Solid album. "Frances Farmer Will Have Her Revenge" was a great song. Some songs, like "Rape Me," "Milk It," and "Tourette's" derail the album at times.

A masterpiece of production and guitar performance. One won't find crisper guitar harmonies. The lyrics are trite and fail to leave a lasting impression, which detract from the overall album.

Outstanding lyricism. Seamless fusion of jazz and hip-hop. The themes of consumerism are still relevant 30 years later. Some of the flows and beats become repetitive between songs.

Solid blues-rock. Vocals are entertaining, but the album overstays its welcome after a few minutes of listening. Harkens to the 70s era of rock, but feels more an imitation than a true revival. Album contains multiple filler songs that are quickly forgotten. I would give this album a 2.5, if possible.

Excellent folk rock. The lyrical brilliance of Woody Guthrie is nicely complemented by the combo of Bragg and Wilco. No weak tracks on the album, though no song truly shines above the rest, either. The production is a bit lacking, and it is difficult to understand the lyrics at times.

Deftly combines socially conscious lyrics with rhythmic reggae beats. Includes more lighthearted tracks to create an enjoyable listening experience.

Fantastic fusion of punk rock with jazz, reggae, and other influences. Rare double album without any weak tracks.

High quality production and instrumentation. Album is enjoyable, but does not leave much of a lasting impression.

A fast-paced fusion of punk rock with a wall-of-sound production style. Incorporation of horns into several tracks is unique. An enjoyable listen.

Strong opening. Hawley's baritone voice compliments the instrumental accompaniment nicely. Songs are weaker and more cliché in the second half of the album.

Alternates between adventurous, fast-paced charts and poignant love ballads. Excellent inclusion of a 12-string guitar. Some of the vocals are subject to voice cracks and imprecise harmonies.

Experimental album that shines on certain tracks and loses its direction on others. Eno excels at generating a compelling ambience, but often overprioritizes the avant-garde and creates grating sounds. The vocals and lyrics are an afterthought at most times, many tracks would have been better as instrumentals.

An overinflated album. Reed seems more concerned the idea of telling stories about drugs and prostitution that the actual execution. His mumble-singing is not pleasing to the ear. And the ending of the album, dear god. Three minutes of "Sad Song" ad nauseam. Art rock, through and through, but the type of art that can only be enjoyed by the pretentious.

Folk music with superb guitar and lyrics which move the listener. The production quality isn't great, and the vocals sound distorted at times.

A good album, but it doesn't really push the boundaries in any direction. No song truly stands above the rest, but there aren't any weak tracks, either.

Enjoyable folk rock. Cover of "Sweet Thing" was unexpectedly good. Some of the songs are too long and become a chore to finish.

A compelling album which explores themes of spiritualism through relatively simply lyrics. Avoids pitfalls of esotericism, though Stevens does overdepend on dynamic shifts for effect.

A high-energy album with earworm guitars and vocals that's hurt by imprecise rhythms and harmonies.

Too many filler tracks that fail to contribute to the album. Its length could have been reduced to 30 minutes. The early 90s synth dance style has not aged particularly well, as many songs feel empty and overly repetitive. It does contain some enjoyable tracks, however, like "Only Love Can Break Your Heart" and "Nothing Can Stop Us."

Impeccable harmonies and instrumental precision. Deep lyrics that don't stray into the pretentious or esoteric. The intra-song transitions can often be abrupt and disturb the listener's immersion.

Lyrics are repetitive between songs and quickly lose their impact. The vocals, while powerful, sound strained and become unpleasant after extended listening. Crisp instrumentals.

A mix of hip-hop and ambient music. Deftly tackles issues of freedom and power, but songs become irritating after extended listening.

Upbeat songs with addictive horn injections. Lyrics are largely forgettable, but they don't detract from the impact of the album.

An unapologetically gaudy album that somehow succeeds in its fusion of rock and opera. Songs are extravagant but remain entertaining and memorable.

A pleasant album with a few earworms. The lyrical content is very similar between songs, which leads many tracks to feel like filler.

A collection of noise. A few songs are actually listenable and redeem this otherwise empty attempt at "experimental" music.

An excellent fusion of soul and psychedelia. Songs are thought-provoking while retaining the grooving energy of Motown music.

Inoffensive rock that's enjoyable, but not particularly memorable. Instrumentals are precise and vocal harmonies are perfect.

Spotless vocals and guitar performance. The songs, though traditional, seem as if original compositions through Baez's performances.

An ambient album that leaves a minimal impression. The first track dominates the album at 20 minutes, leading to an odd listening experience.

An outstanding pop album with infectious energy and grooving beats. Some of the production techniques are a bit dated.

Inconsistent. Album peaks with songs like "Here Comes Your Man," but is riddled with grating filler.

A fantastic work of mid-2000s Chicago hip-hop. Deftly fuses conscious lyrics and jazz influences with rhythmic beats.

Excellent inclusion of traditional Irish instruments. Vocals are inconsistent. The incorporation of Cowboy-Western style musical motifs was an odd stylistic choice.

Fuses disco with R&B to create a fresh experience. No tracks feel like filler, though the album does peak with its initial two songs.

The lo-fi sound is pleasing, as are the instrumentals. Phair's vocals becomes grating after extended listening, and the lyrical content is repetitive.

A unique psychedelic album with diverse lyrical content, fantastic production, and ambitious arrangement.

Clapton delivers an excellent guitar performance, but mediocre vocals and songwriting ultimately render the album unimpressive.

Strong, rich vocals from Elvis. Great mix of blues tracks and softer love songs.

Outstanding lyrics, but the lyrics are cliché. Several songs rely on tired tropes about revolutions and the questioning of social double-standards.

Morrison's suave vocals and the psychedelic keyboard accompaniments define the album. The lyrics are a little too grandiose at times, and several tracks stay beyond their welcome.

A brilliant fusion of Americana with blues rock. Songs vary from upbeat anthems to slower, emotional ballads.

Inconsistent. Cope delivers strong performances with poignant lyrics on certain tracks, while others are little more than rambling.

An enjoyable album. Lyrics are trite, but the energetic bass and high-quality production counterbalance them.

Excellently executes a grand pop-rock style. Lyrics are witty and intelligent without straying into the unapproachable.

A unique album which pushes punk rock into a new domain. Guitar performances are electrifying, but the vocals and overall production is lacking at times.

An upbeat album which features confident vocals form Smith. Production tries to create a lush, layered sound, though this sometimes results in muddled tracks.

Mediocre folk music. McLean tends to make a point in his lyrics, then repeat it ad nauseam.

A cliché metal album. Harsh, guttural vocals and typical "doom and gloom" lyrics.

Fantastic soul music. Womack interjects a welcome, though not overwhelming, degree of humor into his often emotional lyrics.

Solid blues. Though Hooker's guitar skill has not declined, his vocals have certainly deteriorated with age. Production does little to mitigate this.

The album's feature songs present the pinnacle of rock. However, filler tracks hurt the overall strength of the album.

An inoffensive blues rock album that sometimes strays into the mediocre

Pure poetry in musical form. Lyrics are still poignant after 55 years, and the rock accompaniment is a perfect complement.

Outstanding lyrics, but with inconsistent. A few songs are more akin to slam poetry than written verse.

A solid country album. Instrumentals are unimpressive, though Harris’ vocals are poignant.

Though the technical skill is undeniable, the vocal and production choices sometimes create grading music. Album contains plenty of filler songs.

Mitchell’s vocals are powerful yet controlled. Impressive incorporation of jazz influences into a folk album.

An unrivaled live album. Nirvana delivers excellent covers of classics while imparting their own character. The acoustic style allows Cobain's emotional vocals to shine.

An entertaining hair rock album. Production is lacking, as guitars often drown out vocals. Lyrics are generally cliché, but strong guitar performances provide a counterbalance.

Heavily avant-garde. Lyrics are creative and witty, but the musical accompaniment is inconsistent.

Outstanding mambo album. Swinging melodies and tight harmonies capture the essence of the genre.

Solid production creates a lush sound, though Lennon’s vocals often seem uninspired. A decent number of filler songs.

Generally uninspiring blues rock with mediocre vocals and underwhelming guitar performances. “Going Home” derails the pacing of the album.

Excellent use of poignant guitar chords to transform standard blues rock into a novel form of music.

Nothing too bold or innovative with the vocals, instrumentals, or production. However, the band creates such an energetic feeling that one can’t help but enjoy.

A standard pub-rock style album. Attempts to generate emotion often fall flat. Album is best when Shack embraces a lighthearted tone, rather than attempting to make grand statements.

Gritty, New York-inspired album. Their emphasis on crime and vice comes across as a façade and falls flat. Incorporation of jazz motifs is inconsistent, resulting in an odd balance of empty-sounding and overly lush tracks.

The concert doesn’t quite translate to an album. Vocals are impressive for a live performance, as are the instrumentals. However, songs tend to overstay their welcome and awkward pauses are frequent. This would likely be okay with the energy of attending a concert, but not while listening to an album.

A very unpleasant listen. Lyrics are nonsensical musings about murder and "society", and vocal performances are grating. The band may as well not have even bought instruments for how poorly they perform.

A superb album which perfectly captures the gritty feeling of the early 90s. The band does not attempt to exceed its capabilities, leading to an excellent blend of vocals and instrumentals.

A surprisingly calm album with humorous and often nostalgic lyrics. Vocal and instrumental performances are unremarkable but don't detract from the experience of the album.

Catchy and poetic. The inclusion of jazz-style horns elevates his music to a surreal form.

A brilliant example of classical Indian music. Instrumentals are immaculate. The song structures are a bit repetitive.

Awful. Vocals are atrocious and instrumentals are mediocre. Lyrics attempt to be “deep” but possess the quality of a 10th grade English paper.

Superb. Lyrics are masterfully written, poetic and just vague enough to generate a sense of mystery. Guitar performances are outstanding.

Album succeeds in establishing a relaxed mood, but the songs quickly become repetitive. Lyrics are forgettable and often cliché attempts at romantic tension.

Excellent production. Synthetic bass is strong and addictive but not overbearing. Lyrics and vocal performances are forgettable, with similar cadences between songs.

Mediocre rock music. Vocals are often a jumbled mess. Instrumentals don’t compliment the vocalists’ baritone voices.

Vega's enunciation is odd. Vocals feel choppy and inconsistent, even though her lyrics are excellent. It creates very jumbled songs.

Nothing particularly stand out about this album. No part of Elastica's performance is offensive, but the songs fail to trigger any meaningful response. It's the 90s rock equivalent to elevator music.

Impressive fusion of psychedelic rock with 60s pop. Vocals are technically unimpressive, but merge with instrumentals to create an energetic aura. Song quality does taper off a bit in the second half of the album.

Songs are excellent, very clean harmonies and strong instrumental performances. However, the album is too short. Songs abruptly end right as they are establishing an atmosphere.

A solid album. Peaks with tracks like “Trouble” and “Yellow,” but filler songs quickly blur together. Instrumentals are frequently dominated by vocals.

Poignant lyrics and solid instrumental performances. Songs tend to ramble after several minutes.

Lyrics haven’t aged particularly well since 1988, they often come across as excessive and disingenuous. However, N.W.A. still imparts an infectious energy which is only aided by their excellent production quality.

Feel half-baked. Vocals are a jumbled and often incoherent mess, and instrumentals performances aren’t inspiring.

Quintessentially 80s synth pop. Beats are bouncy and addictive, though they become repetitive after extended listening. Lyrics vocal performances are average.

Loud and distorted guitars, driving rhythms, and drawling vocals create a surreal yet notable listening experience.

Great bass lines. Rapping often devolves into ranting and mumbling, and topics are very similar between songs. Album becomes a chore rather quickly.

Excellent production, and Michael's vocal talent is undeniable. The structure and content of songs are rather similar, and some tend to drag after a few minutes.

I do not possess the words to describe this album. I have lost 33 minutes of my life listening to this.

Solid album. Tracks are rather similar, but none are too displeasing. The album could’ve benefitted from a bit more editing, as some tracks feel rushed or incomplete.

Unparalleled guitar performances. Hendrix excels at creating a cosmic atmosphere with simple yet poignant lyrics.

A truly novel fusion of indie rock styles and pop. Vocal arrangements create a surreal feeling which is deftly complemented by guitar melodies.

Excellent guitar performances, but the lyrics come across as insincere and edgy.

Extremely psychedelic. I respect the creativity, but several tracks fundamentally fail as works of music. The album is somewhat redeemed by solid guitar performances and production.

A pale imitation of 50s rock and roll. Costello doesn’t provide any innovative sounds but simply rehashes existing ideas and motifs.

Vocals are often scrambled and hard to understand. Very little variety between songs. No need for the album to be 67 minutes long.

Bush’s voice isn’t particularly pleasing to the ear. While the symphonic arrangements are compelling, they often overwhelm the vocals. The incorporation of traditional Irish instruments was good.

Excellent jazz standards. Vaughan’s humor greatly improves the album.

Very good production and beats. Their cadence hasn’t aged particularly well and feels very choppy.

The technical skill is undeniable, but the album feels like a collection of bloated demonstrations of composition rather than a set of organic tracks.

Album peaks with songs like “What’s Love Got to Do With It,” but is hurt by filler tracks. Turner’s vocals are a bit strained at times.

Good blues rock, but tracks tend to drag after the 3 minute mark. Not too much variety between songs.

Superb songwriting. Most tracks are calm, but inspire emotion. A few are a bit languid.

Surprisingly pleasing. Keyboard performances are solid, and the vocalist’s falsetto is strong. Songs are very similar though, and the album does become a chore after extended listening.

Very straightforward early-60s pop. Some Motown influences, but nothing groundbreaking.

Intriguing incorporation of psychedelic and classical influences, but the songwriting is a little cliche at times. Vocals are unimpressive.

Fairly standard punk rock. Bass lines can be addictive, but the vocals are often grating and no songs truly stand out above the rest.

Amazing use of horns and other jazz motifs, but the album is terribly bloated. Songs meander, and the inclusion of "Free Form Guitar" greatly harmed the flow of the album.

An excellently produced album which blends rock and country to create a lush sound with compelling lyrics.

Bland. No songs are offensive to the ear, but they all run together. Very little differentiates tracks. Band seemed more focused on the idea of innovation than the execution.

Solid country. Lyrics and vocals are strong, but instrumental performances are rather average.

Very pleasing Cuban music. Tracks flow easily, and instrumentals are crisp and skilled.

Fantastic country album. Compelling, and often dark, lyrics that are bolstered by Cash’s charisma and interactions with the audience.

Great beats and production. She deftly creates a surreal atmosphere, but the album runs together. Songs are very similar.

Solid reggae. Somewhat repetitive, many tracks fail to leave an impression. Marley's vocals are solid, but not his best effort.

Rock that isn’t too ambitious but succeeds in its vision. Tracks are short but pleasing, and the technical skill of The Who is readily apparent.

Its theme grows stale after a few songs. Ambitious incorporation of non-rock instruments, and vocals are solid.

Succeeds in its space motif, but is slightly overblown. Could’ve done without the monologue sections. Instrumental performances are very good.

An excellent album imbued with soul, strong beats, and compelling vocals. Album is a bit bloated, could’ve dropped a few tracks.

Just too long. Speakerboxxx is a consistently excellent portion, but The Love Below derails the experience with strange lyrics and questionable composition choices. This album would be a 5 with a reduced track listing.

Excellent rock. Simple, but distinct melodies that are easily enjoyed. Some of the middle tracks are mildly filler.

Classic rock and roll. Elvis’ vocals are strong, and instrumentals are typical of early rock. Tracks are a bit too short at times.

Solid pop. 80s style hasn’t aged too well, but still remains enjoyable. Madonna’s talent truly shines on tracks such as “Like a Prayer” and “Oh Father,” but filler songs dilute the album’s impact.

Album is a chore. Tracks are very similar and longer than necessary. Redeemed somewhat by vocal and production quality.

Outstanding instrumental performances. Truly a novel blend of soul and psychedelic influences. Album is hampered by Otis' mediocre vocal talent.

Layla is one of the finest songs ever crafted. I cannot say the same for this album. Clapton's vocals are often grating and songs tend to meander, creating bloated and aimless tracks. The album is redeemed by Clapton's guitar performances, which are unparalleled.

Very mediocre country rock. Clark’s vocals are shaky at best and often displeasing. Far too much harmonica.

Solid production and delivery. Themes grow stale after extended listening.

Outstanding disco music. Addicting basslines and impeccable vocals. A few tracks do start to drag after several minutes.

Creates a pleasing folk sound with driving guitars and compelling vocals. “Heard it Through the Grapevine” is too long, but this doesn’t apply to other tracks.

Standard hard rock. Succeeds in its vision, but does not push any boundaries. Lots of filler tracks.

A rather bland album outside of "The Beautiful People." Similar song structures and guitar performances, and Manson's lyrical content grows stale. Track listing could have been reduced.

Solid reggae. Tracks are driven by excellent bass performances, which compensate for average vocals. Lyrics failed to leave an impression.

Truly unique blend of rock and symphonic influences. The spoken word delivery creates a compelling narrative which explores the emotions and depravities of lust.

Exciting and grandiose. Lyrics are witty and unique. Some tracks are a bit bizarre.

Very vanilla punk rock. None of the tracks are particularly weak or offensive, but they blur together after several minutes.

Outstanding production that combines techno, trap, and rock influences. Witty lyrics and smooth delivery. Unnecessary skits harm the flow of the album.

Grooving funk with creative lyrics and truly original ideas. Some tracks stray a bit too far into the bizarre.

Standard Dylan. Great lyricism with grating vocals. Some tracks meander and create empty stretches of noise.

A confusing album. Nothing is particularly wrong, and the guitar and keyboard performances are solid. However, the album is just somehow annoying. I could not wait for this album to end.

Vocals don’t match the atmosphere and overall production style. The album peaks with the first song and slowly declines, leading to an odd experience.

Average mid-60s folk music. Jansch’s vocals are rather unimpressive, but his guitar skills redeem the album. Some of the tracks felt unnecessary.

Most tracks are pleasant enough, though they become repetitive towards the end of the album. Some songs are truly catchy. Costello’s vocals are usually average at best.

Elliot’s blues tracks shine when he’s focused. The album does tend to wander, with Elliot simply talking at some points.

Tracks are enjoyable while remaining experimental. While no song truly stands above the rest, no song counts as filler, either.

Solid instrumentals and lyrical content. Armatrading’s vocals are occasionally shaky. Would’ve liked to see her expand on some of the funk influences.

Excellent country. Williams’ vocals are impeccable and create a calming yet tense atmosphere. Lyrical content is compelling and mostly original.

Fairly standard early 60s pop with rock and roll covers. While not particularly ambitious, the Beatles remain within their limits and produce a pleasant album.

An enjoyable and lighthearted album. Songs are catchy enough, though I wish Blur could’ve occasionally departed from more comedic elements to build on the musical depth of their work.

Alternates between compelling tracks and stale, repetitive rock standards. Album peaks with its opening songs and steadily declines towards the end. Remains enjoyable enough, however.

Excellent rock. No songs overstay their welcome, and Fogerty’s vocals create a unique style.

An interesting advancement on punk rock. Songs are more complex and layered than typical punk songs, with more expressive guitars. Lyrics are witty at times. The vocal style is too repetitive, however. Lots of tracks are similar to one another. Would rate a 3.5 if possible.

Not really enjoyable. Seemed avant garde for the sake of being avant garde. No element truly shines on this album, unsure how it made the list.

A jazz classic. It is a bit odd though, Coltrane’s saxophone performances completely outshine Davis. Some additional takes would’ve helped to iron out some slight technical errors.

Often devolves to unfocused noise. Album was too long, became a chore to finish. Fails to merit inclusion on this list.

Outstanding soul music. Redding’s vocals are impeccable. Would’ve preferred some more original tracks in addition to covers.

Very fun album. The Specials are excellent at creating laid-back yet compelling songs. Could've done without the rambling, spoken-word portions, which drag down the album.

An enjoyable glam rock album, but somewhat shallow. The band is committed to a simple sound and lyrics, but this does produce some unsatisfying tracks.

Not particularly impressive. Their vocals are tight, but harmonies are dull and song content is extremely similar between songs. Instrumental performances are lackluster outside of the mandolin.

Strikes a perfect balance of pop and rock. Songs are light but not superficial. Great production.

Album is a drag. Most tracks last 4+ minutes for little reason. Orrin’s vocals are solid, but droning and boring after several songs.

Superb blend of country, folk, and rock. Album is a bit bloated, which results in some recycling of sounds and lyrical motifs.

Experimental yet inconsistent. Some tracks are repetitive noise, while others are enjoyable and somewhat pop-ish. Hard to define to which genre this album truly belongs.

Album openly strongly with rhythmic jazz-infused tracks, before pivoting to more contemporary motifs. Some of the later tracks on the album are a bit weak.

A decent proto-punk album. Very energetic, but a bit scrambled at times. The last track was bizarre and didn’t fit the rest of the album.

An excellent live performance. King's vocals are solid, his accompanying band is tight, and the audience interactions add a degree of humor to the album. I would've like to hear more of King's guitar in this performance, though.

Guitars were good, but the song structures were rather dull. Lyrics are cringe-inducing, seems that little thought was put into them beyond shock value.

Young’s vocals were unimpressive. Decent lyrics, but not on par with other Young works.

Strange production choices. Vocals sound distant and it’s hard to understand the lyrics. Some questionable lyrical choices as well. Quite bizarre at times.

An interesting artistic direction from Bowie. Tracks possess some funk influences but retain the core of Bowie's sound. I would've liked to see some more ideas rather than only 6 songs of great length.

Rather long-winded at times, but enjoyable. The album is better during instrumental portions rather than lyrical sections.

Rather standard post-punk. The coming-of-ages themes are still relevant, though the overall direction of the album tends to dart about.

Springsteen’s mediocre vocals are more than compensated for by a truly grand accompanying band. Creates sweeping moments rarely found in classic rock.

A fast-paced and energetic glam rock album. Very solid, but not particularly special in any specific direction. Vocals and guitar harmonies are very tight.

Sharp lyrics and delivery from Chuck D. Album would improve without Flavor Flav, his "rapping" is more just talking and yelling "Yeah Boi" without any true substance.

Rather unimpressive. Vocals are sloppy, and lyrical content seems forced. Becomes grating after extended listening.

Superb folk rock. Vocals are perfectly tuned and neatly complement the instrumentals. Lyrics are compelling but retain a simple and readily understandable quality.

Solid reggae. Rather repetitive at times, but maintains a relaxed atmosphere while incorporating politically-aware lyrics.

Q-Tip's lyricism and delivery is excellent. Most beats are solid, though some are rather dry. Album peaks in its middle and tapers off towards the end.

Pretentious. Seems more akin to spoken-word poetry than punk music. Guitars are uninteresting, it’s just unison accompaniments at all times. Album only avoids 1 star due to lyricism.

Smooth delivery and strong beats. Lyricism is compelling and remains relevant.

Green's voice is incredible, though the songwriting is rather weak. Topics rarely deviate from heartbreak and relationships, and accompanying instrumentals are somewhat mediocre.

Standard pop rock. Guitars are light and satisfying, as are the vocals. However, each track is so short that they often fail to leave an impression.

Solid jazz, though a bit long-winded. Too much reliance on keyboard. Songs were rather shallow for their length.

Pleasing synth melodies and high-quality production. Numan’s vocals are largely forgettable and lyrical content is repetitive.

A chore to finish. Songs are long-winded and lack true substance. Vocals are often annoying. "Living in Another World" is the only decent track.

Average rock. Vocals are pleasant enough, though sometimes delivered too softly. Instrumentals are forgettable.

Album screams of the 90s. Vocals are strained and often unpleasant, and song structures are rudimentary at best.

Excellent rock. Truly unique sounds, though some tracks are a bit too avant garde.

Glad the Cure pivoted from gothic rock. While innovative, the album is a slog to finish.

Poignant lyricism. Successfully achieves their intended sounds without being married to a specific genre or style. Some tracks do tend to drag.

A truly innovative sound. Kraftwerk transforms repetitive synth sounds into beautiful melodies.

A solid rock album. Contains some true classics like Jump and Panama, but the latter half of the album is pure filler.

Typical 90’s singer-songwriter rock. Mann winges about cliche emotional problems, and instrumentals do little to improve the album. A chore to finish.

Witty lyrics and solid guitar instrumentals. An enjoyable listen

Rather odd. Felt more like the soundtrack to an indie film than a proper album.

Pure funk. Lyrics are witty and rhythms perfectly complement them. The premise of the album is a bit odd, but the group largely succeeds in the execution of the concept.

While the cover of “Hallelujah” is a classic, the album contains many forgettable songs. Buckley’s vocals are often strained and too soft, though his voice shines when forgoing these trends.

Tends to meander. Production is also rough, vocals are faint at times.

Superb lyrics. The vocals are a bit shaky at times, and the inclusion of slang is somewhat jarring.

A solid album, though not Elvis' best work. Most of the songs seem rather formulaic and rely upon his vocal talents rather than quality songwriting.

A mixed bag of songs. Beck's talent is obvious, but the more experimental aspects of the album, like screeching vocals and garbled synths, create some jarring tracks.

Pleasing bass and drum rhythms, though lyrics and overall song structures are forgettable.

Enjoyable but somewhat unpolished. Vocals are occasionally garbled. Songs do sound novel, though, and lyrics and instrumentals are consistently above average.

Contains some excellent tracks, though the album as a whole pales in comparison to the group’s earlier work. The album loses a star for some excessively long tracks at the conclusion of the album.

Solid gothic rock, though somewhat forgettable. The foundation of the Cure's later work is apparent. Guitars are surprisingly pleasant within the context of the dreary mood of the album.

Acoustic accompaniments greatly augment the quality of Drake’s vocals and guitar work. The album succeeds in its vision, though it can be repetitive at times.

Melodic hard rock. The track listing was a little bloated, with some songs that drag. However, most of the album consisted of compelling tracks that showcase the group’s talents.

Extremely repetitive and vapid. Though the tracks would create a vibrant club atmosphere, they do not lend themselves to the format of an album.

An enjoyable experience, though not particularly innovative. Songwriting is on par with Young's standard. Tracks are often bloated and wander for an excessive amount of time.

The album succeeds in its dark and dreary vision, but it is like listening to the same track 11 times in a row. Instrumentals deftly contribute to the album's mood, but it excels more as a concept than as a truly enjoyable work of music.

Witty rhymes and creative verse construction. Deftly walks the line between humor and compelling social commentary. Some of the beats sound a bit dated.

Instrumentals are solid and surprisingly addictive. Lyrics are cliché at best, with an excess of thinly-veiled innuendos. Entertaining overall, but lacks depth.

Infectious pop that stays within its boundaries. Songs are equally catchy to the modern listener as they were to the audience of the 70s.

Tracklist was bloated. Songs are often repetitive. Costello attempts vocal feats well beyond his capacity.

Only a few standout tracks on the album. Oasis follows a rather formulaic routine and does little to disguise Gallagher's rough vocals. Nevertheless, the album is mostly enjoyable.

Creative flows and high-quality beats. Each song is largely unique, leading to an entertaining experience.

An innovative album which departs from Bowie's earlier works. Notably incorporates many instrumental tracks. Very avant-garde, but retains a high degree of listenability.

Very much a product of its time. Vocals sound forced, and the instrumental arrangements are somewhat cliché. Still enjoyable and retains a good degree of its social relevance.

Neither pleasing to hear nor particularly inventive. Most lyrics are a mess of sounds. The album does succeed in generating its desired atmosphere, which is its only saving grace.

An interesting departure for the Byrds. The group ventures into more experimental music while retaining their tight vocals harmonies and pleasant instrumentals.

Classic blues. Waters deftly executes his setlist, complementing the backup band with his own powerful vocals.

Fairly standard rock. The album lives and dies by Debbie Harry’s vocals. Entertaining, but unremarkable.

Fun, but a chore to finish. The album is too long with several filler tracks. Kiedis' vocals are often irritating and lyrical content is somewhat shallow.

Nico's vocals are simply irritating. Instrumentals are overly lush and overwhelm tracks. I cannot see how anyone can find entertainment from this album.

Eclectic. Alternates between borderline-unlistenable experimental works and more pop-ish sounds.

Strong, though rather repetitive. The album shines on the performance of its bassist, other instrumentals and vocals are average. The message of RATM's lyrics are diminished given their later record of choices.

Pleasant enough, but doesn't leave much of an impression. Vocals tend to be a bit too wavering, and the instrumentals could be bolstered.

Felt rather mechanical and flat for a psychedelic record. The harmonies are crisp, but solo vocals are disappointing. I fail to see how this album was influential.

Surprisingly pleasant. Wilson's vocals sound vulnerable yet controlled. Instrumental accompaniments are solid.

Though the group attempts to be grandiose, the album overall is an average experience. The incorporation of symphonic instruments like oboes is positive, but the often weak vocals and pedestrian songwriting weigh the album down.

An excellent showcase of the group’s talents. The wispy vocals pair well with the lush instrumentals. Some tracks do drag a little.

Felt like the same track on repeat. Rushed and slurred vocals, childishly edgy lyrics. The guitars are impressive, though the speed solos become predictable through the course of the album.

Enjoyable, but feels somewhat bare. White’s guitar performances are great, though his vocals are inconsistent. Drumming is also inconsistent with mistimed rhythms .

Surprisingly enjoyable. Bjork's powerful vocals elevate tracks into a higher plane of art.

A rather odd, though somewhat enjoyable experience. The initial tracks of the album are standard pop-rock, and the latter half pivots to acid rock. The title track of the album is a bloated mess which features more rhythmic drum portions than the rock which defines most of the album. The album would have benefitted from additional tracks, rather than a 17 minute closer.

Simple, but excellent. Stewart's vocals are often rough, but he deftly combines them with strong guitar and percussion accompaniments to create a unique sound. Some of the lyrical content is rather repetitive.

Absolutely fantastic vocals by Fitzgerald. She is never out of tune or rhythm. Songs are still witty and compelling in the 21st century. Album is much too long, but ultimately a minor complaint.

Prog rock, with all its charms and pitfalls. Embraces that annoying trend of long songs with distinct sections; could've easily broken tracks into several unique ones. Instrumentals and vocals are solid, but often leave no impression due to the overabundance of sounds occurring at one time.

Superb storytelling and beats. The inclusion of rather meaningless skits hurts the flow of the album.

A good representative of the Plunderphonics genre. Excels when creating a driving, gloomy atmosphere but loses its momentum during transitional tracks which function more as skits than meaningful additions.

Infectious energy, though the album is somewhat rough around the edges. Vocals are unpolished and instrumentals are somewhat repetitive. Ultimately succeeds in its vision, though.

Feels oddly empty at times. Many awkward moments where vocals stand alone, but without the setup to create an enjoyable experience. Songs are rather repetitive.

Superb songwriting and structure. I would've liked to have seen a bit more diversity in the tone of the album, but an excellent debut for Cohen.

A lush sound with unorthodox motifs, though the group seems afraid to fully embrace the psychedelic themes they touch upon. Lyrics are surprisingly bubbly.

A pleasant and novel experience for an American listener. Songs have a distinct groove, though Olomide doesn't innovate much between songs. Many tracks are a bit long winded. Would likely succeed better as a live concert than a formal album.

Didn't understand the reverence for this album. Vocals are grating, and the guitar melodies are rather bland. None of the songs leave any real lasting impression. I can see the album's influence on later, superior punk music, however.

A fun album, though shallow at times. “Song 2” stands head and shoulders above the rest of the tracks. A solid sampling of BritPop.

Often felt more like a soundtrack than a commercial album. I appreciate the experimental aspects, though some tracks were a chore to finish.

Masterfully executes its vision of stripped-down indie rock. The wispy vocals finely complement the guitars and drums. Some tracks lean a little too far into the empty sound, but overall the album is a novel and enjoyable experience.

A driving album with powerful vocals. While the lyrics may be a bit elementary, they retain a poetic simplicity which keeps the album fresh after 40 years.

The album's sound is largely monotone with little variation between tracks. A few songs do redeem the album. Would work better as a live performance than an album.

Solid hard rock. Many of the tracks are too long and become exasperated. Nevertheless, the album is enjoyable.

A good fusion of Americana and alternative rock. Vocals are largely forgettable, though the lyrical content does provide some staying power.

A high point of psychedelic rock. Also marks a shift to hard rock in mainstream music. A few filler tracks, but overall a triumph.

Creative and entertaining. Eminem deftly toes the line between crude and witty. The skits do disrupt the flow of the album, and some of the content has not aged particularly well.

Surprisingly good. A deft fusion of grooving funk and synth influences. A few filler tracks, but overall a fun record.

Enjoyable at times, though equally grating. Solid lyrical content and fairly average instrumentals. Vocals sometimes devolve into little more than screaming, but are mostly fine.

Felt like the same song on repeat. I appreciate the artistic vision, but a chore to finish.

A fantastic sampling of funk. Lyrical content is often moving. “Sex Machine” is too bloated and drags the album’s pace.

A solid bossa nova album. Lyrically, a bit timid and thematically stale. The instrumentals were the most engaging aspect of the album, with compelling Latin elements.

Too much improvisation. The album tends to drag after only a few tracks. However, the musical talent is undeniable.

Humorous and original storytelling. However, the actual delivery is choppy and often grating. Could've used more polish on the rapping technique, but overall an enjoyable album.

A good sampling of styles, from more droning electronic sounds to lyrical content. Seems hesitant to fully embrace its experimental leanings.

A classic of early metal. "Paranoid" still sounds fresh to the modern listener. A few tracks cause the album to lose its momentum, but overall a great listen.

Though waterfalls is a fantastic song, the rest of the album consists of mediocre and often cheesy R&B. The amount of interludes which only repeat the phrase "CrazySexyCool" was excessive.

Appreciated the incorporation of Indian musical influences. The lyrics often seemed a bit detached from the instrumental directions of songs. Enjoyable, but not memorable.

Smooth bluesy vocals. The lyrical content of the songs are similar, but enjoyable.

Excellent vocals and lyrical imagery. A dark tone that doesn’t become boring or repetitive.

Largely failed in its vision. Songs attempt a lush sound, but often results in a barrage of noise rather than a moving expression. Vocalist should find another occupation. His falsetto is annoying and makes many tracks unlistenable.

A superb guitar performance, though Beck's vocals are sometimes rough. Lyrical content was rather cliché and often repetitive, though overall a quality sampling of blues rock.

An entertaining fusion of punk and 80s rap. Humorous, but not silly. Some of the beats sound a bit archaic, but they don't detract too much from the album.

Superb guitar performances and solid lyrics. My only complaint is that most of the tracks are too short. "Little Wing" criminally ends just as Hendrix is entering a groove.

Smooth vocals and a surprisingly lush sound. Lyrics are often clever without straying into the avant garde.

Fairly standard folk rock. Strong lyricism, though the vocal quality sometimes wavers. The instrumental tracks tend to meander.

A good sampling of early 90s hip hop. Solid production quality, and the lyrics are clever enough. Failed to leave much of a lasting impression, however.

Smooth, funky jazz. Novel arrangements are deftly complemented with synth sounds. Chameleon should’ve been broken into two distinct tracks.

Impeccable production and vocal talent. Often poignant lyricism which captures Beyoncé's confidence. Some of the lyrical topics are a bit repetitive. The featured artists could've contributed a bit more during their additions.

Enjoyable, though a bit rough around the edges at times. Lyrics could've benefitted from some revisions, many words don't fit the rhythm and disturb the flow of the track. Instrumentals are solid.

Superb instrumental performances. Lyrics are compelling, though a bit dated and cliché at points. Some tracks overstay their welcome and could've been segmented into multiple distinct portions.

An interesting blend of electronic and Indian music. Many songs begin strongly, but meander to an unsatisfying conclusion. "OK" was an excellent track, though most of the album was rather average.

Basic garage rock with some proto-punk aspects. The raw energy is moving, though the constant shouting into the mic gets tiring. Some good covers of rock standards.

An innovative house sound which still sounds fresh 20 years later. Compelling use of samples. Some tracks do overstay their welcome.

If "We Live in a Society" was an album. Surface-level political commentary, full of predictions which ultimately did not transpire. Felt like being lectured to by a college freshman.

Solid prog rock. Oddly, the title track is the weakest aspect of the album. Enjoyable, but not too memorable.

An excellent fusion of electronica, ambient music, and rock. Deftly achieves a bleak, yet full, sound. Some of the vocals are a bit too quiet.

A strong yet free flowing record. Prince's flexible vocal talents create a compelling diversity of sounds. Some of the lyrical content grows a bit stale towards the end of the album.

A solid album of 90s gangster rap. Rhymes are creative, though the beats seem basic. The inclusion of rock sounds was unexpected, but successful.

A fun, poppy album with some psychedelic influences. Most tracks were too short to leave a lasting impression. Entertaining, but ultimately shallow.

Song compositions are good, but Martyn has an odd vocal inflection on several tracks. An intellectually stimulating, but aurally grating listen.

An energizing album that combines the unpolished drive of alt rock with a dedicated artistic polish. Some of the vocals can be rough, but the instrumental performances are outstanding.

Superb song arrangements. Staralfur is one of the most beautiful things I’ve ever heard. The vocals are a bit too weak at times.

Innovative beats and witty lyrics. Kanye provides a rap sound which remains fresh after over 15 years. Some of the skits sound a bit dated.

A superb example of music storytelling. Songs impart their lyrical message without sacrificing listenability.

Outstanding classic rock. Queen delivers solid performances without straying into the avant-garde.

Mediocre synth pop. Sometimes engaging, but generally a chore. This album did not merit inclusion on this list.

Average pop. I respect ABBA’s choice to explore new artistic directions, but it often feels like an imitation of their older music.

Creative song structures. Lyrics depart from metal clichés and remark on genuine emotions.

Excellent 90s alt rock. The Smashing Pumpkins complement more angsty tracks with melodic songs. Some of Corgan's vocals can be a bit grating at times.

The album sounded pleasant, but struggled to find a direction. Vocals seemed too weak. Interesting lyrical content.

I enjoyed this album more than I anticipated. Harvey expresses feminist ideals in her music without stepping into "woe is me" territory like several of her contemporaries on this list. The production quality is pretty poor, the vocals are often hard to hear.

Complex production, with several unorthodox but successful samples. Rhymes and song content are clever. Delivery sounds a bit dated.

A bit confused how an EP made this list. Nevertheless, a solid sampling of proto-grunge. No particularly standout track, though its influence is clearly seen in later grunge albums.

The accompanying instrumentals are lush and often moving. However, Morrison's vocals are flat. He delivers the same cadences and inflections on most tracks, no matter the sound of the backing instruments.

Unremarkable. Lyrical content and instrumentals were average, but the vocals seemed lazy and often grating.

A superb pop rock album. Songs are bouncy and moving, but retain a powerful quality. Each track on this album is an enjoyable listen.

An odd, but sometimes charming, assortment of sounds. Some tracks, like “When the Shit Hits the Fan,” are moving, while others are more esoteric and hard to follow. Difficult to truly describe this album.

Feels empty. Rapping is choppy and often hard to follow. Beats are minimal, at best, and often don't complement the raps.

A pleasant listen, though more akin to muzak than a true jazz album.

Inconsistent. Waits is capable of moving vocals, though he often opts for a grating style which makes Bob Dylan sound like an opera singer. Waits also excessively incorporates the marimba, resulting in a number of disjointed sounds. However, the artistic vision is respectable.

High quality jazz. Rhythms are novel and generally engaging. Some tracks do taper off with extended solos.

Outstanding blues rock with solid storytelling and strong instrumentals. Jagger's vocals can be a bit shaky at times.

A thoroughly enjoyable metal album, which is rare for me. Vocals are crisp and refrain from the screaming common to metal, and lyrical content is often moving and insightful. Instrumentals are crisp and complex without being overbearing.

Awful. Cringe inducing lyrics and repetitive song structures. Nu metal was a plague upon early 2000s music.

Novel lyrical content with a compelling narrative. Musically, the songs are pleasant though the longer tracks tend to lose their direction.

Driving punk rock. Vocals are powerful, though sometimes grating. Instrumentals follow standard punk motifs. No glaring issues, but the album has no true climax either.

An odd balance between experimental rock and ambient music. While both were enjoyable, it generated a jarring listening experience.

Superb jazz. Songs are novel and catchy, but do not overstay their welcome. Davis' technical skills are impressive.

Enjoyable alt rock. The Afghan Whigs deliver poignant lyrics with solid vocals. Some of the instrumental portions are lacking. Several tracks drag beyond their logical conclusion.

Very monotone, but enjoyable. Peppy and upbeat tracks create a pleasurable experience, though the songs hold almost no lasting impact.

Very artsy, often at the expense of listenability. Album shines when it abandons its avant-garde inclinations, though this is rare.

Gritty and driving. Best blues rock album I've heard from the 21st Century. A bit thematically repetitive, but overall an engaging listen.

An odd concept album. The premise for 2112 is odd, then the latter half of the album is just a collection of songs which completely disregards the title track. However, the brilliance of Rush's instrumental performances offsets the narrative inconsistencies. Crisp guitars and drums.

Fairly standard flows with little variation, though LL Cool J's narratives are solid and often creative. Beats feel unimaginative most times, though they don't harm the progression of the album.

Gritty and driving, though largely forgettable. Lyrics are cliché at most times.

A fantastic fusion of folk and pop rock. The lyrics, while often bubbly, contain serious analyses of 60s culture and its excesses. Harmonies are almost immaculate.

Garbage. Just a mess of saxophones and drums. Utterly confused how this abomination made the list.

Ethereal ambient music which pushes the bounds of techno. Retains some qualities of dance music, but infuses its sounds with a type of fluidity.

A surreal experience which fuses alt rock with psychedelic 60s techniques. Blissful guitars and gentle sopranos create a spectacular sound. Some of the lyrics are a bit too slurred.

Driving fusion of punk and punk rock. Lyrics are witty and crass without becoming vulgar. Guitars, while often a little too simple, are effective. Many tracks are very addictive.

Strong technical skills and production quality. Impressive guitar speeds. Lyrics are rather cliché.

Inconsistent. The first track displayed a unique sound, but the later tracks abandoned this direction and moved towards more generic rock. Failed to leave a lasting impression.

A catchy synth album with some disco influences. Infectious bounce and energy. Vocals can be a bit unhinged at times, but overall a very enjoyable listen.

Repetitive, but enjoyable. Felt like much of the same for its 20 tracks, but none of the tracks were bad. Very reminiscent of later 90s rock.

Relaxing and melodic pop rock. Surprising emotional depth. A few stinker tracks, like Politik. Martin’s vocals are often weak when he attempts to use his upper range.

A bit drab. Most of the songs are pleasant, but they're one dimensional. Enjoyable, but certainly not boundary-pushing.

Classic Christmas music. Hard to judge objectively. While entertaining, many of the tracks are stylistically similar, and the Wall of Sound of technique is inappropriate for some Christmas standards. Nevertheless, some of the songs are so catchy as to have become staples of Christmas music.

Novel and irritating. Waits' songwriting is truly compelling, but he has the vocal talent of a squeaky boot.

Moving while retaining its listenability. Harvey delivers poignant reflections on her experiences with English culture. A few dud tracks, but overall an original and enjoyable experience.

Not very enjoyable. Slurred, rushed vocals and uninspired instrumentals. I found it difficult to remain interested in most tracks. Production quality seems dated.

Feels stale after listening to another Public Enemy album from this list. The social points are still relevant, but with the same delivery and often the exact same lines. Productions feels dated.

Outstanding funk. Incorporate of the didgeridoo was unique. Lyrics are a little cliché, but somehow seem fresh. "Revolution 1993" was far too long.

The title track makes this album. The other tracks are solid, though often cryptic and distant. I appreciate the artistic vision, though it's often not an easy listen.

Average singer-songwriter. I found the lyrics to be mostly trite, redeemed only by Crow's vocals and supporting instrumentals.

Truly innovative for its time. Some of the songs feel quite similar.

Creates a compelling atmosphere, but the lyrics feel empty. Lots of empty buzzwords designed to create mystery which ultimately fall flat.

Strange. Full of chaotic and dissonant sounds. Respect for the artistic decision, but not an enjoyable listen.

Solid country pop. Interesting fusion of acoustic string instruments with synth. Lyrics are blasé at best, but they accomplish the intent of Musgraves.

A boring concept album which quickly becomes a chore. The plot is hard to follow and a dull scenario from its inception. The only redeeming aspect is the masterful track "Pinball Wizard."

Lush production quality and excellent vocals from Morrissey. Would've like to have seen more guitar development from Marr. Some tracks do drag a bit.

A sweeping, near operatic work. Truly outstanding at its peak. Some tracks are hurt by Corgan's lyrics; he wallows in self-pity which often seems insincere.

Pleasant enough, though one dimensional. Shines in its bossa nova sections and falls flat with its pop tracks. "You Didn't Have to Be So Nice" was very odd.

Enjoyable, but horribly bloating. I was waiting for this album to end after 90 minutes. The symphonic instruments pair well with Metallica's music.

Solid rap. Good variety in production styles, though Simz's deliveries grow stale. Lyrical content is inconsistent, though she delivers some truly profound content at the album's peak.

A garbage album made by a garbage human being.

Not really my style of music, but respectable. Tight harmonies which cleanly complement the guitars. Lyrical content was a bit bland to me, but I could see how others may appreciate it.

Compelling psychedelic music. Strong lyrics, especially in tracks like "Butcher's Tale." "Time of the Season" is a classic.

60s pop with bubbly lyrics that contain a surprising amount of depth. As usual, the Beach Boys' harmonies are almost perfect. Loses a star for the final track, which is the definition of filler.

Impressive speed and aggression, without devolving into sheer noise. I appreciated the incorporation of some punk and prog rock influences. A definite upgrade over 70s heavy metal.

Rather shallow, but full of earworms. Catchy and fun. An enjoyable listen, but lacks the depth to leave a lasting opinion.

O'Connor's voice is good, but her lyrics are naïve and shallow. Really embodies the excessively dreary tone of 90s singer-songwriters.

Complex lyricism with funky beats. Cutting commentary without becoming edgy. The dance and electronic influences were compelling.

Felt rather bare. Drums are annoyingly repetitive are a few tracks, and White’s vocals are average. Album thrives solely on White’s guitar performances, which are outstanding.

Not a huge fan of Simone’s voice. Lyrical content is strong, touching upon cogent social issues. The more poppy songs felt out of place.

An intriguing concept album, with The Who acting a pirate radio station, complete with ads. While I appreciate the idea, the “ad” tracks feel a bit disjointed. The other tracks on the album are excellent.

Technically impressive, but lyrically garbage. Eminem’s delivery is strong, and he imparts some strong poeticism in tracks like “Stan.” However, his usual diatribes on women and homosexuals grows stale and annoying by the end of the album.

An energetic album filled with youthful energy. A very enjoyable listen. Lyrics and instrumental arrangements are nothing novel, but the album executes to a high degree of quality.

Felt uninspired. Several songs consisted of little more than rambling tones, and those with actual lyrics were boring. A failed attempt at psychedelic folk rock.

A strong album with simple, yet insightful looks into daily life. Compelling overlap between American and South African styles of music. High production quality which makes for easy listening.

Boringly monotonous. Begins with a high-energy barrage of wild lyrics and heavy sounds, but the group does not depart from this sound throughout the course of the album. A chore to finish.

Felt like a step back from their earlier work. Kraftwerk leans more into repetition and introduces fewer novel sounds. A quality listen, but not truly innovative.

Light and fun. "Come On Eileen" is a classic. The saxophones and other instruments elevate the new wave sounds to another level. A few filler tracks, but overall a superb album.

Felt like the music at a laser tag arcade. Not bad, but extremely basic and repetitive. Did not merit inclusion on this list.

An excellent grooving salsa album. Intriguing incorporation of some disco motifs.

Felt rather basic and dated. Most songs drag beyond a reasonable time. Felt more like an example of a niche subgenre than a truly influential album.

Solid R&B tracks. Some tracks do drag, like "Jesus." Mayfield's vocals are often inconsistent, sounding shaky or underpowered. An enjoyable listen, but very little incentive to revisit the album.

A brilliant and unsettling perspective on grief. Warm ambient sounds disguise the pain in Cave's lyrics. Leaves a strong yet haunting impression.

Flawed, but enjoyable. Album peaks with energetic tracks which embody the sound of Britpop, but several tracks stall the flow of the experience through excessive length or odd musical directions.

An interesting, though often blasé, fusion of psychedelia and garage rock. The group introduces many novel sounds, though they resort to similar song structures which causes the album to quickly become stare. The electric jug was fairly annoying as well.

A surprisingly compelling concept album which relays the origins of Britain and its current state in the late 60s. Moving, and often subtle, social commentary which remains relevant today. Instrumental and vocals were steady, though mostly unremarkable. Enjoyable, will probably relisten.

Nelson provides moving covers of pop standards. Though covers, songs seem fresh and original to Nelson. A very pleasing and easy listen.

A disjointed mess of excessive synth and lackluster vocals. A pale imitation of true psychedelic music. Should not be on this list.

Average 90s rock. Songs were short and energetic, but left no real impression. Lyrics were often trite, but didn’t really detract from the overall experience. Doesn’t feel influential.

A silly and fun album, with a surprising amount of depth at times. The “party aura” of the album does wear thin at times. More of a novelty than an influential work of music.

Deep synth sounds that remain warm and accessible. Pensive and reflective lyrics. A very stimulating listen.

Strong melodic rap. Hill touches upon a variety of relevant issues and fuses them with her own life experiences, creating a powerful narrative. The classroom-style skits actually add a great deal of depth to the album.

Energetic, but not really enjoyable. Costello’s vocals are often grating, and the song structures quickly become repetitive.

Solid soul revival. Kiwanuka provides poignant lyrics with strong, soulful instrumentals. However, his vocal style really doesn't align with the musical style of the instruments.

Mediocre trip hop. Songs leave little to no impression, felt more like white noise than a musical experience. Boring and a slog to finish.

Solid proto-punk. Tracks are filled with raw energy and driving rhythms. "We will Fall" felt extremely alien to the rest of the album, and spent far too much time to make its musical point.

First half of the album lacked direction, and seemed to meander through various gothic sounds. Latter half was more disciplined, with Bauhaus creating some solid tracks. Inconsistent, but average on the whole.

A masterpiece of rock. The album does not cling to a single genre, but truly encompasses the contemporary sounds of the late 1960s. Lyrics are powerful and displays the skill of the Beatles.

Mediocre 2000s rock which doesn't leave much of an impression. Not much to say on this album.

The album does, indeed, exude raw power. Punk's origins are clearly seen within these tracks, with driving rhythms and uncouth lyrics. An engaging listen that leaves a lasting impression.

Quality electronic music. Functions well as an album and as club music. An enjoyable listen.

Solid hard rock. Some of the tracks tend to meander in places, creating a somewhat disjointed listen. Osbourne’s vocals are not great at times.

Enjoyable, though some tracks are duds. “Porcelain” retains an iconic sound.

Not great. The canned horn/string sounds have not aged well, and the translated English lyrics sound corny at the best of times. I respect the artistic vision, but Laibach failed to fully execute on this album.

Standard mid-2000s rock. Tracks are pleasing, but the vocals are pedestrian and fail to register a meaningful impression.

Quintessential punk rock. Songs are short and simple, but embrace their limitations and deliver quality performances. Several memorable tracks, like Blitzkrieg Bop

A few standout tracks, like “Maps.” Otherwise, fairly standard pop-punk songs. Vocals are often unhinged, album could’ve benefitted from a bit more polish.

Unique desert rock. Though most tracks follow a standard blues formula, the incorporation of some Malian influences is intriguing. An interesting listen, though not a masterpiece by any means.

An absolute masterpiece. Bowie at his peak, pushing the bounds of pop music. Every track on this album is enjoyable. A remarkable experience.

Album's main strength is its lyricism. Much of the instrumental performance feels routine, but overall the album was enjoyable.

Intriguing psychedelia. The group has strong harmonies, and the inclusion of some Indian-inspired sounds was compelling. The lyrical aspect of most songs was rather average, however.

A finely crafted album with a few standout tracks, but a slog to finish. Very little replay value.

The first half of the album is solid, but the latter absolutely derails the album. Zappa displays some of his worst tendencies. Definitely needed some quality control.

A bloated collection of unremarkable electronic music.

Solid grunge. Song structures and guitar performances carry the album. Vocals are often grating, though typical of the genre and era.

The essence of 2000s pop metal. The lyrics, though edgy, accomplish their task of exciting the listener, as do the guitars. Though it lacks depth, the album is surprisingly enjoyable.

Enjoyable and easy listening. Songs are usually shallow, but they succeed in their intent. Vocals are the defining strength of the album.

A masterpiece of indie rock. Songs display compositional ingenuity and lyrical vulnerability, while remaining accessible to the average listener. Every song is fantastic.

An easy and acceptable listen, though with an incredibly dated sound. Was probably stronger in its era.

A triumph of a live album. Sound quality is superb, and the tracks are almost identical to their studio versions. Lost a star for the inclusion of unnecessary rambling and shouting between tracks.

A harder form of glam rock. Bowie builds upon his triumph in “Ziggy Stardust” to deliver another outstanding project. Tracks are experimental, but still enjoyable and emblematic of Bowie’s style.

A solid example of 90s electronics. Some quality tracks, though with an equal amount of bloated filler. Enjoyable at a party, but less enjoyable as a listening experience.

Excellent jazz. Songs convey rich emotion and avoid the common pitfalls of contemporary jazz.

Songs are pleasant, though the production quality is rough. Wide variety of genres presented. Veloso’s vocals could be a bit stronger.

Very enjoyable fusion of folk and rock. The Byrds' tight vocals and jangling guitars pair quite well. A few filler tracks.

Felt like more of a joke than anything else. The songs are generally good, and there's even a few standout tracks like "Apache," but the premise of the album quickly becomes annoying.

A thorough exploration of multiple genres by Dylan. Poppier than his usual work, though his vocals remain the same. Some songs do drag.

Album seems like more of a vehicle for MGMT’s Big 3 songs than a cohesive project. Most of the other tracks are largely forgettable, though inoffensive. The Big 3 are truly spectacular songs, however

Michael’s vocals are near impeccable, though most of the tracks seem to meander. Struggled to remain engaged by this album.

A strong solo debut from Simon. Though many of the songs feels similar, none are weak. “Me and Julio” retains its groove and narrative power almost 50 years later.

Empty calorie metal. Cringe-inducing lyrics and repetitive song structures. The strong guitar performances are the album’s only selling point.

Surprisingly melodic for a thrash album. Lyrics are average, but don’t harm the album. Would’ve likes to see the group elaborate on their creative melodies rather than default to typical thrash rhythms.

An oddly pedestrian outing from Nelson. Songs are solid, but the thematic intent of the album somewhat falls flat. No true standout track.

Ingenuous song structures, but the vocals are incomprehensible at the best of times. Its influence is apparent, but not an easy listen.

Fairly unremarkable. Sounds like renaissance fair music. Not offensive to the ear, but mundane at best.

Standard country. Lyrics aren’t anything special, same of the song structures. A solid album, though I fail to see how it merits inclusion on this list.

Seems too niche to be enjoyed by many. Felt more like a novelty album than a true work of music. Would work at a Mardi Gras party, but fails as an album.

A superb mix of genres and musical deliveries. Nascimento successfully swaps from baroque pop to more jazzy numbers without a loss in quality. Loses a star for some questionable production choices.

A chore to finish, which is something for a 35 minute album. Vocals are awful, and the instrumentals are bland. Lyrics left no impression whatsoever.

A few standout tracks, like "Celebrity Skin," but overall an average collection of 90s alt rock. Vocals are usually solid, though the music just seems to pass.

Interesting fusion of Indian and Western rock. The more traditional tracks are fairly bland, however

Retains its bite and energy over 50 years later. An excellent synthesis of hard rock and proto punk. Loses a star for “LA Blues,” which should not have made the final cut.

A triumph of pop. Jackson masterfully fuses power ballads with driving anthems. Vocals are immaculate, and the production quality is superior.

Deep harmonic sounds and profound lyrics. “Oh Children” is a triumph. Some of the tracks do miss and slightly derail the album.

Entertaining, but fairly shallow. A dated sound, but surely popular and fresh in its time. A little short to leave a lasting impression.

A powerhouse of an album. Each song is distinct but contributes to a smooth listening experience. The medieval themes are intriguing, and “Stairway to Heaven” is a masterpiece of a track.

Song structures and composition are outstanding, though the vocals are weak. Drake seems almost afraid to sing.

Struggled to remain engaged by this album. Took the concept of "ambient" too far. The last track is an absolute chore, listening to a woman slowly count to 200.

Deep, introspective lyrics which detail relatable themes of growth. Instrumentals are unique and compelling. A few songs do drag.

Sounds dated, though still a solid listening experience. The initial tracks are rough, though the album hits its stride around the midpoint of the album.

A grim reflection on death and religion. Cohen’s voice is gone, but he deftly uses his gristly sound to create a cathedral-like atmosphere.

Smooth, bluesy rock that oozes charisma. The album thrives off of Morrison’s powerful vocals. A few songs are a bit too long.

Failed to register a meaningful impression. Solid ambience, but it’s often just noise.

The songs, without the exception of "Son of a Preacher Man," are lyrically unremarkable. Springfield's voice is outstanding, but the album itself feels like empty-calorie 60s pop.

Lyrics seemed a bit naïve, and the tracks do blend together. I did enjoy the gaudy, excessive style of the 80s production.

The album’s title was not wrong. Absolutely horrendous.

A solid example of 90s hard rock. Vocals are somewhat annoying, though always in tune. Lyrics are nothing special. Enjoyable, but average at best.

Excellent jazzy blues rock. Songs are grooving with surprising lyrical depth. Sounds fresh after almost 50 years.

Ok, but not particularly remarkable R&B. Did not warrant inclusion on this list.

A superb album. Del Rey’s voice is at its apex, creating a sweeping cinematic sound that perfectly pairs with its accompaniments. Lyrics are sometimes a bit shaky.

Swinging, emotional soul. Franklin’s vocals are almost perfect, and the accompanying singers and band pair quite well with her

Dirty and irreverent hard rock. An exciting, fast listen with excellent guitar performances. Rose's vocals are grating at best, however.

Solid voice and lyricism, though most of the songs feel bloated. Album could’ve been reduced to 45 minutes in length and not lost any depth.

Unimpressive “spiritual lyrical” rap. A shallow attempt to emulate earlier sounds from the genre.

Bland. Her vocals are little more than groaning and screeching, and her lyrics are repetitions of the same two themes. A pain to finish.

Average rock with a few solid tracks, but mostly blasé. Vocals are inconsistent. Often struggles to maintain the listener’s focus.

A masterpiece. Unparalleled depth and symbolism. Album inspires legitimate chills.

Solid. Vocals are strong, and several tracks like “Lost in the Music” are memorable. However, most of the album is largely formulaic and forgettable.

Random noises over boring conversations. Felt like background music to a mediocre 90s video game.

A compelling album with an enjoyable blend of meaningful lyricism and driving instrumentals. The production was a bit annoying, as Sting often sounded like he was singing in another room.

Strong, socially-conscious lyrics. “It was a Good Day” is a classic. However, the rest of the album feels repetitive, with similar deliveries and rhythm patterns.

The pinnacle of psychedelia. Nothing more to say.

Enjoyable rock, though lacking depth. Tracks are thematically and structurally similar. Good party music, though a somewhat bland listening experience.

A strong start, though the albums fizzles out in its latter half. Vocals are inconsistent. The synths are pleasing, though not compelling enough to carry the album.

"Respect" is a foundational piece of pop culture. Franklin's vocals are potent and nigh impeccable. Lyrically, the album is rather repetitive.

Solid punk rock. Superior lyricism to most examples of the genre. Vocals are unrefined. Enjoyable, but most tracks are too short to generate a true impression.

Technically impressive, but a failure of an album. More of a collection of sounds than a coherent work.

An outstanding jazz album. Nothing truly novel, but a smooth and pleasant experience.

A beautiful fusion of British Invasion era pop and punk rock. Songs are peppy with a distinct driving energy.

An outstanding album from Charles. His piano performances and soulful vocals are top notch. Lyrical content is a bit repetitive.

A funky, driving album with often poignant lyrics. Deftly combines genres into a novel product.

Unparalleled guitar skill from Eddie Van Halen. Roth’s vocals drip with pure energy. Sometimes lyrically deficient, but a thrilling listen.

Combines the most annoying aspects of Latin and Hip Hop. Felt like the same track on repeat. Gains a star purely for technical skill and production quality.

Peppy and driving, with an intriguing amount of lyrical depth. A compelling development on their first album.

Superb vocals and racy lyrics which still leave an impact decades later. Addictive synth sounds. Most songs are a little too long, however.

Smiths deftly weaves profound lyrics with the instrumental depth so commonly absent in singer-songwriter albums.

Nigh unlistenable. An irritating mess of acid-rock which overstays its welcome from the first track.

Starts strong, but seems to become uninspired in the latter half of the album. Linda McCartney’s vocals are sometimes grating. Interesting lyrical choices.

Provocative lyrics and strong beats. Thematically similar, however. Flavor Flav is again a net negative.

An intriguing blend of country, folk, and psychedelia. Compelling lyrics, for the most part. The song composed by Mitchell about Woodstock was a bust.

Latter half of the album is a bloated mess which ruins an otherwise strong album.

Elton John’s narrative prowess is on full display, as are his piano skills. Songs are enjoyable while retaining a high degree of depth.

A collection of background music. Ok, but not truly functional as an album.

A lushly layered album which deftly blends Jay-Z’s delivery with soul samples. An engaging and occasionally thought-provoking listen.

An easy listen, though it felt to register a meaningful impression. Strong lyrics, but instrumentals are average.

Marr delivers outstanding guitar performances, and Morrissey's vocals are nigh impeccable. Poignant lyricism, though some songs do stretch beyond their ideal length.

Compelling, socially-conscious lyrics with smooth deliveries. Beats are a unique blend of old-school and contemporary sounds.

Carey's vocal talent is undeniable, but the album felt like the same 12 songs on repeat. Lyrics were unremarkable.

Intriguing blend of genres and dense arrangements. Bush’s vocals were a bit odd at times and off-putting.

The album failed to satisfy. Utterly dull.

A smooth, ethereal concept album with poetic lyrics. Some of the later tracks slightly derail the album's progression.

A heavy and bluesy album. Lyrics are mediocre, but I respect the novel proto-heavy metal sounds.

Rich, soulful vocals and compelling lyrics. A few weak tracks, but overall a strong album.

Just a mess of shouting and elementary-level lyrics. Punk at its lowest.

Excellent jazz. The album deftly delivers its narrative, paving the way for future concept albums.

A masterpiece of album which displays the pain and tension of heartbreak. Songs are grooving and light on the surface, but showcase lyrical depth.

The album begins strongly, but derails in its middle section and fails to recover. Enjoyable, but does not deserve inclusion on this list.

Failed to enjoy this album. A jumbled mess of sounds, with vocals that often seem off. Earns a star for its experimental vision.

Only two good songs, the rest of the album is bland filler. On a side note, I never want to heard the word “chic” again.

A superb work of soul. Mayfield deftly tells a narrative of loss through the medium of drug dealing. Some of the instrumental tracks are a bit weak.

Poignant commentary on a lower middle class upbringing. Addictive melodies. Some tracks stray too far into the avant-garde.

Boring. Felt like the same song for 45 minutes. An absolute chore.

A driving, bluesy album. Loses the slimy veneer of earlier works. The lyrical development of the group is apparent.

Too long. Several enjoyable songs, and a good dash of humor. However, it overstays its welcome after the hour mark.

Superb. Winehouse's vocals are impeccable, and her lyrics provide real insight into the pain of addiction and heartbreak.

Several quality long-form narratives. Typical Dylan vocals. A few duds, but overall a strong album.

A strong album. Cheap Trick's vocals are studio-quality, and they feed off the energy of the crowd. Addictive power pop.

Felt uninspired. Lyrics were forgettable at best. Entire album felt like a bunch of city kids trying to create country music.

Powerful, grooving funk. “Higher Ground” retains its energy and message almost 50 years later. A few tracks do drag a bit.

Imagine if Tom Waits could sing.

Outstanding quality for a live album. Vocals are strong, with no variances in intonation or rhythm. Lead singer drives the crowd, consequently increasing the energy of the band’s performance.

Strong poetry, though the instrumentals are sometimes lacking. Often felt like more of a slam session than a proper recording.

Enjoyable, though flawed. Vocals are shaky, and songs are mostly repetitive. Deftly captures the essence of blues, however.

Corny and outdated. I don't know a rap group can perform nursery rhymes and demand to be taken seriously.

Solid, though somewhat bloated. Vocals are shaky, though augmented by the grand, big-band style of Springsteen. A bit thematically repetitive, though not to an irritating extent.

Calming and ethereal. Vocals are not technically strong, but complement the intended atmosphere of the album.

Inoffensive, but bland pop. The rich synths and catchy rhythms are enjoyable, though they don't seem to pair well with Swift's vocals. Felt almost unfinished.

Entertaining, but basic overall. A few annoying dud tracks.

A few standout tracks, like “Gimme Shelter” and “You Can’t Always Get What You Want.” However, most of the album is repetitive honky tonk, which sounds tired in comparison to the Rolling Stone’s earlier work.

A more radio-friendly take on prog rock that deftly succeeds in its vision. "YYZ" is a grooving jam, while "Tom Sawyer" and "Limelight" strike a perfect balance between lyrical depth and ease-of-access. One or two filler tracks.

Gaudy, but secure in its excesses. Mercurial lyrically, though enjoyable.

Filler galore. A few standout tracks, but the album mainly devolves into background noise during most portions.

The spoken intros are better than the actual tracks. Typical Tom Waits vocals. Outstanding instrumentals; the bass and saxophone keep this album afloat.

A few standout tracks, like "Spellbound" and "Into the Light." Sioux's vocals are often rough on the second half of the album. Some songs do drag.

A solid debut from the Eagles. The beginning and conclusion of the album are its strongest aspects. A fewer slower tracks disturb the flow of the album.

Surprisingly good. Sawhney weaves his social commentary into the electronic tracks without his message becoming overbearing. Songs are neither repetitive nor droning. A quality listen.

Several filler tracks, and their musical style is heavily outdated. Some notable achievements like Karma Chameleon. A slight slog to finish, but not offensive.

Painful. Unremarkable lyrics and repetitive synth structures. A failure to emulate the gothic sound of earlier groups.

Vocals are almost perfect, and the lyrics are strong. "Big Iron" is a classic. A paragon of country and outlaw western.

Songs are structurally and instrumentally solid throughout the album, but the quality of Springsteen’s vocals progressively deteriorates as the album proceeds.

Tremendous lyrical depth, but songs structures and overall tone feel repetitive. Becomes slightly annoying by the conclusion of the album.

A soundtrack for an imaginary movie. Who wanted this?

Superb songwriting and addicting rhythmic structures, though some songs are a bit too long. Succeeds in its creation of a Louisiana atmosphere.

Fairly repetitive, especially towards the conclusion of the album. Synths and the bass lines of Peter Hook are addictive. Lyrically average.

Thundercat may be the finest bassist of this decade, but his vocals are weak and his lyrics are sometimes cringe-inducing. Several short tracks which add nothing to the album.

Vocals sounded slurred, I struggled to understand the lyrics. Standard punk song structures. Seemed nonexceptional in most ways.

Painfully 80s. Rapping is choppy and corny, while the beats are a mess of synths and high hats. A few creative rhymes.

Emotional covers of pop standards complemented with the country sound which popularized Cash. Vocals are occasionally rough.

Vocals were a bit too husky, and lyrics were repetitive. Enjoyable, but somewhat pedestrian.

A few classic tracks, but very one dimensional.

Strong lyrics, though Smith's vocals are shaky. Songs seem to decay rather than end cleanly. No real standout tracks.

Influential, but very basic in hindsight. Songs do feel repetitive even though the album is under 30 minutes in duration. Strong guitar lines.

The creator of this list has a weird obsession with trip hop. A slog to finish. Vocals are alright, though the song structures are irritating.

Some enjoyable jazz grooves, though overall a layered mess of sounds. Too broad of a concept album.

Fairly standard rock with some psychedelic influences. Some tracks are a slog, but its energy creates an ultimately enjoyable listen.

Achieves its musical goals, but it feels basic. More of a proof of concept than a true album.

Sounds rather dated, but still enjoyable. Interesting fusion of jazz and 70s funk with Bollywood motifs. The Cha-Cha-Cha song became irritating at an astounding rate.

Grand, operatic sound. Some of the lyrics feel a bit formulaic. At its peaks, ELO produces a unparalleled depth of warmth on this album.

Not their finest work. Tracks seems to meander, and the album lacks an overall cohesion. A few enjoyable moments, but overall a jarring listen.

Pleasant vocals and creative song structures. Lyrical content is a bit meandering, and several tracks gradually lose their energy.

Enjoyable, but not particularly engaging. The guitar performances were underwhelming, compared to Santana’s reputation.

Am energetic funky listen. Deftly combines a jungle vibe with contemporary music motifs. That one instrument, of which I know not the name, became irritating by the conclusion of the album.

Vocals were grating and irritating, with an insulting lazy delivery. Lyrics were trite at best and lacked any sense of depth. A thoroughly annoying album.

Infectious energy, but technically deficient. Brown masterfully controls the audience, but his vocals waver in quality. Likely a better live experience than an album.

Boring, repetitive black supremacist garbage designed to appeal to the white liberal.

The usual cliché lyrics from an early 90s metal group. Spectacular instrumentals with crisp rhythms. Average vocals.

Boring. Good production quality, but the album could easily be bisected and not lose any meaningful content.

Convoluted and self-important lyrics that revolve around an oh-so-original “Drugs are Cool” motif. Instrumentals are crisp, but complex purely for the sake of complexity.

A compelling mix of folk rock and 60s psychedelic. Mr Soul was a surprisingly amazing track. Strong vocals.

Superb funk. Rhythms are clean, with a distinctly original sound. Vocals are sometimes shaky.

Common is clearly drunk off his own ego, but his rhymes and deliveries are solid. Beats complement his rapping style well.

The solo of Free Bird is enough to deserve 4 stars. Excellent southern rock, with sharp vocals and addictive guitar melodies. A few filler tracks.

Classic reggae. Marley's vocals are solid, and the structures create a calming atmosphere. The title track is too long, however.

Extremely campy, especially with songs like Jolly Roger. Not a bad listen, but dated.

Has not aged well. Beats sound dated, and the lyrical content sounds corny to the modern listen. Hard to take a headphone salesman seriously as a hardcore gangster.

Oddly enjoyable. Grandiose, but capable of intimate moments. A few bizarre moments which derail the flow of the album.

A bit trite lyrically, but a successful echo of her country roots for Swift. The pop extravagance is kept to a minimum, and her vocal performances show genuine emotional vulnerability.

Standard 70s rock lyrics, but clean rhythms and harmonies elevate the album. Could do with a bit more substance, however.

Aimless and often uninspired. The last track is a lyrical train wreck. Did not merit inclusion on this list.

Musically solid, but failed to grab my interest. Singer's voice felt flat and uninspired. An excellent cover of Mrs. Robinson, however.

Thematically boring, just repetitive songs of her debauchery and wasted relationships. Her vocals are outstanding, however.

Very rough production quality. Vocals are out of tune, and often little more than grunts or shouts. The instrumental tracks are a chore to finish.

Found Donovan’s voice to be irritating. Novel song arrangements, but his overall style felt unoriginal.

Cohen embraced the 80s sound a little too hard. Lyrically brilliant, but the overall arrangement is dated.

Not too musically ambitious, but masterfully executes its intent. Infectious energy.

Bass lines were surprisingly solid, and the groups seems more controlled than in their later works. "Psycho Killer" is a standout track.

Unimpressive shock lyrics. Instrumentals were also rather bland.

Fairly shallow pop songs, but Regina’s vocals are superb. Excellent funk influences.

A bit repetitive, though a strong album overall. “Only the Good Die Young” is an ear worm. Some of the tracks do drag.

Most songs are too short, though the vocals are impeccable. "A Simple Desultory Philippic" was an odd track. The concluding track "Silent Night" deftly encapsulates the feeling of paranoia and decline present in late 60s America.

A musical treat. Perfectly embodies the 80s sound with warm synths and full vocals. A few tracks are a bit excessive in length.

Evident that the group intended to create a “work of art” rather than an enjoyable piece of music. Some intriguing structures and vocal modulations, but superbly irritating.

Ambitious and instrumentally solid, but lacked emotion. Singer’s vocals felt flat. Also indulged the tired trope of sticking a unnecessary 16 minute chore of a track at the end of the album.

Superb production quality, but the tracks themselves are dull. Sounds like the cocktail band at a county club. Most tracks are also too long, I was actively waiting for them to finish after about 3 minutes.

This monstrosity does not even warrant one star.

Felt like a lost time traveler. A distinct 60s sound, complete with whimsical instruments and a somewhat over-cooked psychedelic motif. A lyrical mess, with most tracks being little more than nonsense.

Pleasant, though somewhat rough, folk rock. Production quality is inconsistent, even with the 2013 remaster. Lyrically average. Didn't leave much of a lasting impression.

A rough listen. Vocals are scattered and grating, while the instrumentals are nothing spectacular. Very glad that Nick Cave evolved beyond this sound.

A mostly instrumental movie soundtrack shouldn’t belong on this list for the same logic as classical. However, the arrangements are quality, and the fleeting instances of Hayes’ vocals are a standout feature.

Unimpressive. Repetitive lyrics about weed and hood culture. B Real’s voice is also amazingly irritating.

A masterpiece of pop rock. Witty lyrics, emotional vocals, and superb guitar performances.

I appreciate the concept of transposing classical music to contemporary instruments and styles, but the organ-heavy sound of this group was not a great fit. The guitar improvisations were excellent.

Like most Sonic Youth work, this album lacks discipline and vocal polish. Started strong, but quickly devolved into noise.

Rather flat vocally, but Strait’s guitar skills are gripping. Sultans of Swing is a classic.

Completely unremarkable in every facet. Undeserving of inclusion on this list.

A fitting finale for Bowie. Vocals are understandably rough, but Bowie reflects on his mortality in a succinct and moving manner.

Lyrically repetitive. Also a bit presumptuous to brag about your rapping skills on your debut album. Nevertheless, the album drips with confidence and is a fun listen.

Respect for its influence, but what a mess. Vocals are awful, and the group lacks cohesion and rhythm.

Surprisingly enjoyable. Songs are simple per usual punk rock standards, but vocals are crisp and the group holds a high degree of cohesion.

Not my preferred genre of music, but structurally sound and a few moments of lyrical brilliance. The album does overstay its welcome.

Another excellent album from Bowie. He displays his musical flexibility by incorporating funk and Philly Pop influences into his tracks. The middle of the album does disturb its momentum, however.

An unexpected degree of polish. Rotten’s vocals are controlled yet simultaneously wild. Tight rhythms and lyrics which deftly avoid the common tropes of punk rock.

Unnecessarily bloated. An excellent album at its peaks, but it’s dragged down by the more experimental tracks. Should have been half of its length.

Annoying and immature. Irritating to anyone except the edgiest teenager. Only redeeming aspect of the album is the guitars, but they are immensely overshadowed by the immature lyrics.

Excellent soul and funk. Some of the songs do sputter out, but overall a quality listen.

A less talented Billy Joel who's more fond of racial slurs.

Vocals could use some refinement, but the lyrical quality is good. Album stumbles when Bragg leans a bit too far into politics, but overall a good listen.

A more poppy showing from Dire Straits. Less guitar, which is a shame. However, tracks are still entertaining and full of depth.

Superb soul. Burke’s vocals are poignant yet driving, and the instrumentals are solid. An engaging listen.

A gritty look at the dregs of 60s society. Nico’s vocals are again irritating, but an oddly compelling listen.

First half of the album is a triumph, but the latter half is a mess of filler. Entertaining pop rock, but not truly innovative.

Pleasant disco-funk, though fairly tame in its artistic vision. A good listen, but lacks depth.

A few masterful tracks, but an equal amount of irritating songs. Wilson’s insecurity is almost embarrassingly present in the album. Vocals are also rough at times. Excellent song structures, but could have used some refinement.

An unexpected hit. Songs are lush and embody the psychedelic sound of the 60s.

Dark, moody, and driving. A few tracks wallow around rather than cleanly progressing, but overall a masterful work of post-punk.

Rather one dimensional. Gaye’s vocals are superb, but the album is just 30 minutes of the same lyrics.

Loses a star for Jailbait. Nevertheless, still a classic. Innovative bass performances and raw energy.

Vocals are excellent, but songs are repetitive. The track list could be cut in half and the album would feel no different.

Failed to retain my attention. The album seemed to be an aimless fusion of contemporary styles, a boring listen.

Dull. Young's lyrics fall flat, and the instrumental arrangements are uninspiring. A chore to finish.

Vocals were rough. A forgettable album in most aspects.

Excellent jazz. Songs display a wealth of technical depth without losing their groove or listening pleasure.

Fairly unremarkable. Mostly enjoyable pop rock, but failed to register any lasting impression.

An amazing compendium of country and bluegrass music. A little too long, but a quality listen.

Another example of the author’s obsessions with British house music. Forgettable at best, annoying at its lowest points.

A simple album, but achieves its intent. Parton’s vocals are excellent. A very pleasurable listening experience.

Solid country. Lyrics were oddly fixated on adultery. A short listen, but enjoyable.

Inflections energy and a driving sound, but lacks polish. Vocals are somewhat irritating. Lacked a true standout track.

Failed to register with me. Vocals were grating, and none of the tracks truly stood out. Standard early 70s glam rock, did not merit inclusion on this list.

Solid, but repetitive. An interesting basic sound, but the vocals felt like the same track on repeat.

Felt like proto-mu metal. A compelling funky sound, but the vocals sound childish.

A masterpiece of electronic music. Masterfully touches on themes of loss and aging while retaining a distinct groove.

An excellent combination of prog rock and pop which deftly touches on themes of youthful confusion and alienation.

Immature lyrics, but the instrumentals were surprisingly solid. Doesn't belong on this list, but not an awful album.

Poetic lyrics and smooth vocals. Morrissey does occasionally indulge his excesses with tracks like “Bengali in Platforms,” but a quality listen.

The apex of Hendrix's guitar skills. Tracks retain a pop feel, but allow room for musical innovation.

A return to emotional singer-songwriter standards of the 60s. Songs are pleasant, though some border on the verge of dull.

A more energetic development from their earlier works. Not much lyrical depth, but an engaging listen.

A dated sound, but still possess a degree of hype. Rhymes are choppy but emblematic of the era. Its influence is apparent from the first track.

Retains a gothic, moody vibe while embracing pop structures. More engaging than their previous work.

Lauryn Hill carries this album. Word crafting is excellent, and the beats are above average for a 90s hip hop album.

Excellent hip hop. Embodies the gritty, dark feel of mid 90s New York.

Felt flat. Taylor's voice was average, and the arrangements seemed shallow. Enjoyable for its short length, but lacked the depth to merit multiple listens.

Blasé blues rock. Left almost no impression. Clapton was a bright spot, but the album is very forgettable.

Intriguing honky tonk revival. Songs do feel repetitive, though the incorporation of some Mexican banda influences is original. Not really my taste, but respectable.

Influential? Maybe. Listenable? No.

Kendrick's delivery and lyrical content far surpass the likes of his contemporaries. A few tracks do disturb the flow of the album, but overall a highly enjoyable listen.

Average punk rock. Song structures are good, though the vocals and instrumentals were uninspiring.

Cheesy, but typical of the era. Rap with corny, positive lyrics is a welcome departure from the norm. Beats are minimal, but not a constant negative.

"Roundabout" is a certified classic, though the rest of the album fails to match its quality. Multiple short filler tracks which contribute nothing to the greater project.

Solid alternative rock. Some intriguing melodies, though the vocals were unpolished.

Felt rather flat. Price’s vocals are largely one-dimensional, and the lyrical content of the album is repetitive.

An odd listen. Lyrical content was unusual, and most songs were somewhat grating.

Vocals are usually muddled with an odd inflection. Instrumentals are good, with a few catchy guitar melodies.

A rap classic. Biggie's rhymes are masterful, and the production deftly complements them. A few bizarre choices, like incorporating an interlude track of woman moaning with occasional racial slurs.

A Scottish man with Ghanaian heritage producing reggae music. Felt insincere and flat.

Rather chaotic, though Kuti's talent is apparent. The album would have benefitted from more structure, it felt like an extended jam session.

Yet again, the authors’ for irrelevant British electronic music is apparent. A chore to finish.

Quality hard rock. Tracks drip with passion, augmented by driving guitars. The drum solo track was somewhat odd.

An intriguing amount of variety for a punk album. Rapidly shifts between a raw sound to a more melodic element.

Failed to really register with me. The album presents itself as a statement on class, but it's really a 50 minute diatribe on the singer's sexual frustration and desire to screw ever rich woman in a 20 mile radius.

Complex for a punk album. Solid lyrics on self-reflection and the difficulties of interpersonal relationships. Incredibly short, however.

Several good instrumental performances, but lacked cohesion. More of a collection of songs than an album. Tender to meander, as well.

A nostalgia bomb interwoven with clever political commentary. Genuine reflections on small town living, racial tension, and the Vietnam war, accompanied with some brilliant instrumentals. A few filler tracks.

The low recording quality makes every track sound like a muddled mess. Unexceptionable in most regards.

More controlled than prior Sonic Youth albums, but still prone to outbursts of nonsense. Guitar rhythms were generally pleasant, though lyrics are lacking.

Smooth, easy jazz. “Take Five” is a classic. An enjoyable evolution of the big band sound.

Influential rock and roll, though rather one dimensional. Most songs are lyrically and structurally similar.

Mediocre adult contemporary behind a veneer of country. This is the type of music that plays at rural truck stops.

Horribly produced, the sounds are muddy and the vocals are difficult to discern. Otherwise, a quality album with intriguing themes and pleasant arrangements.

A funky, unique album. Creative use of sampling. A few dud tracks.

Solid blues rock, but unexceptional. Did not merit inclusion on this list.

A pleasing blend of genres. Vocals and instrumentals are strong.

Full of trashy, but addictive 80s synth beats. Album soars when it features driving tracks like “Don’t You Want Me,” but stumbles in the middle segment of the album.

Felt plastic. Touches upon several genres, but vocals feel flat and most track don't go anywhere.

Each song is enjoyable. A good balance between Byrne's sometimes outlandish lyrics and the solid rock foundations of the music.

Fairly mediocre country. Jones’s vocals are somewhat grating, and each track is too short to leave a true impression. Better examples of country music to include on this list.

A lush indie rock album. Lyrics are often poignant, and the inclusion of string and other orchestral instruments is brillant. A couple of tracks, like “Windowsill,” do drag a bit.

Technically brilliant, but Jarrett’s odd moans are extremely distracting. A bit too long.

Ambient influences are apparent. Builds of the motifs of Kid A, but with more rock returned to their sound. Excellent overall, with a few of all tracks.

Inoffensive modern rock. Did not feel particularly influential. No true standout track, but no real duds either. Average in most respects.

Not particularly enamored with the singer's voice, but a solid fusion of alt rock and country. A fair amount of forgettable tracks, but a pleasant listen.

LSD is a helluva drug. Some solid psychedelia, but more goofy songs than not.

An exciting listen. Perfect fusion of rock and 80s synth. Prince’s vocals are immaculate, and the lyrical content is risqué and exciting.

A few enjoyable tracks, but mostly filler. 50's flow is one dimensional. Repetitive lyrics as well.

A peppy and often satirical take on middle class life in 60s Britain. Some of the songs are dead on arrival due to their outlandishness, but overall a solid album.

Enjoyable, but lacks a degree of soul. Formulaic, but a solid listen.

Cringy, sophomoric lyrics, but solid musical structures. The classical training of Bellamy is apparent.

Some of the late 80s synth sounds are dated, probably even to contemporary listeners. Grooves are addictive.

A few quality tracks but the rest of the album is filler. Pauper’s vocals are strained and often feel flat. Lyrical content is mediocre at best.

Charming melodies with a markedly softer tone than their previous albums. The last few tracks are bizarre and jarring.

Boring. For the assembly of talent, most tracks are similar and fail to build to any peak.

Smooth, melodic soul. Hayes’ velvet vocals create an unmatched tone. Each track is a bit too long, however.

It's noise alright. I struggle to comprehend how someone could derive any satisfaction from this.

Classic Stevie Wonder. Vocals and rhythms are tight, and the lyrical content is generally strong. A bit of filler, however.

Technically solid, but unremarkable classic rock. Lyrics contain the standard 70s rock tropes, but the album is a solid listen.

Corny and detrimentally horny. Some of the beats are solid, but the flows are painfully rigid.

A cheesy attempt at recreating a 60s sound. Vocals are irritating, and the lyrical content is mostly silly.

Holliday’s voice sounds rough. Songs are mostly similar in nature, leaving Holliday little room to explore her talents.

Poor mixing, the vocals are often difficult to discern. The group intends to produce a grand sound, but most tracks tend to wallow around with no clear direction. No true standout track.

I don’t believe that was soundtrack was intended to be consumed as a traditional album. Several “background noise” tracks, but some interesting electronic motifs.

Excellent Sinatra standards. The content of each track is fairly similar, but they achieve their intended aim. Very pleasant listen.

Outstanding bass, easily the strongest aspect of the album. Mixing was somewhat off. Some intriguing lyrical ideas, though mostly forgettable.

Songs are deftly arranged and executed. Lyrical content is moving and provides genuine insights into mental struggle. Vocals are sometimes weak, and a few tracks do drag.

Clear musical talent, but the arrangements are rough. Vocals are grainy and lack refinement, which tracks seem complex purely for complexity's sake.

Quality lyrics, though rather one dimensional. A little too angsty overall. Apple’s vocals are somewhat muddy at times.

The female equivalent of male rappers bragging about their sexual body count. Dull expositions on the wondrous powers of pussy. At least the beats are nice.

Some quality tracks, but too long overall. Detrimental amount of melodic, and the vocals are too thin and wispy. The hip-hop influences greatly boost the album.

40 minutes of unrestrained horniness with mediocre vocals. Doesn’t belong on this list.

An excellent fusion on Charles' soulful sound with contemporary country. The big band influences are also compelling.

Lacked a degree of bite. Kravitz's lyrics are often superb, but several tracks seem to wallow in a weak funk beat rather than building to a defining artistic statement.

A raw, rambling take on the pains of divorce. Album is much too long, could’ve been half the length and left the same impression. Lyrically repetitive. It is only on this list to due to the presence of the name “Marvin Gaye.”

A bit avant-garde, but Coltrane successfully uses Jazz as a medium to reflect on religion and spirituality. His saxophone prowess is on full display.

Classic Bowie, with some standout tracks like “Changes” and “Life on Mars.” A couple of whiffs towards the end of the album.

Ska is a mixed genre, and this is an example of the lesser end of the spectrum. The vocals are annoying, and most songs follow the same bass and chord structures. Only 45 minutes, but felt much longer.

Enjoyable folk rock with poignant social commentary. Avoids the worst tropes of the singer-songwriter genre.

Seminal post-punk. Lyrics reflect the darkest period of Curtis' life, and the bass performances are excellent. His vocals are occasionally rough.

Groovy jazz fusion that doesn't overstay its welcome. Birdland is a amazing track.

Adele is definitively the best female vocal talent of 2010s pop. Her strong vocals evoke profound feelings of nostalgia and remorse. The latter half of the album has some questionable lyrics, but overall a moving listen.

Solid proto-psychedelia, though some of their lyrical choices are boring. Instrumentals are a step back from their previous albums.

Lyrics are intelligent, but the beats sound primitive. A hard listen.

Some of the tracks are a bit choppy and half-baked. At its peaks, the group excels, but could’ve benefitted from a shorter tracklist.

Great storytelling, though the vocals can be a bit sparse. Solid collaboration with Thom Yorke.

Doesn’t belong on this list. Vocals are rough, and the synth melodies are grating. Most tracks are too long.

A few classic pop tracks, but mostly filler. Repetitive lyrics about generic romance tropes. Spears’ voice is outstanding, though.

A time capsule of the worst aspects of 90s rock. Whiny vocals, vaguely predatory lyrics, and repetitive guitars.

Swinging soft rock with some Latin jazz influence. Some standout tracks, but also includes some more limp filler.

A pleasant surprise. A punk foundation, but builds upon that foundation with grooves and some synths. A great listen.

A few enjoyable tracks, but felt devoid of purpose. Solid, but doesn’t merit inclusion.

Vocals were grating, and most tracks were lyrically uninteresting. Instrumental performances were also bland.

Interesting concept, flawed execution. Listening 50 minutes of ballads on the same topic is a chore. Cave's lyrics are occasionally myopic and full of simple shock value.

Yorke’s vocals are more refined in their sophomore release, along with increased lyrical depth. Some classic tracks, though with a couple of forgettable songs in the latter half of the album.

Whiny soft rock with some half-baker country. Too long by half.

Witty lyrics, original flows, and beats which retain their punch after 25+ years. C.R.E.A.M. is one of the greatest hip-hip tracks ever produced.

Cohen’s vocals are a bit rough, but he deftly tells compelling narratives on tracks like “Avalanche” and “Joan of Arc.” Production quality is substandard.

Enjoyably ethereal, but very easy to lose focus. A pleasant album, but not particularly memorable.

A solid showing from late-career Dylan. Though his vocals are beyond shot, he perfectly encapsulates the feeling of growing old against one’s will. The last track is bizarrely long, however.

Compilation albums are cheating. However, a solid listen. Some addictive tracks, though generally a modern and formulaic take on punk rock.

Oddly enjoyable. Album shines when Khaled embraces his Rai roots, but stumbles when he attempts to emulate European pop. His cover of Imagine was awful.

Compelling Irish punk. Songs retain the driving energy of traditional Irish music, but add pop influences without losing its presence. The singer’s vocals are occasionally rough.

A creative and witty album. Weymouth’s bass prowess is on full display. A few more eccentric tracks towards the end of the album somewhat disturb the flow.

Failed to register with me. His voice seemed out of tune, and the lyrical content was boring.

First half of the album was enjoyable psychedelia, with surprisingly solid arrangements. The latter half was completely derailed by the verbose, incomprehensible narration, which served no purpose.