtle sound engineering, to the subdued but effective vocals. I love the way Lana Del Rey evokes deep Americana with references to Louisiana two-step, small towns in Arkansas (pronounced like "Kansas") and church-y truisms like "not all who wander are lost." And I'm just a sucker for her weepy damsel-in-distress persona that she augments with her doe-like eyes and hushed delivery - she reminds me of Hope Sandoval of Mazzy Star. Mostly the songs are easily interpreted and float within a somber melancholy. My hunch is that most of this record's charms that seem so compelling on initial listen, will fade upon subsequent returns and that I'll probably find boring what I once found gorgeous.

4.2 + Side A is markedly better. Dylan shines with surrealist absurdity and often paints himself as a hapless Charlie Chaplin, especially on “Bob Dylan’s 115th Dream.” “Maggie’s Farm” shows him at his most droll. Side B, while also full of striking turns of phrase, doesn’t grab me.

3.1 - The one redeeming thing about this album to me is that Kravitz wrote and performed (almost) all of the music on here. Clearly the man is talented and skilled. He's also put in the work, creating an hour's worth of music in 13 songs, each with lyrics and melodies. But the songs, while pleasant enough, are just mediocre. There are a bajillion teenage boys across the US who have similar songs written in their little notebooks (I was one of them). They've probably written a song about a prostitute walking the street ("sex work BAD") or injustice in the world ("hate BAD love GOOD") or having to face prejudice ("racism BAD")... Where would Lenny Kravitz be if he didn't have beautiful dreadlocks, an adonis body and, most importantly, Hollywood-connected parents?

3.6 - I was excited for this having loved TFF's singles through the years. But aside from the big hits, I didn't connect with much of the rest. I do admire the peak-80's sound - there are interludes of mountainous soundscapes filled with striking contrasts of harp, massive synthesizer and reverb-laden saxophone. But all of this drama and atmosphere becomes too much of a good thing. Insufferably, they end the record with an extended ambient exploration and I rejoice when it's finally over.

4.2 - An amazingly stripped down showcase of Bruce Springsteen's talents as a songwriter, singer and performer. What a ballsy move to release his 4-track recordings as is, but it's a gamble that works. Having long ago written off Bruce Springsteen as the MOST overrated, this is a record that redeems him as an artist. Standouts: "Johnny 99", "State Trooper."

2.7 - Having long considered this band a joke, I was curious to see how they started out. Were they always putting out watered down reggae covers of famous songs? The album starts off well enough. I wasn’t expecting so much chill jamming, but there it is. I even like some of the echo-y vocals and husky saxophone riffs. From there it treads along, doom-chugga-chugga’ing for a long hour. By the time the 7-minute “Madam Medusa” rolls around with its meandering and pointless instrumental breakdowns, I’m about ready to call it quits. But then I see “Strange Fruit” coming up on the track list. Surely these guys won’t attempt a watered down reggae cover of the spellbinding Billie Holiday song? And…well, fuck me…they do it again, offering up another turd of a cover. I can excuse an album for being pleasant if boring, but such a lame cover is egregious. Fuck these guys.

3.5 - Besides its internationally ubiquitous title track and classic rock mainstay "Life in the Fast Lane", this record is a collection of 1970s easy-listening rock. Well written and composed tracks full of heartfelt sap. They even offer a sweeping survey of American colonialism/expansion with "The Last Resort" (truly strange). I probably won't voluntarily revisit this record though it's solid for what it is.

3.5 - Hard charging early grunge with heavy guitar sounds. I don't prefer the addition of harmonica on songs like "Move Out." Standout: "Good Enough"

2.6 - Big and patriotic as a July 4th parade, and about as exciting. If Chevy were to commission a soundtrack for their truck commercials, it'd sound like this. Predictably, this album was hailed as a "return to form." Unfortunately, given how much I dislike Springsteen's "form", I can only agree with that consensus. For the love of all fuck, ENOUGH BRUCE!!!

4.2 + Even better than I remembered. Santana's guitar work clean and cool. I love all of the rhythms that keep an upbeat, sunny flow. This is the perfect summer afternoon soundtrack. Standouts: "Black Magic Woman", "Oye Como Va", "Hope You're Feeling Better."

3.8 - Wait, this one doesn't have "The Revolution Will Not Be Televised"?? "H2O Blues Gate" serves as a compelling stand-in. Some terrific piano and electric piano work on here, and I love the flute on "The Bottle."

2.8 - A bland fusion of Latin rock and hip hop that you’d head at a free summer concert in some medium-sized city.

4.0 + Maybe more of an interesting record in theory than in execution. I remember reading a Pitchfork review a few years ago and being taken by the heady ideas cited - the references to Japanese sci-fi films, Marxist revolution, and "dialectics you could dance to." But returning to it after several years, I'm just not getting that same buzz. That wop-wop synth sound on "Percolator" grates on my nerves and "Metronomic Underground" is annoyingly repetitive. But there's still a lot I still love (e.g. the title track, "Les Yper Sound") and it generally provides a chic, hyper-mod backdrop for a party.

4.6 - Awesome. Jello Biafra’s voice roils with sardonic fury painting demented cartoons with characters lifted from a nightmare. Here’s an album that redeems punk rock for me. Highlights: “Kill the Poor”, “Drug Me.”

2.9 - This guy’s persona seems all over the place. At some point in the early 2000s, I feel he tried to clean up his image and become a sunny face for daytime TV while retaining enough edge to keep the youth interested. There are some elements of that nice guy here but he intermingles dribbles of the pimp, thug and murderer, with confusing results. Either he’s self-aware and showing himself as a full, complex human. Or he’s just towing too many lines and loses the narrative. All of this would be fine if he weren’t also homophobic and misogynistic or if he consistently spit amazing bars. I’ve given this guy entirely too many chances and I’ll be glad to never think about Common again.

4.4 + As the name implies, this is perfect Sunday morning jazz when you're doing the crossword or reading a good book. I love the ambient café sounds throughout but I'm missing some of the exultant phrases and boisterous colors of some of my favorite jazz records. Still, this performance is a finely honed gem.

3.7 - As a debut it’s a notable introduction to Petty’s exceptionally lean but effective songcraft. Also, at 31 minutes, it’s refreshingly brief. The last three songs end this record on a dizzying high after a somewhat humdrum first half. “Luna” is a deep track worth revisiting.

5.0 - Listening to "Monitor" I imagine an angry sky of charcoal conjured by the jagged guitars. The brutal crashing of the drums beckon claps of thunder and I see green flashes of lightning brusting from the dark clouds. Then Siouxsie Sioux materializes from this stormy chaos, an oversized Medusa head fixing her glowing red eyes on me as she pronounces impending doom with her forked tongue. I think many contemporaries like the Yeah Yeah Yeahs, the Knife and the Killers (to name a few) have tried to capture the same drama and magic but not many come close to Siouxsie & The Banshees. Side note: I curse Robert Dimery often for recommending records I've found underwhelming (e.g. "The Rising" by Bruce Springsteen). But I'm equally thankful for his influence in getting me to listen to records like "Juju" that I may have avoided for stupid reasons (e.g. a weird band name like Siouxsie & The Banshees).

4.0 - I generally try to listen to albums in one sitting so I can understand them holistically. But with this album that approach felt like eating an elephant -it's a fucking HUGE record! OutKast come on full force in almost every song with hard beats and frenetically paced rhymes (see "Bombs Over Baghdad"). For a mild hip hop fan with limited exposure, I enjoyed it much more when I listened in smaller segments. There's no denying the bars that are spit with relentless fury. And there are so many great moments on here (e.g. how they include a few bars of the Wedding March at the end of "Ms. Jackson"). I even like most of the skits that help create a cohesive listening experience. My only real knock is with "Clappin' and Trappin'" - the beat is distractingly loud and busy.

3.7 - It starts with a vocal loop, "where time becomes a loop", that's a little on-the-nose but still pretty trippy. From there, I'm expecting a whacked out space record, à la "Phaedra" by Tangerine Dream or something by Arca. Instead, it's an almost scientifically well-composed EDM record with some spacey elements that still feels balanced and grounded. Standout: "Halcyon and On and On"

5.0 + I don't know exactly how, but this record seems to just slink into a groove that grips you for its entire 47 minute run. I get an uncanny feeling in my chest that I'm listening to a band that somehow plugged into a transcendent higher power. The only other record in memory that gives me a similar impression is "Astral Weeks." As an aside, while I was listening my two small boys (2 and 4) came into the room at around the midway point and proceeded to dance through the album's entire second half.

4.2 - Really, what’s not to like? Three songstresses still at their vocal primes come together to sing plaintive country gospel songs of love and loss. Yes, it’s earnest, sometimes excessively so as on “I’ve Had Enough”, but the power of the arrangements and performances backs up all that emotion to make this record authentic and compelling.

3.1 - This record contains all the trappings of a late album by a fading rocker trying gracefully to hang onto some shred of relevance: 1) Mid-tempo songs of fond reflection, 2) an audio mix that places the vocals front-and-center to showcase the artist in a more “honest” light, 3) careful sound engineering with a younger studio band that gives a modern sheen, 4) references to classic Americana. Your mom will hear a few cuts off this record on an NPR segment in which it’s hailed as “bold” and “full of life.” She’ll decide (“what the heck?”) to buy it off iTunes using the gift card you all gave her last Christmas.

5.0 - Here's another incredible toe-hold into George Clinton's huge discography. I may even like it better than "Maggot Brain." I love the afrofuturist space travel concept as well as the interplay between Bootsy's bass and Bernie Worrell's synths (see "Night Of the Thumpasorus Peoples"). Unlike some of Clinton's other projects (e.g. "One Nation..."), this one feels composed and without clutter. A consummately funky and forward-sounding record all around.

4.0 + This album was the critical darling of its day and I dutifully put it in my regular rotation for a couple of months. My only takeaway from all that listening is "Chicago" with its soaring and achingly sad chorus ("all things go/know/grow"). Revisiting this record years later, I can see why I left with an overall positive impression but with a cloudy memory of its details. "Chicago" is one of the few deeply personal and introspective moments. Much of the rest is either: a) songs about Chicago history like the World's Fair that sound like they belong in a student-written high school musical, b) lovely instrumentals with a vaguely "old time-y" feel. Not to say that any of this is bad, and in small doses it's charming. But mostly I find it a little too quirky. I'd also share just one other (small) criticism and that's with the album cover. It's silly looking and doesn't do the album justice. And WHY the awful Quiet Riot pun ("Come on feel the Illinoise")?? Oh and (I actually will add one more gripe) why such long song titles?? I hate those, too.

3.7 - Sunny pop with rich harmonies reminiscent of “Pet Sounds” but without the same jazz-inflected emotional depth. “California Dreamin’” and “Monday, Monday” are obvious standouts and there’s some easy listening bubble gum throughout.

3.5 - There's a Broadway-like attention to lyrics that communicate broadly relatable messages. "The End of the World" reminds us that "there are other fish in the sea." "Being Boring" laments the loss of innocence and the wonder of youth. As always Neil Tennant is an effective vocalist. I also like the way they incorporate so many different synth sounds. But as I'm listening I'm reminded of MIDI files I used to download off of AOL in 1992 that tried to knock of huge dance hits like "Enjoy the Silence."

4.0 - It's David Byrne and Brian Eno so of course it's epic, right? For the better part of this week I bopped my head along, feeling the rhythms and noting the subtle studio quirks: on "Mind" Byrne's grunt fades seamlessly into a guitar solo, there's an extended outro on "Memories Can't Wait" that's awesome, and I love the ambient paranoia of "Drugs"...Still, the music won't burrow into my guts. Some of it sounds like "And She Was", some of it sounds like Blues Brothers ("Cities"). Mostly I hear the advent of NY punk, which I'm getting (kinda sorta) sick of?

3.7 + I remember being taken by the power of this album when I first heard the opening tracks at a friend's apartment. It sounded like Daft Punk played on a stack of blown-out guitar amps. I think I purchased this album on iTunes later that week and I even ended up seeing Justice live (which proved underwhelming as most DJ sets tend to be). Having seemingly written these guys off years ago, I was curious to see how this record holds up. The first few tracks draw me right back in. "Genesis" may just be their magnum opus - the beats are hyper-compressed making for scratchy and gnarly textures. But around the second half of the record, my excitement has definitely worn as the record putters to its end. The vocals on "The Party" and "DVNO" are annoying and "Stress" is a screechy slog. Stick to the first few tracks and skip the rest.

5.0 + One of the easiest 5 star ratings I've given. I can remember the exact moment I first heard this album back in high school. I was immediately floored - the poetry, the voice, the organ sounds, the overall vibe. Rarely do I prefer the deep cuts of an album but "Crystal Ship" and "Alabama Song" may be my favorite tracks. And who can deny the jammy vibes of "Light My Fire"? The story behind how they recorded "The End" is the stuff of rock 'n' roll legend. I bet 99% of bands would be happy to have an album of this caliber stand as their greatest hits. It blows my mind that this record was only their beginning.

3.4 - Another British guitar rock outfit that lived in Radiohead’s shadow, along with Suede, Super Furry Animals and others. The guitars are good and loud but mostly “refrigerator buzzing.” The only track worth mentioning is “Caught by the Fuzz”, which is a great punky, acoustic tune.

3.8 + A certified classic upon release (5 stars in Rolling Stone?!) but this record’s glory has faded for me. Still plenty of rockers (“Black Math”, “Girl, You Have No Faith…”). But also plenty of weak moments. “In the Cold, Cold Night” is cute but turns into a popcorn fart at the bridge. “Ball and Biscuit” has some scintillating guitar work but campy, pseudo-cool lyrics delivered with a lame “daddy-o” vibe. “I Want To Be the Boy” and “You’ve Got Her…” played back to back make for a boring middle.

4.3 + This one's definitely the best of the pre-Revolver albums. I'm not sure whether these songs were part of their Munich rotation but they sound honed to razor-sharp perfection. Lots of snappy guitar and drum sounds, especially on the title track but also on deeper cuts like "Things We Said Today." Side B doesn't have quite the same shine but side A is filled with incredible moments - the Motown-inflected soul of "I Should Have Known Better", the intricate harmonies and chord structure of "If I Fell." But my absolute favorite is "And I Love Her", which is a neatly constructed love ballad with some gorgeous Latin-inspired elements.

3.3 - Uplifting messages of female empowerment. Impressive vocal gymnastics. I like the a cappella “Gospel Medley.” It doesn’t speak to me directly but it’s a good album especially for those struggling with finding self-worth.

4.4 - So this foppish Brit put out a roots rock album that rivals anything by Lynyrd Skynyrd or the Allman Brothers? Impressive. "Maggie May" is an obvious classic, like "Lolita" with the gender roles reversed. "That's All Right" is loose and soulful, especially as it fades into a primitivist arrangement of "Amazing Grace." I also love the gospel choruses, delicate mandolins and sassy fiddles.

4.2 - Sexy mood music that draws heavily from the best R&B of the 1970s (Barry White, Marvin Gaye, Shuggie Otis...), performed exceptionally well so it sounds sophisticated and not kitschy or derivative. I especially love the synths on "Urban Theme", the slap bass on "Sumthin' Sumthin'" and the lush orchestration on "Lonely's the Only Company." A gentle and romantic journey from start to finish.

3.7 - Two hot tracks redeem an album that’s filled with corny rhymes and lame filler. First is the amazing title track that’s an early example of rap that documents the struggles of urban poverty and racism. Such incredible sonics here that would be lifted by their contemporaries. Second is the vocoder break dance track “Scorpio” that could make a fun addition to any party playlist. The rest is garbage, most notably “Dreamin’”, a gushing tribute to Stevie Wonder that features awful voiceovers, as well as the refrain “Stevie, you make me wonder.”

2.6 - Bland! Eagles have suffered considerable popular backlash thanks in no small part to the Big Lebowski. Having never heard this album, I thought some of that flack was unfairly directed, similar to how that one line in Sideways torpedoed Merlot wine sales. But now that I've heard this album I think that Eagles hate is fully justified.

4.0 + Part of what I think makes "Funeral" successful is that Arcade Fire somehow manages to harness their emotional and sonic intensity letting it spill over only at climactic moments. I love how that album propels you on a journey, leading with urgency, punctuating the trip with colorful bursts of ecstatic emotion (e.g. "Wake Up"). With Neon Bible, AF are mostly able to dial in all that energy but there are moments where the intensity proves more than they can handle, and they end up sounding overblown. First is "Intervention" where Win Butler lets go on the vocals, belching out sincerity over a massive orchestra and it all sounds like Bruce Springsteen at his sweatiest and most insistent (see "Born to Run"). Not my favorite. Second are the screechy vocals paired with synthesized strings on "Black Wave." Finally, I've always disliked "No Cars Go" - it sounds like a parody of 2007 indie rock. As a side note: why did so many indie songs of that era feature that group-shouted "HEY!" trope? (see also "Little Talks" by Of Monsters and Men) With all this said, I still really like this record, notably the three song stretch of "The Well and the Lighthouse", "(Antichrist Television Blues" and "Windowsill."

2.6 - Pretty unremarkable - the kind of background music you’d hear on a quiet weekday afternoon at an Amsterdam coffee shop. Your primary goal is to cop a gram of that White Widow so the music is whatever. Robert Dimery needs to seriously reevaluate his esteem for these electro-lounge entries (see also Leftfield).

4.3 + This is Radiohead at their most subtle and mature. I miss the murky electronic quagmires on "Kid A" and the moments of ecstatic opera on "Let Down." But after a couple of relatively weaker releases ("Amnesiac", "Hail to the Thief"), "In Rainbows" feeling like a true return to form. For once, their studio wizardry and abstruse musical influences took a backseat allowing us to hear the music for what it is. The first half is brilliant, particularly "Weird Fishes/Arpeggi." The second half lags somewhat with "Reckoner" and "House of Cards" but "Videotape" wraps it with a hauntingly beautiful closer. Of their brilliant albums, this one rests somewhere at the bottom of their first tier but it's a wholly satisfying album nonetheless.

4.1 - Lots of superlatives are bandied about in praise of this record. I'm not steeped in its historical context and I generally disdain most lore surrounding punk rock (or in this case, "post-punk"). But judging this record based on its own merits, I do like it a lot. First, I appreciate the sharp clarity in the recording enhanced by its minimalism. Second, I love the scratchy and husky guitar sounds. Third, I like the poetry and braininess of the lyrics. Fourth, I love that the 21 songs bounce from one idea to the next, most in under 2 minutes. Standouts: "Strange", "Three Girl Rhumba" (Elastica lifted that opening riff), "Reuters", "Brazil."

5.0 - A blockbuster, a masterpiece. The guitars create other-wordly soundscapes, like impossibly dark, craggy mountain ranges on an inhospitable planet. I especially love the extended jams on "The Sprawl", "Total Trash" and "B) Hyperstation."

4.0 - Having been a Björk fan, I was eager to explore the Sugarcubes but I made the mistake of purchasing their other, more critically acclaimed "Here Today..." record. I hated Einar Benediktsson's obnoxious spoken contributions, shouting about dumb shit like lobster and shrimp. Too whacky. But on this debut record, Benediktsson's contributions are far less distracting. I can actually appreciate the warbly interplay of guitar and drums on "Birthday" where Björk breathily sings about a girl who "threads worms on a string" and "keeps spiders in her pocket." Björk's weirdness is front-and-center without that other wanker crowding her out.

4.2 - It might take a few minutes to get back into to this 80s pop sound that's a blend of INXS, Tears for Fears, Simply Red and other adult contemporary acts of the era. But the songs and the themes definitely warrant a close listen. The observation that this record feels like a "summer day baked into one cake" is an apt one. There are copious references to seasons, weddings, grass, rain, the ocean, punctuated by sounds of buzzing insects, waves, fire. I especially love the two-song suite of "Ballet For a Rainy Day" and "1000 Umbrellas" that explores the pleasures and pains of love. The latter song features some strange and intricate strings and vocal harmonies that are remarkable. I also love the synthesized drone in "Another Satellite" that evokes ocean waves, combined with staccato xylophone and Beach Boys-style harmonies. A couple of cloying moments ("That's Really Super, Supergirl", "The Man Who Sailed...") don't do enough to detract from an overall refreshing record.

3.4 - A good but unexceptional piece of 60s psychedelia. Most of these studio tricks I’ve heard done much better by the Beatles or Jefferson Airplane.

3.5 - Fine as far as noise rock goes but hardly the most interesting, groundbreaking or truly excellent record of this genre. Dimery seems to have a blind spot for Japanese artists, otherwise Boredoms' "Super Ae" would be a much better noise rock selection that's weirder and more fun. Also more original since it was released 5 years prior to this record.

3.1 - New jack swing comes to Sweden? It's danceable with plenty of color and energy. I hear songs like "Buffalo Stance" play at the Whole Foods and the workers bopping along to the beat, so there's a nostalgic crowd-pleasing element to this type of music. But there are better examples of new jack swing (Janet Jackson's "Control" or even "Cooleyhighharmony" by Boys II Men). And Neneh Cherry's message and attitude are consistently corny and one-note.

4.4 + A beautifully composed and performed suite of songs themed around growing up in suburbia, complete with AF's flare for channeling nostalgia through a lens of emotional immediacy. Standouts: "Sprawl I" and "Sprawl II", "We Used to Wait", "City with No Children."

3.8 - I had hopes but while some songs manage to rise above a depressing murk, others get stuck there. The first half is all strong and comes to a climax with “The Rip” which is an awesome blend of acoustic and digital sonics combined with interesting chord progressions that elevates the vocals to an ethereal space. I also love the brutality of “Machine Gun.” Mostly the second half feels like a letdown treading ploddingly with songs like “We Carry On.”

4.0 - I never understood the hype until now. Thanks to this list, I now feel like I have enough context to get why people like this record so much. Having endured a sample of some of the schlock coming out in the 70s - e.g. terrible prog rock (Emerson, Lake and Palmer), lame easy-listening (Eagles), boring disco (Chic) - I can see how the Ramones redeemed mainstream music for so many. It's elemental pop music delivered fast and loud. All of the elements work. It's also just fun and perfectly captures teenage joy and angst.

2.8 - It feels like consoling someone you don't know very well, maybe a distant relative at a funeral, or a roommate that just got broken up with. Being a decent person you offer a tentative hug hoping it'll be brief. But as you wrap your arms around them, they collapse into you, slobbering and blubbering onto your shoulder, clinging to your back. Inside you're searching for empathy but you're desperately anxious to escape. When it's all finally over, you chastise yourself for not being kinder and more understanding. That guilt nibbles away at your soul for the rest of the day.

4.1 - Cool, composed, sexy, sophisticated. Sade and band toe all of the lines, and land smack-dab in the middle of a Venn diagram of many emotional circles. Consummately smooth playing complemented with some lusty saxophone and, of course, Sade's incredible voice.

3.8 - Blues-tinged singer-songwriter folk rock with a baritone croon, most notable for "Everybody's Talkin'", the theme from the film "Midnight Cowboy." Other highlights include "Cocaine Blues", "The Dolphin" and the exceptional raga that's the last track and approximates traditional Indian instruments with harmonica and guitar.

4.6 - Of the four Steely Dan records, I've reviewed this one is definitely my favorite. Unlike "Aja" this one feels loose and less clinical though the arrangements are still incredibly tight. And unlike "Can't Buy A Thrill", these songs haven't been overplayed on classic rock radio. I especially love the duelling saxophones at the end of "Parker's Band" and the cool instrumental "East St. Louis Toodle-Oo." In 34 minutes, these 11 songs provide a bouncy, funky, perfectly packaged listen.

4.7 + Another album I grew up on that I can sing the whole way through. So many dizzying highs - the final chorus and comedown on "Planet Telex", the dramatic build on "Fake Plastic Trees", the jagged bridge on "(Nice Dream)", the haunting vocal harmonies on "Street Spirit (Fade Out)." Johnny Greenwood is the real MVP on here with some stratospheric guitar work, particularly during the solo on "Just." This album was a true clapback to the naysayers who wrote off Radiohead as a one-hit-wonder (myself included).

4.1 - Being a total sucker for lap steel guitar, I loved this record! I also love the songs themed around (not surprisingly) the perils of night life. Ray Price sings with a baritone twang about pursuing “honky-tonk angels” and about keeping company with barflies.

2.9 + Having loved "Moon Safari", I was excited by this project for an intriguing film with a catchy title. Unfortunately, after "Playground Love" this record takes a sharp nosedive. Much of the rest is variations on that theme using various synthesized instruments. I imagine it's effective enough as a soundtrack but certainly not interesting as a standalone record.

3.3 + I might rank this Radiohead album below Pablo Honey. Mostly it sounds like a Thom Yorke solo project, which tend to fixate on beats and textures and less on tunes and ideas. There are a few clunkers, most notably “Sit Down, Stand Up”, which kills the flow of side A. The best moments are when Yorke lets in the rest of the band - “There, There” and “Go To Sleep.” A boring and confusing mess.

4.2 + Though it doesn't quite jell as a record, there are enough incredible tracks to make this an amazing listen. I tend to skip to the best bits; namely, the first couple of tracks that provide psychedelic framing, the poppy "Crosstown Traffic" and the strangely melancholy "Burning of the Midnight Lamp." The second half also punches hard with "1983...", maybe the finest example of a psychedelic freakout that builds a post-apocalyptic underwater sci-fi world through studio effects, impressionistic drumming and Hendrix's wash of guitar color.

3.7 - A solid post-punk new wave sound with tinges of glam. Slinky guitar work and interesting synths. Songs tend to ramble especially in the middle. Standouts: “Shot By Both Sides”, “Burst”,

3.3 - A solid backing band and a good singer that unfortunately made some regrettable stylistic decisions. First, the DJ doesn’t contribute enough beyond a few nanoseconds of scratching here and there. Every time I hear a stray sample or a scratch I wonder why they keep this person on payroll and whether he gets his own bed on the tour bus. Second, while the guitar work is technically proficient, the effects sound repetitive. It’s like hearing someone at a Guitar Center testing out the same few pedals (e.g phaser) again and again. Third, the lyrics remind me of a 17 year old who just returned from his first backpacking trip abroad and is stoked to share all of his newfound wisdom with the world. So many bold proclamations! (“experience the warmth before you grow old!”, “if you really want to live, why not make yourself”…). Fourth, by far their biggest hit off this is “Drive”, which rivals “Fly” by Sugar Ray as the song you’re most likely to hear at a dentist’s office.

4.3 - It's easy to see why people love this record and why Metallica are considered a GOAT. Sharp vocals, clear messaging in the lyrics, elegant arrangements and, above all, impeccable guitar work. On a side-note, I'm listening to "One" within the context of the album for the first time and I find it a much richer listening experience than hearing it on MTV or on the radio. It's hard to explain but that song feels far more epic on record.

3.6 - This one's got all the trappings of a late career record from a fading rocker (see also my reviews for Emmylou Harris and Dennis Wilson): a) expensive and subtle studio production and sound engineering, b) vocals that betray nicotine addiction, c) vague lyrics with whiffs of sex and drugs, d) subdued instrumental arrangements that complement, and don't distract from, the energy of the geriatric artist, e) just enough trendy sonics of the day (synths, electronics, etc.) to keep things "hip." Throw in a compelling backstory of redemption for the artist (up from addiction, homelessness, etc.) and you get this record. OK, all my cynicism aside, "Why'd Ya Do It" is one of the better songs I've heard that expresses hot rage directed at an unfaithful partner.

4.3 - I hated "Tarkus" but, surprisingly, I loved this. Prog rock tends to feel bookish and sterile, it's all time signature changes, noodling basslines and bloated synth sounds. Most of these bands sound like self-important pedants. But with this record we hear the energetic interplay between band and audience, and it sounds like such riotous fun! These live performances also showcase the band's virtuosity - they nail every complex phrase masterfully. Standout: "The Sage."

3.4 - Listen to “Natural Bridge” instead. While this might be a tuneful and more accessible introduction to David Berman’s impressionistic poetry, it doesn’t have the barrage of mind-bending bars as NB. I do love the honky-rink twang of “Tennessee” and “Friday Night Fever”, though.

4.1 + Like making love to someone you've been dating for a few months and you're just enjoying that sweet spot where the sex is fresh and also comfortable.

3.1 - SCENE: Garage sale. Shopper approaches seller. Garage sale shopper: Hey, I grabbed a couple CDs from the box over there. Lemonheads and uhhh… (looks down at CD’s) Aimee Mann. How much? Seller: I was asking 75 cents a piece? Shopper: Would you take a buck for both? Seller: Sure, that works.

3.5 - Nile Rodgers and Bernard Edwards sound incredible on guitar and bass. And there are some perennial classic dance hits on this record. But, again, I associate disco music with wedding parties.

3.6 - Was excited to hear what I’d been missing. I remember Beavis and Butthead getting hyped about the video for “Sabotage.” Too many instrumentals. Also too much vocal distortion, which makes it hard to decipher what they’re rapping.

3.4 - Ambient techno. I wonder if (when?) some AI bot will soon be able to churn this type of music out spontaneously, assuming that isn't happening already. Standout: "Kein Trink Wasser."

4.6 - Majestic. I especially love the sweeping composition on "Walk on By" that creates a landscape massive as a spaghetti western. I also love the hushed grooves, especially at the beginning on "By the Time..." where Hayes raps over a single drum kit and muted organ.

3.8 + I salivate when I hear phrases like "country music's first country album" and "Willie Nelson stripped down" but sadly this album doesn't live up to my excitement. To be sure, Nelson sounds uncommonly sweet as always, and there's plenty of twinkle in the spare guitar and piano parts. But there's lots of repetition, especially in the first half. I keep hearing "he cried like a panther" and "don't cross him, don't boss him" over a sedate oompa-pa and I wonder if I missed something.

4.4 - When I’m in the right mood, this album fucks. I especially love the title track’s guitar interlude and screaming solo.

3.4 - Sophisticated lounge music for a tastefully furnished hotel bar. Some interesting sonic distortions to tickle the ears.

2.9 - "Groove is in the Heart", the rest is in the bin.

3.7 - The only real advantage this soundtrack has over "Super Fly" - the superior blaxploitation soundtrack of this era - is that it was released about a year earlier. Definitely more muzak than I was expecting but there are some funky cuts mixed in like "No Name Bar" and "Soulsville." And "Do Your Thing" is epic and worth revisiting.

4.4 - I can see why Mick Jagger thought this was a more successful blues rock record compared to "Sticky Fingers." To Jagger's credit though, this record doesn't have the same "Wild Horses" level climax. Some great cuts including "32-20", "Evil Hearted Ada" and "Whiskey Woman."

2.6 - This sounds like a sample catalog for industrial music, or the soundtrack for a sub-genre of pornography you wish didn't exist.

3.7 - I remember watching the 1990 Grammy awards with my parents and Bonnie Raitt stealing the night with an impressive live performance and a smattering of victory speeches. This is one of those adult contemporary records that always loomed large in my teenage periphery growing up and I'm glad I can enjoy it now as a proper adult. She sings honestly about growing old on "Nick of Time" from a uniquely female perspective. She's also matured enough to want a "Real Man", which I imagine as an older fella with a potbelly and a salt-and-pepper goatee, wearing relaxed fit blue jeans and white tennis shoes. It's 1000% mom rock but the fluid guitar work, particularly on the rollicking "The Road's My Middle Name", diminishes the cringe factor to a degree that makes it a fun enough listen for this just-turned-middle-aged man.

3.7 - Here's another "agree to disagree" R.E.M record for me. I've listened to it 7 or 8 times, letting it marinate and trying to catch the buzz ("10" on Pitchfork?!). Instrumentally it's exceptional. I love the lean but effective rhythms and the panoply of colorful guitar sounds. My one big gripe is that Michael Stipe isn't bringing enough lyrically or vocally for me. His moaning and mumbling convey emotion but the lyrics are seemingly gobbledygook (e.g. "Put your hair back, we get to leave/Eleven gallows on your sleeve..."). I'm reminded of the Italian song "Prisencolinensinainciusol" that's all gibberish lyrics meant to sound like an American rock song - https://www.youtube.com/watch?v=-VsmF9m_Nt8

3.4 - Once in a while it's fun to walk into an unassuming dive bar on a Friday night to find it unexpectedly teeming with students from the college nearby. Invariably the bar owner has fired up the karaoke machine, and a rowdy group of young women dressed in tight jeans and tall boots are singing "Paradise By the Dashboard Light." That's the (only) correct context for this record as far as I'm concerned.

2.6 - Another lukewarm Britpop entry. To quote Beavis and Butthead: "We've got enough crap over here in this country. Why do we need to go to Europe to get more?" The pretty "Daniella" ends this pleasant but forgettable record on a hauntingly mournful note.

4.1 - You always know what you're going to get with Fela and it's always good. He's the party MC with a message and he brings the funky beats and extended instrumental jams.

3.6 - "Hurt" is the obvious standout. I appreciate the simplicity of the arrangements that accentuate Cash's exceptional gravitas as a performer. As an album it's a good listen with some nice covers and notable collaborators (Nick Cave, Fiona Apple, Rick Rubin...) but I don't foresee revisiting it.

5.0 + A masterpiece of epic sweep that sounds just as good as ever.

3.8 - Overall, a fun listen but extremely ironic. It's art music in the most arch sense of the term. The burundi drums at the end of "Dog Eat Dog" are sweet, as are the loud coked-up vocals. If someone told me this song was the inspiration for "Rio" by Duran Duran I would agree vehemently. "Antmusic" is kinda neat but it's too self-referential in a "Wang Chung"-y sort of way. "Feed Me To the Lions" sounds like a campy approximation of Roxy Music, and it's pretty amazing. On that song the timpanies, gnarly guitar, "ay-oh-ay-oh" background vocals in the chorus work really well together. I lose the thread around "Jolly Roger", a whacked out pirate biddy - it's actually cooler than it sounds but still not amazing. I love the chorus of "The Human Beings" ("Blackfoot, Pawnee, Cheyenne, Crow Apache, Arapaho...").

3.5 - I skimmed through the reviews and was excited for another “My Aim is True” caliber record but after putting this record on repeat all weekend, I feel very ambivalent about it. Costello’s technical proficiency as a songwriter is clear. The song architecture is consistently intricate with plenty of interesting guitar riffs. At times there are interesting turns of phrase, as on “Sunday’s Best.” But I find most of the songs overly complex in a show-offy sort of way. And there’s a nervous pacing to the whole thing - each song presents a slew of ideas at a frantic pace (see “Moods for Moderns”). Standouts: “Green Shirt”, “Party Girl.”

4.3 - I've been ambivalent about other Who records, which are too steeped in the rock canon to feel relatable, so I was pleasantly surprised by the playfulness of this record. They sounds like the Kinks at their cheekiest - inventing quirky characters ("Mary Ann With the Shaky Hand", "Silas Stingy"), exploring gender ("Tattoo") and just generally sounding charmingly British. I also love the fake jingles peppered throughout that make this sound like a slice of old-timey radio. To boot, lush instrumentals on "Sunrise" and "Rael."

3.0 - This record seems to channels the spirit of that dude who's always hanging around the gas station mart of his podunk town. He's got a cigarette hanging out the side of his baseball cap, and is often shirtless. His swings his gangly arms menacingly as he ambles around the parking lot, hyped up on Monster Energy. You keep him in your peripheral vision as you gas up your car in case he tries to pull some shit. After a final quick scan of his surroundings, he jumps in his Chevy Monte Carlo, revs the engine aggressively. As his car fades into the horizon, you hear "rollin' rollin' rollin'" tailing off from his speakers.

3.8 - Energetic and urgent. Reminds me of LCD Soundsystem.

3.7 - Some righteous organ work throughout, and an all-around solid example of psychedelia steeped in 1968 California. I imagine these guys rubbed shoulders with rock royalty like the Doors and Janis Joplin, frequenting the same bookstores, scoring LSD from the same dealers...The title track is a little sleepier and stonier than I remember.

3.7 - ¡Salsa piquante! In terms of quality, I have no idea how this compares to other salsa records but to my ears it sounds pretty sharp.

5.0 + This album retains Eno's abstruse sensibilities but with pop flourishes to make it probably the best entry point into his incredible catalog. Every song is a beautifully conceived composition such that it's hard to pinpoint any standouts. But my pulse always quickens when I hear the atmospheric dirge of "In Dark Trees" and the sweet chorus of "I'll Come Running" followed by the strange guitar/synth solo. Such an immersive and layered listen filled with ear candy.

5.0 + Classic. Amazing how the sonics hold up. I love how they overdubbed the guitar lines to make them extra beefy. On “Paranoid”, the dueling guitars add scratchiness to the voicing. The synth sound on “Planet Caravan” gives a strange water element to a dark and plodding atmosphere.

3.6 - I like Gabriel's voice and songs like "Excuse Me", with its blend of barbershop a cappella and dixieland jazz, are playful fun. But there are moments where songs get dragged out, like on "Waiting for the Big One" that limps along for a full minute before ending on whimper.

4.1 + Dusty Springfield styles herself as Queen Mistress, the patron saint of all unfaithful married men. She's the woman who's waiting at home, ready to welcome you in her bed, make you breakfast the next morning and let you go your way ("Breakfast in Bed"). In terms of selling a fantasy, there's hardly a songstress with a more compelling persona.

3.2 - I like hearing "Self Esteem" on the radio once in a while but the rest of this album is mediocre - nasally vocals, loud power chords, sophomoric lyrics.

5.0 + Classic country sounding so human and sweet. Jennings’ voice expresses joy and aching sorrow and all the emotions in between. And the dueling lap steel and slide guitar on “You Ask Me To” is undeniably awesome.

4.3 + Definitely a welcome throwback to “Loveless” though not as groundbreaking. Some of the edges are slightly smoother this go-round. Still, it’s an ocean of textures. Listen with good headphones.

4.4 - Squarely at the pinnacle of the "golden age of hip hop", this record dazzles with breezy rhymes and an infectiously groovy/goofy flow. If I'm honest, it leans a little heavily on skits, but the spirit is just so fun that I can overlook that one gripe. And the beats draw from a wide swath of genres, which makes this an equally heady listen. Note: The album in its original is supposedly coming to Spotify in March, 2023. I was able to stream it here: https://archive.org/details/de-la-soul-3-feet-high-and-rising/3+Feet+High+And+Rising/CD+2

4.4 - A convincing send up of an intimate jazz lounge performance with droll storytelling and impressive piano playing. The Bukowski-Waits connection is most apparent here with plenty of LA-based references, very similar to Bukowski's semi-autobiographical "Hollywood."

3.7 - Some crisp post-punk jams on here. Spare guitar work and spoken vocals. Similar to Wire’s “Pink Flag.”

4.4 - This album provided the blueprint for progressive rock and sounds better than 90%+ of its contemporaries. I imagine King Crimson influenced Pink Floyd to change musical direction. “I Talk to the Wind” is a masterpiece. I love how the flute makes the whole arrangement float. Really, all of it strikingly beautiful. My only gripe is with the 9 minute instrumental breakdown on “Moonchild.” Though it fits with the composition, at some point it feels like they’re taking the piss noodling on for that long.

3.5 + I was taken in by the hype when this album first came out and appreciated its cohesiveness as an album. But in the last 25 years Madonna’s public persona makes me look back less fondly. To me this sounds like a late attempt to capitalize on European rave culture that had been roiling for well over a decade. She seemingly collaborated with some heavy hitters so the breakbeats and programmed rhythms sound correct for the time. But as an attempt to stay current, it feels exceptionally flat-footed. Bjork did a far better job distilling this zeitgeist on “Post”, for example. Lyrically, this record once again betrays a folksy wisdom that would appeal to any American mom who enjoys morning talk shows and supermarket gossip magazines. With copious Hindi incantations that create a general yogic atmosphere, Madonna was at least somewhat ahead of the curve when it came to culturally appropriating yoga. I’m sure “Ray of Light” is on heavy rotation at any Lululemon, where my aunt is right now purchasing a pair of yoga pants she maybe shouldn’t.

3.4 - Listening to this record released in 1972 reminds me of Hunter S Thompson’s summation of how the giddy creativity of the 1960 ultimately led to disappointment. “So now, less than five years later, you can go up on a steep hill…and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.” I hate to criticize this record too much - I appreciate the meticulous instrumentation and the amount of output - but it’s like Todd Rundgren channeled all of the bland, easy listening elements of the 1960s and forgot about the rest. And at over 90 minutes, this is a boring, bloated slog.

3.4 + Sounds like leftover tidbits from “Pet Sounds” studio sessions. Besides the trippy “Feel Flows” and “Till I Die”, I don’t bother with this one.

3.8 + I’ve rarely listened to this album without the skip button close at hand. Plumbing its depths once again, I can see why that’s the case. Realistically I’d cut about half the songs on here. But intermingled are some of my favorite Beatles tracks as well as some wildly zany ditties, which makes it a rewarding if confounding listen. At best I’d say it adds a very interesting curveball to a catalog that would otherwise feel too polished.

4.0 - It's like I'm listening to the tribal music of a pygmy mole people from the future.

3.7 + A mechanized fairy queen singing over the soundtrack to Super Metroid for Super NES. Dark, synthetic, colorful. Sometimes the arrangements feel overly busy with too many swirling elements and rhythmic shifts. I prefer songs like “Give Up” and “Kicks” that are simpler and in which the parts are given more space to breathe.

4.2 - Another charming album of lean and poppy slice-of-life vignettes with plenty of slick guitar fills and interesting song dynamics. "Situation Vacant" tells a cautionary tale of letting your mother-in-law influence your married life. "Waterloo Sunset" is one of their more familiar radio hits.

3.6 + Ugh, I've had a love/hate relationship with this record since it came out. SP was my first love, and I fell hard for their "Siamese Dream" sound, that blend of neo-psychedelia, chamber/dream rock that was swirling with loving flourescence. Billy Corgan was a long-haired flower child with a breathy, angelic voice tinged with just enough acrid edge. With "Mellon Collie", Corgan became a bald-headed vampire and the music took a much darker and uglier turn. Almost thirty years later, my opinion is still tinged by a sense of disappointment. I still think much of this record isn't very good. Some songs should have never left Corgan's notebook ("We Only Come Out At Night"). Others would've better served alongside a vast catalog of B-sides ("Galapagos"). And of the hundreds of times I've listened to this record, I've probably listened to "Tales of a Scorched Earth" all of three times (still sucks). Despite all of this, I admire Corgan and the Pumpkins for pulling off what felt like a coup at the time, a true flex on all their haters. The amount of music and the breadth of genres here is truly staggering. To pull this all off, they underwent some months of brutally intense, assembly-line recording sessions. Looking back, I wonder if Corgan miscalculated. Being on top of the world, I can understand an ambition to maintain one's eminence. But given the band's impending implosion shortly following the recording and promoting of this record, it's clear that that unchecked ambition destroyed what could've been a gentler dally with fame. What could've been if they had focused on the 13 good songs on here, and worked them over obsessively as they had on "Siamese Dream"?

4.5 - Supreme study music. Great electronic music with warbly samples lifted from sources like 1980's PBS ("The Color of the Fire") that evokes a comforting sense of nostalgia.

3.7 - It has all the trappings of a great Smiths album, complete with over-the-top political musings (“Meat is Murder”), but without any real standout track. Exceptional guitar parts, especially on “Barbarism…”

3.5 - Some nice cuts on here like “Champagne Problems” and “Tolerate It” (I especially like the line about the guy being the blanket that got through her barbed wire). The subdued instrumentals are cozy as a cup of Earl Grey on a chilly winter morning. But, sweet Lord, there are just SO many words! I have a wife already - I certainly don’t need one hour of introspective musings from this woman, too.

3.4 - Here Courtney Love tries to transform into a pop starlet, something like Avril Lavigne's freakier older sister. Mostly these are forgettable anthems with big hooks and processed guitar arrangements, that are not quite radio-ready (besides the glitzy title track). She detours from that mold, unbaring her soul on "Northern Star" - an overworked facsimile of her "Live Through This" heyday. Overall, it's worth a single listen to understand Love's trajectory as an artist, but certainly not something I'll revisit.

2.6 - Get this mediocre Britpop shit off this list. Get your shit together, Dimery!

4.2 + Part of Stevie Wonder's brilliant run from '72-76. This one's got some amazing jams, notably "Heaven Is..." and "Boogie On..." There are a couple of flatter moments in the middle but Stevie keeps it moving with a bopping energy. All in all, I can enjoy this record as a close listen or playing in the background.

4.1 - Proto-punk that surpasses almost all other acts that would follow. Equal parts glam and grime set against an NYC background that shines with dirtbag immediacy. In my opinion, this record makes the Sex Pistols and Ramones feel wan and derivative by comparison (why even bother?).

5.0 + Props to Prince for promoting this stunning gem of a record. Mitchell sounds so coolly in command singing jazzy turns of phrase. Instrumentally, the album is packed with nuggets. The interplay of distorted drums and growly bass on “The Jungle Line”, along with Mitchell’s lines of coffeehouse poetry, are a true highlight on a record filled with stunning moments.

3.3 - These guys sound like the quintessential opening band at a concert. The music is decidedly inoffensive, with mealy-mouthed songwriting that waivers between hope and melancholy. I picture myself sitting in a half-filled stadium, letting these songs wash over me as I look at my phone and wait for my buddy to return with our beers. Standout: "Friday's Dust"

3.8 + Dare I say, I found myself a little bored? Being a so-called “super group”, their musical chops are obviously unimpeachable. But their fascination with electrified blues is pretty par for the era. They tread where countless Brits explored before and since, which makes songs like “I Can’t Quit You Baby” sound tired and overblown to my ears. Still, there are plenty of amazing moments throughout so it never feels like a complete bust to return to this. I especially love the guitar sonics on “Dazed and Confused.”

3.1 - Another entry from the aughts that has me confused given that it’s generally left no lasting cultural impact. Perfectly listenable electronica in the vein of Chemical Brothers. I like some of the darker compositions on that latter half, particularly “They’re Hanging Me Tonight.” Really, though, here’s another record ripe for the culling!

3.5 - This album along with "Songs from the Big Chair" by Tears For Fears, released within 4 months of each other, both typify a certain peak-80's aesthetic for me - massive synth-driven soundscapes, somewhat Carribean-inflected rhythms and brass fills, pretentious ambient interludes. Besides "Relax", which remains a "best-of" mainstay for the era, the rest of this record shows a comically cocaine-driven hubris. Why put out a 66-minute record with THREE covers? Admittedly, the vocals on "Born to Run" provide a more refined counterpoint to Springsteen's guttural bellows. But the other covers - "War" and "San Jose" - are quite inconsequential. And why SO MUCH filler - from samples of political speeches, to extended instrumentals that trail off into nowhere? Worth the single confused listen but never again!

3.5 + To me Moby comes across less as a musician, and more as a reupholsterer. He chooses old African-American spirituals, as one might find a beautiful old sofa. He hammers the old melodies into shape, puttying over any small imperfections. He then applies some new material, slick beats crisp and bright (like new fabric on an old sofa), to make the original content marketable to a contemporary consumer. It's a professional and precise product but it feels cold and inauthentic.

3.5 - My review for this will echo much of what I said about "Armed Forces." Costello creates these intricate songs constructed like clever mechanical toys, but mostly they make me feel nothing and it's a chore to get through the full album. However, I do like the hushed vocals on "Beyond Belief." And there's some nice Spector-esque glitter on "You Little Fool." I also love the jagged violin fills on "Town Cryer."

4.2 - Newman’s uncanny knack for penning easy, instantly relatable classics is fully here. He explores sex, love, death, war and existence with a childlike frankness, similar to Shel Silverstein at his most sincere.

4.6 - Not a wasted rhyme, bum sample or lame collab on here. Just a lean, ferocious onslaught of bars. Little Simz expounds authoritatively about her life and her ambitions and her flow is bulletproof. Even reading the lyrics alongside her delivery has my head spinning. All 10 tracks are bangers but I'd highlight a few moments: "Venom" sounds like a counterpoint to the dick-wielding "For Free?" by Kenrick Lamar; I love the vaporwave-y samples on "101 FM" and the message on "Therapy."

4.6 + Bold and full of intrigue! "The Fear", "This is Hardcore" and "Seductive Barry" paint vast cinematic soundscapes filled with lush strings. Cocker explores sexual deviance, desires that builds to self-loathing climax followed by guilty aftershock. We see "stagnant waterbeds" and "what men in stained raincoats pay for." Along the way, we also hear about the ravages of time ("Help the Aged") and existential ennui ("Dishes"). But, for me, the true stunner is "Sylvia" - such an extravagantly sincere ballad complete with a hooky chorus, scintillating guitar solo, and massive coda.

4.2 + Lots of bands purport to be about sex, drugs and rock 'n' roll. But few write songs like "Not Right" that convey that lifestyle so succinctly ("She wants something tonight/But I can't give it/Cause I'm not right"). Other highlights: "I Wanna Be Your Dog", "We Will Fall" (10 minute dirge with Indian raga influences). Proto-punk is best punk!

3.7 + Funky and upbeat though I still don't think it lives up to the hype (#1 album in 1997 according to Spin??). Solid lo-fi beats, especially on "Butter the Soul." Other highlights include "Brimful of Asha", "Funky Days...", "Good Ships."

4.0 - It feels like hanging out with a favorite uncle. He smiles at you from his chair, telling stories of his youth, giving subtle whiffs of his devilish past. But he’s mellowed over time into a loving older man. You’re happy to bask in his comforting presence for a little while but soon wonder what your cousins are up to. He asks for a hug before you leave.

2.9 - Music for those once free-spirited white dudes I used to meet at music festivals and youth hostels who have since “graduated” from listening to bootleg recordings of Phish concerts. Now, at the urging of their wives, they have cut their dreadlocks, and traded in their Bob Marley tee-shirts for smart business casual attire. They've settled into their mortgages. "I Need a Lover" and other cuts from this album may pop up on their “Smooth 90’s Reggae” playlist. As they drive their kids to soccer practice, their fingers tap to the beat against the minivan steering wheel.

4.2 - An impressive collaboration that draws on Eno's skill at creating textural soundscapes and Byrne's ear for rhythms. The innovative use of samples makes the sum of this project greater than its parts. I especially appreciate how they handle Quranic chanting without descending into preciosity; for example, I love how the guitar voicing on "Regiment" echoes the plaintive vocals. Eno and Byrne could've easily puttered out something safe but instead took bold risks that they were able to execute beautifully.

4.0 + Bradford Cox was an indie staple in my music diet of the 10's, and this record may be his best showcase (along with his first couple of records as Atlas Sound). He's a wizard at adding white noise to create waves of color and texture, especially on tracks like "Earthquake." And I love the way he creates walls of vocal reverb. Also on here is probably my favorite Deerhunter song of all time, "Desire Lines."

5.0 + I think I can sing every lyric and guitar riff from memory. Fuck the haters, this album is a GOAT.

4.0 + What do I feel hearing a big band version of "You Are My Sunshine"? On one hand, the music - the orchestrations, the playing and the production - is impeccable. On the other hand, from a stylistic perspective, I think this record undersells Ray Charles's magic. He's like a single raisin in a big bowl of oatmeal, taking on a subdued presence within the arrangements - balancing his sweet, soulful voice and piano playing, against a pure white canvas of string swells and Christmas-carol-y background vocals. I want much more of him, and much less of the muzak-y elements. While I can appreciate the concept of forging bonds across musical traditions, the balance between black and white feels off.

3.7 - Some fun, hard-charging guitar riffs with androgynous vocals. But I’d struggle to identify this in a lineup with other UK/Aussie punk outfits from the 70’s. Highlights: “Fast Cars”, “Love Battery”, “Moving Away From the Pulsebeat”

4.1 - Spunky English jangle rock that reminds me of other outfits within that time and place, like the World Party, the Lightning Seeds and XTC. Solid and spare pop songs with plenty of hooks and harmonies. Highlight: "There She Goes"

4.0 - Took me a bit to adjust to the muffled drum tracks but I ended up liking this album more than expected. I like the distant guitars that add an element of unrest in the background, as well as the riff on “Of Lilies and Remains.” The vocals, though thin, work well with tortured lyrics, enhancing an overall austere and gothic sound. I imagine I’ll like this even more after a few more listens. Standouts: “Dancing”, “In Fear of Fear”, “Mask.”

4.2 + "Autobahn" is a symphony that takes you on a fast-paced car ride exploring this iconic highway both as a space of sunny optimism as well as one of dark menace.

3.7 - I can see why this album was a sensation in 1992. I appreciate the ambient elements and some impressive layering of sound, but I suspect this is another "you had to be there" record.

3.6 - I'm taken back to my days living in New Orleans where blues music like this seems to pervade the city like sweet cigar smoke. I like the collaborations, especially Bonnie Raitt on "I'm In The Mood."

3.5 - It’s like drinking some national lager, like a Budweiser or a Carlsberg or a Heineken - satisfying enough though neither interesting nor memorable. At best it provides a backdrop for good times with friends.

4.3 - A warm, upbeat and lovingly composed dance record that flows perfectly for a full hour. Also a terrific piece of sampledelia in the vein of DJ Shadow, Panda Bear...Highlights: "Frontier Psychiatrist", "Tonight..."

4.1 - Having hated "Infected", I was surprised at how much I liked this record, especially the minimal electronic beats paired with clever lyrics delivered with a dry British affect (see "The Sinking Feeling"). At turns there are also instrumental surprises, like the jazzy piano solo on "Uncertain Smile", as well as the extended coda on "Giant."

4.2 - A tightly composed, simply arranged suite of songs worthy of its standout hit "Wild World." Stevens sings about wanderlust and the restlessness of youth with the wisdom of a world-weary traveller who's experienced his own joys and sorrows.

3.7 - These guys churned out a handful of hits and it’s impressive to hear those back to back on here. Respectable hard rock - energetic and crowd-pleasing. Last two tracks are a little trippier than the rest and worth a listen.

4.3 + These beats are still hot! M.I.A creates a superhero persona as a globe-trotting, burner-calling, counterfeit cash-flinging, gun-toting gangster. I love the broad swath of influences, especially the Bollywood samples and tribal drums. I also love that she spotlights artists from the developing world - especially the cameo by the Wilcannia Mob on "Mango Pickle..." Despite a lull in the second half, the album's apex, "Paper Planes," ends this blingy album on a high.

3.5 + I always skip to tracks 6-8 - a wonderful stretch that gets deeply philosophic, especially on “Feeling Yourself Disintegrate.” In theory, I appreciate the rest as a cinematic rock opera but most of the songs don’t come together for me. Wayne Coyne sings like Kermit the Frog and the arrangements sound equally goofy.

2.7 - If this record were maybe 15% worse it’d be within that realm of “so-bad-it’s-good.” As it is, I find the arrangements messy and slapdash with lots of ham-fisted attempts to meld synthesized sonics and acoustic instruments. “Spanish Dancer” epitomizes these shortcomings with its lame nylon-stringed guitar voicing over repetitive chords on synth. Winwood’s voice is one redeeming feature but it’s a pity that the lyrics and melodies are also weak.

3.4 - I like “Bored Teenagers” and the vocals on this post- punk album but little else left an impression.

4.0 + This one gives me vibes. I'm reminded of a gritty New York-based film from the 1970's (e.g. "Dog Day Afternoon"). We see shots of morning commuters bustling through midtown, subway cars riddled with graffiti, honking cars sending up street debris in their wake. Against this backdrop, our everyman hero (white dude with feathered hair, flared jeans and tight leather jacket) is navigating a sea of unfriendly faces searching for his one true love. He regrets some of his past flings ("Tangled Up in Blue") but is open to new possibilities ("Simple Twist of Fate"). Along the way he finds himself smitten ("You're Gonna Make Me Lonesome..."). After some distractions and general romantic turbulence ("Lily, Rosemary.."), our hero gets the girl and they fall in love ("Shelter From the Storm"). Roll credits.

2.9 - A safe, middling rock album that's completely eclipsed by other music coming out in 1993 (e.g. "In Utero", "Siamese Dream", "Rid of Me", "Enter the Wu Tang"...).

4.3 - A wildly creative triumph of afrofuturist funk with a concept that spans across albums (her debut LP "Metropolis" sets the stage). After a symphonic opener, the first half is marked by an onslaught of high-energy dance party tracks broken up by the pretty ballad "Sir Greendown" where the Cindi Mayweather played by Janelle Monae mourns her human lover. Downbeat interludes ("Neon Gumbo", "Suite III Overture") carry the flow through this 68 minute opus. Through the eyes of this android, we explore love ("Mushrooms & Roses"), loss ("Oh, Maker", "57821"), existential ennui ("Come Alive...")...This is a deep and dense record that demands a close listen.

2.3 - I hosted a radio show when I was a college freshman and the studio was crammed with records like this - anonymous, generic “loud rock” (our music director’s lame attempt at assigning them a genre). We’d be encouraged to spin a batch of records for a couple of weeks before those were shelved en masse somewhere unknown in order to make room for the next batch of faceless bands.

4.1 + A huge talent we lost far too soon. Given the bangers on this, it saddens me that Amy Winehouse's star has faded over the years. "Back To Black" channels such darkness, conveying intense emotion both in the lyric and vocals, over deathly swirls of strings. "Rehab" is a modern play on 12-bar blues, addressing drug addiction with bald-faced directness. Deeper cuts harken back to some of the best Motown joints. Also of note is "Wake Up Alone", an intricately arranged ballad with a complex chord structure that builds, unfolds and collapses into nothing (reflecting the mood of the lyrics).

4.0 - Each side is like a distinct mini record. Side A is a high energy mash between Talking Heads and "She Blinded Me With Science." I especially like the funky bass throughout. Side B has a more minimal electronic sound, reminiscent of Eastern European darkwave. The bright cheerful vocals give an ironic edge to the grim Cold War-inspired lyrics ("Let's All Make a Bomb").

3.1 - I appreciate the honest ambition to give voice to a Southern POV that’s too often/readily dismissed because of a segregationist past. But the songcraft is mostly uninteresting besides a few tracks in the middle: “Three Icons…”, “Wallace”, “Zip City.” Also, at 75 minutes it’s just too damn long.

5.0 + The opening sequence of "Watermelon Man" that combines vocal yelps and flute, followed by that sneaky bass and, finally, snappy drums - that buildup alone makes this album a classic. The track start to finish is a masterpiece. And, no discussion of this record is complete without noting that bassline on "Chameleon."

3.0 - World fusion crossed with lounge beats. Music for a Parisian fragrance boutique.

5.0 - “Papa Was a Rollin’ Stone” continues the trend in R&B towards longer orchestral arrangements that build quietly to an emotional apex, similar to Isaac Hayes’ work on “Hot Buttered Soul” released 3 years earlier. Epic! Every song on here is great. Other standouts: “Love Woke Me Up…” and “The First Time…”

3.8 + Stunning as a debut record, especially considering she was all of 18 when this was released. She certainly sounds mature beyond her years, only betraying her age with a precocious penchant for $10 words (e.g. "shades and shadows undulate in my perception"). The record starts punchy with the excellent "Sleep To Dream" and that defiant energy carries through most of the first half. Things get sleepier and more introspective in the second half, lulling out around "Pale September." Still, plenty of excellent songs make this well worth a revisit. See also: "Sullen Girl", "The First Taste."

3.1 + If someone told me this was their favorite Dylan album, I'd punch them in the dick.

4.3 - An intoxicating energy that seems to jump off the wax. For me, Dexys is no longer the "Come on Eileen band." I love the husky brass fills coupled with Kevin Rowland's idiosyncratic vocals. I'm also fascinated by its milieu within the northern soul scene. Lots of bops on here, including "Geno", "Seven Days Too Long" and "I Couldn't Help It If I Tried."

3.5 - As background music I actually enjoyed this better than I thought I would. Definitely suitable for this rainy day grind session. I like the upright bass sounds and breakbeats.

4.3 + My only knock is with a couple of goopy middle tracks (“Tuesday’s Heartache”, “You’ve Got It Bad Girl”), otherwise this album is another stunner from Stevie’s most exceptional era.

3.5 - A cross-section of many trends of the early-70's - both good and bad. There's some Cash/Carter-type duets ("Ohh Las Vegas"), Waylon Jennings-sounding ballads ("Return of the Grievous Angel"), blue-tinged Fleetwood Mac-y shakedowns ("I Can't Dance"). Also some Carpenters-styled easy listening tripe ("Brass Buttons", "Hearts on Fire").

4.4 - OK, this is pretty sick actually! It's like Muse but much darker, proggier and more atmospheric. Or like Tool but less doom metal-y. The lyrics are ridiculous with gross-out references to death and medical conditions, and the song titles are obscure. And the vocals, though effective, are screechy. If you can get past all that, this is a dynamic record full of surprising twists and turns.

3.2 - Jeff Buckley's dad was one horny fucker. I'm not denying the lush instrumentation and the soaring vocals (runs in the Buckley bloodline, apparently) but after listening to this record, I feel like I need a shower. He's done the seemingly impossible and managed to sound like an even more lecherous and depraved version of Jimmy Morrison. A little unsettling.

3.6 - While I don't love this record I can appreciate how it helped to rekindle Green Day's career. With their mall-punk blend of processed power chords and melodic hooks, they've managed to swipe broadly at American politics. Mostly it's too bombastic for my taste - the songs trail on for too long, the arena-filling slogans are too on-the-nose (e.g. "She's A Rebel") - but I do like the two big hits on here ("Boulevard of Broken Dreams", "Wake Me Up..."). "Good for them!" I consistently say to myself as I listen. With this record, I imagine Green Day managed to please their die-hard fans, and also capture legions of disaffected younger fans.

5.0 + I've spent many hours listening to this album, even unpacking it with the help of the excellent Dissect podcast series that examines it track by track. And yet I still find myself struggling to wrap my head around its awesomeness. It shares a rarified space with "In the Aeroplane Over the Sea" and "DAMN." as a record that truly strips the artist to their very core. Just take a deep breath and press play. And press pause when things feel overwhelming. Then, keep going.

4.4 + A jazzy gem in Joni Mitchell's exceptional catalog. Compared to her restless melancholy on "Blue", this album finds a much more grounded and self-assured songstress who understands her place in the world ("Free Man in Paris") and knows how to size up a man ("Help Me"). Other standouts: "Raised on Robbery" and the amazing closer "Twisted."

4.0 - If this album were a sexual encounter, it’d be the one random pickup at the bar who’s a little rough-looking but has a smoking body. You rush home together, and with no preamble they get on top to grind and thrust you both to climax. You catch your breath but before you can drift off to sleep, they’re back on top for round 2. When it’s over they give you a playful thigh slap, and throw on their jeans before slinking off into the night with a lit cigarette. You see them around town once in a while and give a smile and a nod.

3.6 - Spectacular guitar work. “Nothing Else Matters” is symphonic. “Enter Sandman” creates a dark, nightmarish soundscape. I’m less wild about Hedfield’s grunty vocals. And I dislike Ulrich’s drumming on here - simplistic and splashy. I also felt exhausted by this record’s plodding pace, especially towards the end of the hour.

4.2 - "The Strand" always turned me away - a twisted and demented pseudo-dance craze, interesting only as a concept. Get past that Rocky Horror shell, and dig into the gooey insides of this record! On "Beauty Queen" Bryan Perry plays the adoring crooner, waxing poetic about "swimming pool eyes" and "coconut tears heavy-lidded they shed." Some songs turn into playgrounds for Brian Eno's ecstatic instrumentals, particularly on "Editions of You" with its stratospheric guitar/synth solo. "For Your Pleasure" trails off with descending piano lines warped and transmogrified to create sounds equally delicate, vulgar and terror-stricken.

4.1 + Love seeing Brazilian tropicália on this list, especially one of the original records within the genre that's a seemingly effortless blend of psychedelia, rock and other influences. The hollow reverb on the vocals dominates the foreground while percussive splashes and organ, guitar create a kaleidoscope of sound. I especially like the peppering of fills on "Eles."

4.5 - “Subtle” is not a word I’d often use to describe funk music but Mayfield pulls off that sound with his blend of signature falsetto and aching guitar voicing. I especially love the thee back-to-back tracks “When Seasons Change”, “So In Love” and “Jesus.”

2.3 - “With underwriting support from Freeburg Mutual Bank, the Barnaby County governing board is pleased to announce that this year’s Triboro Fall Harvest Festival will be headlined by the Fun Lovin’ Criminals, a rap-rock combo known best for their chart-topping hit ‘Scooby Snacks.’ This performance, to begin promptly at 7pm at the I-C-Freez main tent, is open to all ages. The first 300 attendants will receive a complimentary festival tee-shirt.”

3.8 - West African blues twang tinged with Arabic melodies and motifs. A deep groove that sustains the almost full hour.

3.7 - I like the big hits on here but I don’t think this album quite lives up to its hype. I feel ambivalent about deeper cuts like “Grey Seal.” As a whole this record probably works best as upbeat background music but it’s not one I’d give another close listen. Still love Elton John as a hit maker, though.

3.6 - An exceptional voice reminiscent of Roy Orbison with a classic country sound that's produced to perfection. She didn't write these songs and some are standards ("Black Coffee") while others feel derivative of the American songbook. Nevertheless, a nice listen. Standouts: "Western Stars" (by Chris Isaak), "Lock, Stock and Teardrops."

3.6 - A great blues showman and fixture of American music. Wonderful voice and expressive guitar playing.

5.0 + A bouncy and tuneful record brimming with Kinks' signature British charm. To me this is their magnum opus. I sing along to every song.

3.4 - Exhibit B: Why I think Bruce Springsteen is fucking overrated.

3.3 - Baby Boomers make a big deal of this record because it supposedly pioneered the use of the Rickenbocker 12-string guitar that sort of inspired jangle rock bands like R.E.M. They were also exceptionally proficient at rearranging Bob Dylan songs and making them into smash hits. Personally I found it boring.

5.0 + Makes me feel like I'm enjoying a well-blended cocktail at some ancient courtyard bar, candlelit and not too crowded. It's a breezy summer night filled with possibilities.

3.8 + What a wild trajectory Coldplay has had given this rather unassuming debut - a pretty record with subtle and intimate production. I especially like the overwrought guitar voicing on "Shiver" and Martin's breathy vocals on the verses of "Don't Panic." Perhaps the stadium-filling bombast of Coldplay's later outings can be traced to the big chorus on "Yellow." If they had perhaps tamped down their ambitions slightly and proceeded in a more artful direction, they probably wouldn't have landed the Super Bowl halftime. Good on them, I suppose.

4.1 - Another happy discovery in the Spacemen 3/Spiritualized back-catalog. No surprises here - spacey dirges that descend into scratchy chaos inflected with bluesy shoegaze and whiffs of gospel ("Lord Can You Hear Me"). Highlights: white noise at the end of "Revolution", "Come Down Softly on My Soul", the static-y percussion on "Let Me Down Gently" over a single-note bassline that pulses like a heartbeat.

2.8 - “Sign Your Name” is still a jam but the rest sounds dated. And not dated in a good way either. “Dance Little Sister” sounds like it could be part of a dance montage in a forgotten 80’s flick. We’d see shots of John Candy bopping along to the beat wearing sunglasses and a goofy grin. “As Yet Untitled” could be an arresting a cappella performance if only it were 2 minutes shorter. “Let’s Go Forward” is the dumbest love song I’ve heard this year.

3.4 - While I do like some of Timbaland’s beats on here and I do recognize Missy as an all-around singing and rapping talent, I found this record more laid back (boring?) than I was expecting. Missy’s vocals are somewhat muddy in the mix and the most memorable bars are being spit by her collaborators (Da Brat on “Sock It 2 Me” and Space on “Gettaway”). About 2/3 of the way in, Missy runs a sort of victory lap, declaring “I’m such such a good rapper.” Unfortunately, I feel like she’s overselling herself and she hasn’t quite delivered the goods.

4.1 - Lots of energy, lots of snap. For just three guys, they create a ton of sound. They're also incredibly tight - there's not a missed note or beat in the recording. I love the dreamy reggae-infelected interplay of bass and guitar on "Bring On the Night" as well as the trippy guitar sonics on "Walking On the Moon."

1.7 - I feel like I got locked up in a JC Penney fitting room, caught shoplifting, and I’m stuck listening to this music over the speakers, awaiting interrogation.

3.5 - Definitely raw - Sam Cooke’s voice that normally sounds so smooth in the studio, is surprisingly gritty here. You also hear lots of audience chatter which in this case I find more annoying than ambient. I do love the improvised beginning of “Bring It On Home” and Sam’s soaring vocals.

5.0 + As the album name and cover suggest, there's a melancholy that binds these ten songs. I usually skip to the happier moments ("All I Want", "Carey", "California") but every song on here is gorgeous and deeply emotional. I especially love how she sneaks in details that set things slightly off-kilter, as in the line "will you take me as I am?/Strung out on another man..." at the end of the homesick "California."

3.7 - It's got a strong John Cougar Mellencamp vibe but with more distinctive writing and country music production to square it to a Reagan-loving American heartland demographic. I was slightly put off by the "funny talking man from Iran" line. I also don't love the synthesizer lines that remind of terrible ballads from Ed McMahon's Star Search show from the 80's. But overall, it's a tight and well-crafted pop country record that gives voice to an everyman persona. Standouts: "Hillbilly Highway", "Good Ol' Boy (Gettin' Tough)."

3.4 - Extremely earnest, often cloyingly so. For example, there's the saccharin ode to Van Gogh on "Vincent." He also pays tribute to a florist on 42nd St in the somewhat touching but mostly sappy "Sister Fatima." To make this album even more on par for the era, McLean rounds it out with an anti-war protest song ("The Grave"). Still, there are more than a few stirring moments on the beloved title track that excuse many of the sentimental excesses.

3.8 - Acoustic hippy folk rock in the vein of Van Morrison, Donovan...induced with a heavy dose of Indian sitar (as was typical of the era). Considering its year of release, this record is exceptionally well-recorded, highlighting the husky sounds of the acoustic instruments down to the guitar string bends. There's a lot to love about this record, particularly the choral arrangement on "Lyke-Wake Dirge", the instrumental interlude on "Train Song", the funky bass on "Springtime Promises." Sadly, the energy starts to flag at the end. The last two songs lean too heavily into the realm of British traditional folk with stories of melancholy with lots of musical repetition.

5.0 - Come oooooooonnnn!!! This is the most fun I may’ve ever had listening to an hour of music ever!

4.2 - Certainly the most pop-oriented and approachable of the Talking Heads albums I've listened to thus far. Byrne has assembled his various musical influences on this debut, seemingly priming for some deeper explorations that come later on. Standouts: "Psycho Killer", "Happy Day"

3.5 - More hotel lobby music but this time it’s for a hotel you actually want to be at. Whereas other electronic records may be suitable for the business hotel off the airport, this one’s for an upscale beachside hotel.

4.0 - Always appreciate discovering good reggae beyond Bob Marley. Standouts: "Tradition", "Marcus Garvey", "Resting Place."

3.5 + It's hard to take this band seriously with such a stupid fucking name. Overlooking that, this record is a solid blend of country, gospel and psychedelic-inflected rock. I like the use of slide and lap steel guitar throughout. The songs float in a pleasant middle ground but I don't connect on a deeper level.

3.6 - Another West African record in which the songs are built around a groove. I like the bluesy improvisations on electric guitar and other instruments as well as chanting up and down the scale. It's soothing, pleasant listening though I'd struggle to pick this out of a line-up with Ali Farka Touré and others.

3.7 - A solid Bowie-adjacent glam rock album that unfortunately suffers from too many downtempo, introspective moments (e.g. “The Ballad of Mott the Hoople”). Standouts: first three tracks, especially the addled saxophone solo on “All the Way From Memphis.”

3.6 - A singular and soulful voice especially adept at wailing pitiably about unrequited love. She abuses her voice to achieve a uniquely gritty sound but it’s often too shrieky for my taste. Some tuneful hits on here nonetheless and the backing band sounds tight.

3.5 - A timepiece of that early-aughts surge in Strokes-adjacent bands that were high-energy, danceable and hard rocking (see also the Killers, Kings of Leon) . Invariably comprised of attractive dudes wearing expensive leather racer jackets. Mostly this record sounds like palatable playlist fodder.

4.0 - I guess I’m a sucker for bright-eyed, bushy-tailed Rolling Stones. No, they didn’t write these songs. Yes, it’s white kids capitalizing on black music. But I like it.

5.0 - Of Kendrick Lamar's incredible run of albums, this one stands out for its storytelling and the way he intermingles conversational interludes to immerse the listener into his past. I know I'll need dozens of listens to more fully ingest what's on here and I'm just so excited to add this album into my rotation. "Backbeat Freestyle" is an immediate standout.

3.2 - "Gene, honey, we all brought you here - and we don't want to think of this as an intervention but more of a conversation with people who love you. We know how much you love Bob Dylan. In fact, you've built a very successful career around playing Dylan's music and aping his songwriting style. However, all of us here agree that your love has turned into an obsession. Gene, it's 1971. You've been living in Dylan's shadow for almost a decade. This last record you put out - why did you cover 'Tears of Rage'? And that song 'For A Spanish Guitar' isn't you but yet another attempt to make yourself into Bob Dylan. Honey, don't you think it's time you try and assert your own musical identity? Gene, please! Gene, don't walk away. Gene?!"

3.7 - Most of Pearl Jam's greatest hits are on the first half of this record, which feels epic. Though I haven't ever listened to this record in full, I know songs like "Jeremy" on a deep personal level. Seemingly overnight, Eddie Vedder became the voice of 90s hard rock, emulated by legions of lesser bands (e.g. Nickelback, Silverchair, Creed...). It's hard to separate the voice from its meme-like status; however, his incredible vocal performance on songs like "Black" remind me why so many people copied his style. I'm also struck by the guitar work on songs like "Alive" and on deeper cuts like "Ocean" - layered, vivid and colorful. The second half of the record doesn't have the same fire power, and songs like "Deep" detract from the overall flow. Still, it's an important cultural touchstone well worth a listen.

3.3 - Somewhere around the early-70’s, it seems like this type of muzak-y easy listening music gathered up into a hurricane, laying waste to the radio waves. Listening to this record, I feel like I’m exploring the eye of that storm and except instead of feeling a purifying violence from those winds, I feel an unsettling sense of well-being. As if I’m pushing a cart through K-Mart under a heavy dose of Percocet.

5.0 + I've listened to this album dozens of times and I'm still noticing new things. This time, having just heard Nick Cave's rendition of "All Tomorrow's Parties", I was especially curious about that song, which for me had been overshadowed by the more immediately gripping "Heroin" and "I'm Waiting For My Man." The lyrics, the jangly insistent piano, the spare marching band-like drumming, the meandering guitar line, Nico's androgynous voice - how could they knew these divergent elements would come together to create such a subtly spectacular song?

3.8 - I tried a few times to listen closely but I always found my mind wandering. So, for me it's pleasant background music. Still, as far as folk rock goes, the chord progressions are relatively complex. And I like the vocals, especially Linda's contributions. "The Great Valerio" ends the album on a gorgeously haunting note - perhaps the lone track that demands attention. Other standouts: "When I Get To The Border", "Withered and Died" and the title track.

3.7 - I struggle with some of these early hip hop records because: a) my musical diet growing up consisted of mostly rock, b) as a genre, hip hop has evolved and many artists display tighter MC'ing and glossier production. On an intellectual level, I can appreciate how Tribe laid the foundation for almost everything that would follow. And compared to many contemporaries, I appreciate the light-heartedness of tracks like "Ham 'N' Eggs" (side note: "I Left My Wallet..." is corny AF). But I won't gush about this record as others do. At best, I'd say it has some bangers like "Footprints", "Bonita Applebum" and the classic "Can I Kick It?"

4.6 + Beautiful and deeply personal, and as outstanding as I remember. Listening to this record a dozen years older and somewhat wiser, I’m struck by Lauryn’s naive worldview, built from a narrow sense of right and wrong. Promiscuous women are cast off as unchristian (“Doo Wap”). Greedy money-grabbers are unrighteous (“Forgive Them Father”). It’s fascinating how this self-righteousness is such a source of strength that would also ultimately lead to her reclusiveness as an artist. All this aside, the brilliant moments on this record sound brilliant as ever. The touching ode to her baby (“To Zion”), the vulnerable closer (“Tell Him”). On some of the duller tracks, Lauryn tries to gussy things up with slabs of her fluttery glissando (“When It Hurts So Bad”). A new standout for me is her “Sir Duke”-esque tribute to her neighborhood, “Every Ghetto, Every City.”

5.0 + I picture a distinguished gentleman dressed in formal evening attire who's had a few too many and is stumbling around midtown Manhattan trying unsuccessfully to hail a cab so he can meet his ladyfriend for dinner and a show. He looks dashing but he can hardly walk, and he curses pointedly at passing cars that honk for him to get back on the sidewalk.

4.1 - Around the 2010's I was listening to lots of bands like Oneohtrix Point Never, Com Truise, Haim... that incorporated 1980's synth sounds. To me, this Scritti Politti record, which I'd never heard before, surpasses most of that 80's revivalism, providing the very source material for its imitators. All of the tricks and tropes are on here, and SP weave this smattering of elements artfully. It's an impressive album-length timepiece of swirly and colorful bubble gum.

3.7 - Another expansion pack within the Wu Tang universe - good stuff. I like how this record incorporates samples of kung fu film dialogue as a reference point. I also appreciate how Meth kept this one lean - no skits, no experimental tracks. The MC'ing is ferocious though the mixing at times detracts from the sound (e.g. "Biscuits").

3.6 - Besides the dueling flutes on “Freedom Riders”, there’s little else that’s memorable on here. Just your average 70’s American classic rock, as interpreted by Brits. I also question their decision to begin the record with a middling 7 minute instrumental. Crowd-pleasing background music.

4.0 - Commanding as a debut with all their signature elements on display. Jagged, jangly guitars and Siouxsie Sioux’s intense, bellowing vocals. A consistently exciting listen within a lean 45 minute package though their explosive potential sounds more realized on “Juju.”

3.5 - A pleasant gospel-inflected R&B record with added tinges of smooth jazz and funk. I really like the Zapp-esque jam "Stand Up", as well as "If You Think You're Lonely Now."

4.0 - Def Leppard experienced considerable backlash along with most hair metal/arena rock acts that preceded grunge rock. However, I think DL was unfairly lumped in with a slew of lesser bands like Ratt and Stryper. It's clear that their output transcended their milieu and I'm happy to still hear "Pour Some Sugar On Me" played frequently on the radio. I like all the elements on this record, particularly the intricate guitar work that help elevate songs like "Photograph", another radio mainstay from their catalog. There are also big, glam-y choruses throughout (e.g. "Too Late For Love") that make this record so listenable and catchy.

3.2 - I love the hits “Keep on Movin’” and “Back to Life…” (including the surprisingly good a cappella version). The rest is watery house beats with that black dude with dreadlocks continually making declarations about “one race” that’s “united” around some 90’s-sounding uplifting shit.

3.3 - Some pleasant pop compositions though they mostly come across as pale imitations of the Beatles and the Beach Boys. Also, the production and vocals overall sound thin and wimpy, perhaps done intentionally to appeal to 12 year old teenie boppers. "Zilch" is one interesting a cappella aside with some rhythmic spoken word interplay, most notable for the "Mr. Bob Dobalina" refrain that was later copped by Del the Funky Homosapien. I also like the last two tracks "Early Morning Blues And Greens" and "Randy Scouse Git."

3.6 + My opinion on this record hasn’t changed much - I love the radio hits (besides “Spoonman”) but at over 70 minutes it’s a slog. “4th of July” is a deep cut worth a revisit but I’d skip most of the others.

3.6 - I’ve always had a soft spot for “What It Takes”, a power pop country-inflected ballad of jilted love. Absolutely my favorite Aerosmith song. If I’m honest I generally prefer this rise-from-the-phoenix era of theirs. Steven Tyler sounds grittier and more direct and Joe Perry’s guitar is scintillating as ever. Some other solid hits on here though “Janie’s Got a Gun” hasn’t excited me since middle school.

4.3 - If “Daydream Nation” feels like flying through a mountain range of an inhospitable planet, this record feels like exploring its dank subterranean caves. Guitar sounds like I’ve never heard.

2.3 - Possibly the dorkiest record I’ve ever heard. Cope croons with the sex appeal of a middle-aged dad who’s proudly displaying a scalp full of fresh hair plugs. Every track contains some senseless declaration (“you don’t have to be afraid, love/‘cause I’m a safesurfer, darling”) and/or some unsubtle and ill-conceived sound experiment. A colossal waste of time though at times it does toe into the realm of “so-bad-it’s-good.”

4.3 + I mostly love this rummage through the dankest parts of Beck's musical mind. Especially the whacked-out country-western fuzz rock on "Lord Only Knows" that takes some chaotic detours before ending in a strange hoe-down. "Hotwax" is also fun insanity, as well as the "good-ol' boy" ditty "Sissyneck." But, I don't love everything on here - "The New Pollution" can grate on my nerves and I usually skip "Minus" and "Readymade."

3.6 - Ah, Morrissey. Again with his brooding pompadour and melodramatic bleating. He mostly manages to stay out of his own way on this record, and we get a more-or-less tidy slice of pop with some chamber-y elements via string swells. I've always been intrigued by the mysterious "The More You Ignore Me..." that features the unforgettable line "I'll be in the bar with my head on the bar." Songs mostly theme around addressing bad press and betrayals from former friends. This is a deeply personal and middle-aged reckoning in face of the British tabloid, and for most of the details I give zero fucks. I also found the prominent movie dialogue samples on "Spring-Heeled Jim" quite distracting from an otherwise pretty ballad. Despite my gripes, this was a fine listen. And anytime I can get Morrissey without his politics, I consider it a win.

3.6 - A solid pop record, probably Beck at his most crowd-pleasing. A few colorful ornaments here and there to keep things interesting. Standouts: “Girl”, “Rental Car”, “Broken Drum.”

3.9 - It's like I'm living in a 1980's television commercial for Massengill feminine douche, and, strangely, enjoy it. "The Sensual World" sounds like being seduced by a British MILF - a little different, but pretty hot. I remember Beavis & Butthead panning "Love And Anger" but I like that song, too. "Reaching Out" is weirdly poignant.

4.0 - Reminds me of Brooklyn house parties in the 2010’s. Indie dance music. Dip a baby carrot in some hummus. Crack a beer you brought and put the rest in the fridge. Take a hit off this joint sitting in the ashtray. Find a seat by the open window and admire the sunny view.

3.7 - It’s ok, it’s pretty good. The spitting isn’t what’s exceptional so much as Lupe Fiasco’s unique worldview. He presents himself as a devout black Muslim growing up in Chicago, and his mindset represents that upbringing completely. He speaks with wisdom about all that is haram, more as a man who’s managed to largely steer clear of those vices rather than as a dabbler-turned-evangelist. Lots of nods to Kanye-style production - fat, blingy beats. LF’s flow is clear and his message resonant. He only stumbles when he tries to “sing-rap” - he obviously is not much of a singer. “Outro” is one delirious ejaculation of shout-outs, the likes of which I’ve never heard before. See also “Daydreamin’”

3.3 - A white British bass guitarist named Jah Wobble? Really? That's your stage name, Jah Wobble?? This record seems doomed from the jump, and it mostly is. It's a spliff and mushrooms party that's just one didgeridoo away from becoming a full-on nitrous balloon party. Hippie inspired world music - think trance-like electric guitar à la Santana mixed with Spanish/Arabic chanting, and maybe some wind chimes and massage parlor beats for good measure. Wobble's voice is terrible, spouting psuedo-spiritual drivel. I was, however, delighted to hear Sinéad O'Connor on "Visions of You." Some of the other female vocal performances are good, too (see "Bomba" and "Soledad").

4.0 - He's not the most intellectual rapper and his vocabulary is limited. But his flow is undeniable, and for this moment in time 50 was a hit machine. I also find his POV somehow refreshing - he's an unabashed street thug who loves guns and money. Simple and direct. Some amazing cameos by Eminem on here. In addition to the hits, I enjoyed "Heat", "Don't Push Me."

2.4 - Noisy, headache-inducing electro-pop vomit reminiscent of Franz Ferdinand but without a single solid hook. In fact, I'd say every hook attempt fails miserably. To name just a few: the "come with me, we'll travel to infinity" line on "Gravity's Rainbow", the "light the bridges with the lantern..." line on "Forgotten Works", and the "do what you will" line on "Magick."

3.5 - In an alternate universe T. Rex hears AC/DC and decides to shift their sound slightly to something more macho with less sophisticated sneer. This record might be the result. Hard, glam-inflected rock - kinda cool, kinda dumb. Perfect dive bar playlist fodder.

3.8 - At moments this record reads almost like a morning raga - sleepy, melancholy improvisations (e.g. "Dream Letter") that sort of blooms into an energetic awakening ("Gypsy Woman"), followed by a sense of fulfillment ("Sing a Song for You"). The meandering vibraphone lays a plush cushion for Buckley's voice, that interplay is especially effective on "Love from Room 109...". I'd previously reviewed the bouncy, horny "Greeting From L.A." and this record showcases a completely different Tim Buckley, which I like better. I only wish there were more ecstatic moments as on "Gypsy Woman" where Buckley's amazing voice can be given room to frolic.

4.0 - Disjointed and much better as a sardonic takedown of big band crooning pop music, a sort of mash-up of Tom Jones with Frank Zappa. In that vein, “Next”, a Jacques Brel original, is a standout gem, the lyrics of which read like existentialist “lost generation” poetry. That song, as well as “The Girls and the Dogs” show that I’ve clearly underestimated Brel as a songwriter. Walker himself proves his songwriting chops on “Plastic Palace People” and “The Bridge”, both filled with their own striking images. Then there are a couple of detours into earnest big band crooning that I find paltry: “Wait Until Dark” and “Wisdoms of the World.”

5.0 - This horror-psychedelic blend of sludgy guitars, demented imagery, raw noise and bizarre recordings hits me like a gut-punch. Perhaps it's my jaded ears but I'm loving this shit. Standouts: "Pittsburgh to Lebanon", "Kuntz", "22 Going on 23."

3.7 - Besides the gorgeous and glittery "Two Weeks", I'd shelved the rest of this album feeling at odds with Pitchfork's 9.0 review. Listening again, I appreciate the subtle arrangements and some bursts of oceanic color evoked by splashy percussions and jangly guitar strumming. And I like the unusual guitar-picking riffs. But, overall there's a lot of gray and beige on here and it quickly slunks to the background.

4.0 - Another killer entry from Sepultura - these guys are the real deal. Nine songs, nine scintillating guitar solos. Add onto that political angst, consummate heavy metal drumming and nasty riffs.

4.3 - Incomparably warm, like sitting in a favorite armchair in front of the fire late Christmas Eve sipping on scotch, surrounded by loved ones with the dog curled up at your slippered feet. The way the band and the audience feed off each others’ energy is spectacular. Great songs and terrific guitar work (solo on “It’s A Plain Shame”, “Penny For Your Thoughts”). “Do You Feel…” catapults this live performance to legendary status (don’t overlook the incredible keyboard solo around 4:30). Oh yeah, and vocoder!!

3.2 - Bold and ambitious, and beautiful at moments; however, taken as a whole, this is an uncomfortable mess and maybe the best example I’ve heard yet of a band unsure about its direction. Woof. Listening to “Odessa”, I can immediately picture a biopic scene - Barry is initially able to rally his reluctant bandmates around his vision of a concept opera about a sunken ship. Fast forward to the studio and they’re all listening to Barry’s billy goat bleatings: “OOOOODESSA” over thin orchestral strings. Barry is beaming with pride while the others look at each other with pained expressions. There are also copycat tracks of Beatles (“Melody Fair”) and CCR (“Melody Purt Drive”). And some forgettable classical style instrumentals.

4.4 - I’m glad I listened to this during a long overnight flight with few distractions. This is a complexly arranged and impeccably performed suite where every song moves and morphs. It might be a while before I come back to this but I might reach for it on my next road trip or international flight. “America” is one of the more casual listens on here.

3.6 - I don’t catch the same buzz off this slacker rock. At best, I think they do a good job of tempering some of the indie rock motifs of their time. There’s a little noisy fuzz guitar reminiscent of My Bloody Valentine on “Loretta’s Scars”, jagged guitar soundscapes like Sonic Youth, and drily delivered poetry similar to Silver Jews. Unfortunately the sum doesn’t nearly live up to the parts.

3.4 - A pleasant novelty from this Kenyan a cappella group.

3.6 - 16 minutes of pure, raucous punk rock. A nice palate cleanser from “Odessa.”

3.2 - “Being There” by Wilco? More like “Steering Clear” by Won’t-co.

3.3 - Some funky break dancing beats created with samples and synths - solid stuff. MC’ing is lame as much early hip hop tends to be. Standouts: “Looking for the Perfect Beat”, “Planet Rock”, “Who You Funkin’ With?”

3.3 - “Connected” is a jam but the rest sounds like H&M music.

5.0 + I love the reviews that are like, “Besides ‘Walk on the Wild Side’, ‘Vicious’, ‘Perfect Day’ and ‘Satelite of Love’, this album sucks!” Music critics are such bitches sometimes (myself included). In addition to the aforementioned songs, I’d also add “Goodnight Ladies” and “Andy’s Chest” to the list of standouts. So pretty much all of this is at least good and some of it is downright spectacular. One of the better examples of Lou Reed’s uncanny ability to blend sounds.

4.5 - A joyfully whacked out punk reimagining reminiscent of the B-52's debut record, with a similarly campy-queer frontman-quasi-gameshow-host, Lux Interior. They've twisted a lot of "traditional" punk elements, adding horror-inspired flair to lyrics (see "TV Set") and over-amped buzzsaw guitar(see "Mystery Plane"). The thumping, urgent drums help keep things tethered.

3.7 - Liberated from the self-inflicted austerity of White Stripes and the nay-saying Meg White, Jack can explore a fuller sound. I especially love hearing him on the piano. Some catchy funk-blues songs on here including “Sixteen Saltines”, as well as the title track.

5.0 + 7 songs, 7 scenarios: - Paperhouse: Hippie dance party, Summer of '69, San Francisco. Oil projectors casting swirly colors on the wall. LSD. "Far out, maaaan." - Mushroom: Late night after-party bike ride across the Manhattan bridge. - Oh Yeah: The night my dog Benson devoured half a 7-layer chocolate cake and we were bombing down the highway to get him to the animal hospital. - Halleluhwah: Lost in a house of mirrors at the state fair, tripping balls. - Aumgn: Torture chamber. - Peking O: 3 am at the library studying for an econ exam I will likely fail. - Bring Me Coffee Or Tea: Laying in bed with a raging hangover, trying to figure out how I'm going to navigate a packed day of to-do's.

5.0 + Probably the most accessible, song-oriented and danceable of Kraftwerk's albums I've heard. Also happens to be my favorite. All of the songs on here are great, especially "Neon Lights." I love the Soviet imagery and the sheer variety of synthesized sounds without sounding crowded. Amazing how fresh this sounds even to this day.

3.6 - It took a few attempts to get into this record to uncover its charms. I finally had to break out my good headphones and give it a close listen. So I'd say this is definitely a challenging record and not an instant homerun for me. At times I wish she incorporated some of the glitchy percussions more sparingly, especially on songs like "Mouth Mantra." And her lyrics often sound too conversational, as if we're overhearing a conversation with a therapist. But the orchestral arrangements are consistently breathtaking throughout. Standouts: "Lionsong", "Black Lake", "Family."

4.1 - A soulful and tastefully composed collection that showcases the amazing talents of this singer-songwriter. Reminds me somewhat of Sampha. Kiwanuka has a beautiful voice and an expansive, uplifting worldview. I love the intros and interludes between songs that tie everything together. This is the type of record that complements a quiet evening at home, a relaxing dinner party with friends, or a nightcap with a romantic partner. Standouts: the first three tracks, "Solid Ground."

4.1 - I picture a heavily tatted Cedar Rapids barista who’s also wearing some kind of high-maintenance facial hair. This album is for and by that type of dude. He’s got refined taste, and definite veiled snootiness. He’s also pale. Very, very pale. Good spoken word sections. I also like how fluidly they change time signatures without hitting you over the head with it.

3.9 + Part of a raft of excellent alternative R&B records that have been popping since the aughts. I think Kelela holds up against other acts like FKA Twigs in terms of exciting electronic sonics blended with gorgeous singing. However, similar to FKA Twigs, I find her sound icy, icy cold. Within the genre I gravitate more towards artists like Blood Orange, Sampha, Frank Ocean and SZA. Standouts: "Onanon", "LMK."

3.4 - Better than the underwhelming “25.” Her performance on “Set Fire To the Rain” is amazing though the song itself somewhat lacks structure. There are a couple of duds here and there, particularly “Turning Tables” where she’s unable to temper her voice and she ends up sounding like a lioness where the song demands a kitten. But it ends strong with a breezy cover of “Lovesong” followed by “Someone Like You.”

5.0 + I'd mistakenly remembered this record as the odd sibling to "My Beautiful Dark Twisted Fantasy" but it's 100% a whole-ass album in its own right. Those noisy, glitchy beats on songs like "On Sight" are undeniably awesome, especially when Kanye juxtaposes them with gorgeous vocal samples (e.g. "Strange Fruit" on "Blood On The Leaves"). Bon Iver's melancholic falsetto similarly provides striking contrast on "I'm In It." This is Kanye at his most urgent and propulsive.

2.9 - "A" for effort, I suppose. I admire the songcraft and the intricacy in the musical arrangements (the intro to "The Book I Haven't Read" is particularly striking) on this chamber pop record but I generally dislike the overall sound, especially the liberal use of wispy falsetto. Similar to other acts within this vein such as The Divine Comedy, I'm glad to give it one fair listen and hope to never hear it again.

4.1 + If someone were to stop me randomly on the street and ask, "What's an album that Pitchfork would've called 'Best New Music' in the 2010's?", this might be the first record that comes to mind. Such a perfect encapsulation of a certain "Pitchfork-core" sound of that era - breezy electro-pop with plenty of 1980's synth throwbacks. Standouts: "Under the Tide", "Recover."

5.0 + Nothing to complain about here. Just an impeccable rock record. It’s got “Stairway” for Chrissakes!

4.0 - Catchy hard rock that nails the fundamentals. You get engaging and operatic vocals, crunchy guitar riffs, pop-oriented song structures, and just enough electronics to keep things interesting. Expect no subtlety! The "edgy" lyrics often read like strung-together buzzwords lifted from intro poli-sci and pulp sci-fi. But this record delivers consistently without demanding much from the listener. To add to all this, secretly, "Starlight" is a bulletproof space rock ballad.

4.0 - This is dance music for attractive nerds. Not the real nerds. The hot ones who call themselves nerds only because they own one pair of big framed glasses. Or they might say: “I’m a total wine-nerd.” No, Danielle, you just buy whatever Cab-Sauv happens to be on sale that week that also has a “90” sticker stuck on it somewhere. Same as the rest of us. Standouts: the New York song, the static sound at the end of “Someone Great”