Journey Complete!
Finisher #56 to complete the list
1089
Albums Rated
3.05
Average Rating
100%
Complete
Funeral
Arcade Fire
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1950s
Favorite Decade
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Top Origin
Perfectionist
Rater Style ?
32
5-Star Albums
41
1-Star Albums
Breakdown
By Genre
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Histoire De Melody Nelson
Serge Gainsbourg
|
5 | 2.75 | +2.25 |
|
Ghosteen
Nick Cave & The Bad Seeds
|
5 | 2.97 | +2.03 |
|
Loveless
My Bloody Valentine
|
5 | 3.17 | +1.83 |
|
Sound of Silver
LCD Soundsystem
|
5 | 3.42 | +1.58 |
|
My Beautiful Dark Twisted Fantasy
Kanye West
|
5 | 3.42 | +1.58 |
|
Ellington at Newport
Duke Ellington
|
5 | 3.43 | +1.57 |
|
Fleet Foxes
Fleet Foxes
|
5 | 3.44 | +1.56 |
|
Illinois
Sufjan Stevens
|
5 | 3.49 | +1.51 |
|
Funeral
Arcade Fire
|
5 | 3.56 | +1.44 |
|
Hotel California
Eagles
|
5 | 3.6 | +1.4 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Music for the Masses
Depeche Mode
|
1 | 3.38 | -2.38 |
|
System Of A Down
System Of A Down
|
1 | 3.26 | -2.26 |
|
Protection
Massive Attack
|
1 | 3.25 | -2.25 |
|
Le Tigre
Le Tigre
|
1 | 3.13 | -2.13 |
|
Berlin
Lou Reed
|
1 | 3.1 | -2.1 |
|
The Modern Lovers
The Modern Lovers
|
1 | 3.06 | -2.06 |
|
Untitled (Black Is)
SAULT
|
1 | 3.05 | -2.05 |
|
A Seat at the Table
Solange
|
1 | 3.01 | -2.01 |
|
Killing Joke
Killing Joke
|
1 | 2.99 | -1.99 |
|
Hypocrisy Is The Greatest Luxury
The Disposable Heroes Of Hiphoprisy
|
1 | 2.88 | -1.88 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Beatles | 7 | 4.71 |
| Jimi Hendrix | 3 | 4.67 |
| Radiohead | 6 | 4.17 |
| David Bowie | 9 | 4 |
| Nirvana | 3 | 4.33 |
| Michael Jackson | 3 | 4.33 |
| Prince | 3 | 4.33 |
| The Smiths | 3 | 4.33 |
| Arcade Fire | 3 | 4.33 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Robert Wyatt | 2 | 1 |
| Pere Ubu | 2 | 1.5 |
| Barry Adamson | 2 | 1.5 |
| The Divine Comedy | 2 | 1.5 |
| Kings of Leon | 3 | 2 |
Controversial
| Artist | Ratings |
|---|---|
| Massive Attack | 1, 4 |
| Depeche Mode | 1, 4 |
| Marvin Gaye | 3, 2, 5 |
5-Star Albums (32)
View Album Wall
4-Star Albums (314)
1-Star Albums (41)
All Ratings
Nirvana
3/5
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.
Boston
4/5
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.
A Tribe Called Quest
4/5
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.
The Black Crowes
2/5
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.
Billy Bragg
4/5
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.
Peter Tosh
4/5
Deftly combines socially conscious lyrics with rhythmic reggae beats. Includes more lighthearted tracks to create an enjoyable listening experience.
The Clash
5/5
Fantastic fusion of punk rock with jazz, reggae, and other influences. Rare double album without any weak tracks.
Paul Weller
3/5
High quality production and instrumentation. Album is enjoyable, but does not leave much of a lasting impression.
The Saints
4/5
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.
Richard Hawley
3/5
Strong opening. Hawley's baritone voice compliments the instrumental accompaniment nicely. Songs are weaker and more cliché in the second half of the album.
Beatles
4/5
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.
Brian Eno
3/5
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.
Lou Reed
1/5
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.
Nick Drake
4/5
Folk music with superb guitar and lyrics which move the listener. The production quality isn't great, and the vocals sound distorted at times.
Big Star
3/5
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.
The Waterboys
3/5
Enjoyable folk rock. Cover of "Sweet Thing" was unexpectedly good. Some of the songs are too long and become a chore to finish.
Cat Stevens
4/5
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.
3/5
A high-energy album with earworm guitars and vocals that's hurt by imprecise rhythms and harmonies.
Saint Etienne
2/5
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."
Yes
4/5
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.
Alanis Morissette
3/5
Lyrics are repetitive between songs and quickly lose their impact. The vocals, while powerful, sound strained and become unpleasant after extended listening. Crisp instrumentals.
Tricky
3/5
A mix of hip-hop and ambient music. Deftly tackles issues of freedom and power, but songs become irritating after extended listening.
Dexys Midnight Runners
4/5
Upbeat songs with addictive horn injections. Lyrics are largely forgettable, but they don't detract from the impact of the album.
Meat Loaf
4/5
An unapologetically gaudy album that somehow succeeds in its fusion of rock and opera. Songs are extravagant but remain entertaining and memorable.
The Cardigans
3/5
A pleasant album with a few earworms. The lyrical content is very similar between songs, which leads many tracks to feel like filler.
Sonic Youth
2/5
A collection of noise. A few songs are actually listenable and redeem this otherwise empty attempt at "experimental" music.
The Temptations
4/5
An excellent fusion of soul and psychedelia. Songs are thought-provoking while retaining the grooving energy of Motown music.
The Cars
3/5
Inoffensive rock that's enjoyable, but not particularly memorable. Instrumentals are precise and vocal harmonies are perfect.
Joan Baez
4/5
Spotless vocals and guitar performance. The songs, though traditional, seem as if original compositions through Baez's performances.
Tortoise
2/5
An ambient album that leaves a minimal impression. The first track dominates the album at 20 minutes, leading to an odd listening experience.
Michael Jackson
4/5
An outstanding pop album with infectious energy and grooving beats. Some of the production techniques are a bit dated.
Pixies
3/5
Inconsistent. Album peaks with songs like "Here Comes Your Man," but is riddled with grating filler.
Common
4/5
A fantastic work of mid-2000s Chicago hip-hop. Deftly fuses conscious lyrics and jazz influences with rhythmic beats.
The Pogues
3/5
Excellent inclusion of traditional Irish instruments. Vocals are inconsistent. The incorporation of Cowboy-Western style musical motifs was an odd stylistic choice.
Michael Jackson
4/5
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.
Liz Phair
3/5
The lo-fi sound is pleasing, as are the instrumentals. Phair's vocals becomes grating after extended listening, and the lyrical content is repetitive.
The Flaming Lips
4/5
A unique psychedelic album with diverse lyrical content, fantastic production, and ambitious arrangement.
Eric Clapton
3/5
Clapton delivers an excellent guitar performance, but mediocre vocals and songwriting ultimately render the album unimpressive.
Elvis Presley
4/5
Strong, rich vocals from Elvis. Great mix of blues tracks and softer love songs.
Tracy Chapman
3/5
Outstanding lyrics, but the lyrics are cliché. Several songs rely on tired tropes about revolutions and the questioning of social double-standards.
The Doors
3/5
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.
The Band
4/5
A brilliant fusion of Americana with blues rock. Songs vary from upbeat anthems to slower, emotional ballads.
Julian Cope
3/5
Inconsistent. Cope delivers strong performances with poignant lyrics on certain tracks, while others are little more than rambling.
Madonna
3/5
An enjoyable album. Lyrics are trite, but the energetic bass and high-quality production counterbalance them.
Manic Street Preachers
4/5
Excellently executes a grand pop-rock style. Lyrics are witty and intelligent without straying into the unapproachable.
Television
4/5
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.
Elliott Smith
3/5
An upbeat album which features confident vocals form Smith. Production tries to create a lush, layered sound, though this sometimes results in muddled tracks.
Don McLean
2/5
Mediocre folk music. McLean tends to make a point in his lyrics, then repeat it ad nauseam.
Sepultura
2/5
A cliché metal album. Harsh, guttural vocals and typical "doom and gloom" lyrics.
Bobby Womack
4/5
Fantastic soul music. Womack interjects a welcome, though not overwhelming, degree of humor into his often emotional lyrics.
John Lee Hooker
3/5
Solid blues. Though Hooker's guitar skill has not declined, his vocals have certainly deteriorated with age. Production does little to mitigate this.
The Who
4/5
The album's feature songs present the pinnacle of rock. However, filler tracks hurt the overall strength of the album.
ZZ Top
3/5
An inoffensive blues rock album that sometimes strays into the mediocre
Bob Dylan
5/5
Pure poetry in musical form. Lyrics are still poignant after 55 years, and the rock accompaniment is a perfect complement.
Bob Dylan
4/5
Outstanding lyrics, but with inconsistent. A few songs are more akin to slam poetry than written verse.
Emmylou Harris
3/5
A solid country album. Instrumentals are unimpressive, though Harris’ vocals are poignant.
Led Zeppelin
3/5
Though the technical skill is undeniable, the vocal and production choices sometimes create grading music. Album contains plenty of filler songs.
Joni Mitchell
4/5
Mitchell’s vocals are powerful yet controlled. Impressive incorporation of jazz influences into a folk album.
Nirvana
5/5
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.
Def Leppard
3/5
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.
Talking Heads
3/5
Heavily avant-garde. Lyrics are creative and witty, but the musical accompaniment is inconsistent.
Tito Puente
4/5
Outstanding mambo album. Swinging melodies and tight harmonies capture the essence of the genre.
John Lennon
3/5
Solid production creates a lush sound, though Lennon’s vocals often seem uninspired. A decent number of filler songs.
The Rolling Stones
2/5
Generally uninspiring blues rock with mediocre vocals and underwhelming guitar performances. “Going Home” derails the pacing of the album.
Led Zeppelin
4/5
Excellent use of poignant guitar chords to transform standard blues rock into a novel form of music.
AC/DC
3/5
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.
Shack
3/5
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.
Fun Lovin' Criminals
2/5
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.
Deep Purple
3/5
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.
The Cramps
1/5
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.
Nirvana
5/5
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.
The Kinks
4/5
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.
Van Morrison
4/5
Catchy and poetic. The inclusion of jazz-style horns elevates his music to a surreal form.
Shivkumar Sharma
4/5
A brilliant example of classical Indian music. Instrumentals are immaculate. The song structures are a bit repetitive.
Le Tigre
1/5
Awful. Vocals are atrocious and instrumentals are mediocre. Lyrics attempt to be “deep” but possess the quality of a 10th grade English paper.
Eagles
5/5
Superb. Lyrics are masterfully written, poetic and just vague enough to generate a sense of mystery. Guitar performances are outstanding.
Maxwell
2/5
Album succeeds in establishing a relaxed mood, but the songs quickly become repetitive. Lyrics are forgettable and often cliché attempts at romantic tension.
Eurythmics
3/5
Excellent production. Synthetic bass is strong and addictive but not overbearing. Lyrics and vocal performances are forgettable, with similar cadences between songs.
Orange Juice
2/5
Mediocre rock music. Vocals are often a jumbled mess. Instrumentals don’t compliment the vocalists’ baritone voices.
Suzanne Vega
2/5
Vega's enunciation is odd. Vocals feel choppy and inconsistent, even though her lyrics are excellent. It creates very jumbled songs.
Elastica
2/5
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.
The Stone Roses
4/5
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.
The Byrds
3/5
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.
Coldplay
3/5
A solid album. Peaks with tracks like “Trouble” and “Yellow,” but filler songs quickly blur together. Instrumentals are frequently dominated by vocals.
Femi Kuti
3/5
Poignant lyrics and solid instrumental performances. Songs tend to ramble after several minutes.
N.W.A.
3/5
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.
The Fall
2/5
Feel half-baked. Vocals are a jumbled and often incoherent mess, and instrumentals performances aren’t inspiring.
Pet Shop Boys
3/5
Quintessentially 80s synth pop. Beats are bouncy and addictive, though they become repetitive after extended listening. Lyrics vocal performances are average.
Dinosaur Jr.
4/5
Loud and distorted guitars, driving rhythms, and drawling vocals create a surreal yet notable listening experience.
Arrested Development
2/5
Great bass lines. Rapping often devolves into ranting and mumbling, and topics are very similar between songs. Album becomes a chore rather quickly.
George Michael
3/5
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.
Butthole Surfers
1/5
I do not possess the words to describe this album. I have lost 33 minutes of my life listening to this.
Foo Fighters
3/5
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.
Jimi Hendrix
5/5
Unparalleled guitar performances. Hendrix excels at creating a cosmic atmosphere with simple yet poignant lyrics.
Grizzly Bear
4/5
A truly novel fusion of indie rock styles and pop. Vocal arrangements create a surreal feeling which is deftly complemented by guitar melodies.
Judas Priest
3/5
Excellent guitar performances, but the lyrics come across as insincere and edgy.
Pink Floyd
3/5
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.
Elvis Costello
2/5
A pale imitation of 50s rock and roll. Costello doesn’t provide any innovative sounds but simply rehashes existing ideas and motifs.
The Rolling Stones
2/5
Vocals are often scrambled and hard to understand. Very little variety between songs. No need for the album to be 67 minutes long.
Kate Bush
3/5
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.
Sarah Vaughan
4/5
Excellent jazz standards. Vaughan’s humor greatly improves the album.
Beastie Boys
3/5
Very good production and beats. Their cadence hasn’t aged particularly well and feels very choppy.
Frank Zappa
2/5
The technical skill is undeniable, but the album feels like a collection of bloated demonstrations of composition rather than a set of organic tracks.
Tina Turner
3/5
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.
Steely Dan
3/5
Good blues rock, but tracks tend to drag after the 3 minute mark. Not too much variety between songs.
Simon & Garfunkel
4/5
Superb songwriting. Most tracks are calm, but inspire emotion. A few are a bit languid.
Sparks
3/5
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.
Dusty Springfield
3/5
Very straightforward early-60s pop. Some Motown influences, but nothing groundbreaking.
Elvis Costello & The Attractions
3/5
Intriguing incorporation of psychedelic and classical influences, but the songwriting is a little cliche at times. Vocals are unimpressive.
Buzzcocks
2/5
Fairly standard punk rock. Bass lines can be addictive, but the vocals are often grating and no songs truly stand out above the rest.
Chicago
3/5
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.
Gene Clark
4/5
An excellently produced album which blends rock and country to create a lush sound with compelling lyrics.
2/5
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.
Fred Neil
3/5
Solid country. Lyrics and vocals are strong, but instrumental performances are rather average.
Buena Vista Social Club
4/5
Very pleasing Cuban music. Tracks flow easily, and instrumentals are crisp and skilled.
Johnny Cash
4/5
Fantastic country album. Compelling, and often dark, lyrics that are bolstered by Cash’s charisma and interactions with the audience.
FKA twigs
3/5
Great beats and production. She deftly creates a surreal atmosphere, but the album runs together. Songs are very similar.
Bob Marley & The Wailers
3/5
Solid reggae. Somewhat repetitive, many tracks fail to leave an impression. Marley's vocals are solid, but not his best effort.
The Who
4/5
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.
Jethro Tull
3/5
Its theme grows stale after a few songs. Ambitious incorporation of non-rock instruments, and vocals are solid.
Hawkwind
3/5
Succeeds in its space motif, but is slightly overblown. Could’ve done without the monologue sections. Instrumental performances are very good.
Janelle Monáe
4/5
An excellent album imbued with soul, strong beats, and compelling vocals. Album is a bit bloated, could’ve dropped a few tracks.
OutKast
3/5
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.
Aerosmith
4/5
Excellent rock. Simple, but distinct melodies that are easily enjoyed. Some of the middle tracks are mildly filler.
Elvis Presley
4/5
Classic rock and roll. Elvis’ vocals are strong, and instrumentals are typical of early rock. Tracks are a bit too short at times.
Madonna
3/5
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.
Sisters Of Mercy
2/5
Album is a chore. Tracks are very similar and longer than necessary. Redeemed somewhat by vocal and production quality.
Shuggie Otis
3/5
Outstanding instrumental performances. Truly a novel blend of soul and psychedelic influences. Album is hampered by Otis' mediocre vocal talent.
Derek & The Dominos
3/5
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.
Gene Clark
2/5
Very mediocre country rock. Clark’s vocals are shaky at best and often displeasing. Far too much harmonica.
Ice Cube
3/5
Solid production and delivery. Themes grow stale after extended listening.
CHIC
4/5
Outstanding disco music. Addicting basslines and impeccable vocals. A few tracks do start to drag after several minutes.
Creedence Clearwater Revival
4/5
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.
AC/DC
3/5
Standard hard rock. Succeeds in its vision, but does not push any boundaries. Lots of filler tracks.
Marilyn Manson
2/5
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.
UB40
3/5
Solid reggae. Tracks are driven by excellent bass performances, which compensate for average vocals. Lyrics failed to leave an impression.
Serge Gainsbourg
5/5
Truly unique blend of rock and symphonic influences. The spoken word delivery creates a compelling narrative which explores the emotions and depravities of lust.
Scott Walker
4/5
Exciting and grandiose. Lyrics are witty and unique. Some tracks are a bit bizarre.
The Undertones
2/5
Very vanilla punk rock. None of the tracks are particularly weak or offensive, but they blur together after several minutes.
OutKast
4/5
Outstanding production that combines techno, trap, and rock influences. Witty lyrics and smooth delivery. Unnecessary skits harm the flow of the album.
Funkadelic
4/5
Grooving funk with creative lyrics and truly original ideas. Some tracks stray a bit too far into the bizarre.
Bob Dylan
3/5
Standard Dylan. Great lyricism with grating vocals. Some tracks meander and create empty stretches of noise.
Country Joe & The Fish
2/5
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.
Tori Amos
2/5
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.
Bert Jansch
3/5
Average mid-60s folk music. Jansch’s vocals are rather unimpressive, but his guitar skills redeem the album. Some of the tracks felt unnecessary.
Elvis Costello & The Attractions
3/5
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.
Ramblin' Jack Elliott
3/5
Elliot’s blues tracks shine when he’s focused. The album does tend to wander, with Elliot simply talking at some points.
The Soft Boys
4/5
Tracks are enjoyable while remaining experimental. While no song truly stands above the rest, no song counts as filler, either.
Joan Armatrading
3/5
Solid instrumentals and lyrical content. Armatrading’s vocals are occasionally shaky. Would’ve liked to see her expand on some of the funk influences.
Lucinda Williams
4/5
Excellent country. Williams’ vocals are impeccable and create a calming yet tense atmosphere. Lyrical content is compelling and mostly original.
Beatles
4/5
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.
Blur
3/5
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.
Creedence Clearwater Revival
4/5
Excellent rock. No songs overstay their welcome, and Fogerty’s vocals create a unique style.
The Offspring
3/5
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.
Roxy Music
2/5
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.
Miles Davis
4/5
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.
Drive Like Jehu
2/5
Often devolves to unfocused noise. Album was too long, became a chore to finish. Fails to merit inclusion on this list.
Otis Redding
4/5
Outstanding soul music. Redding’s vocals are impeccable. Would’ve preferred some more original tracks in addition to covers.
The Specials
3/5
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.
T. Rex
3/5
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.
The Louvin Brothers
2/5
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.
Harry Nilsson
4/5
Strikes a perfect balance of pop and rock. Songs are light but not superficial. Great production.
Beth Orton
2/5
Album is a drag. Most tracks last 4+ minutes for little reason. Orrin’s vocals are solid, but droning and boring after several songs.
Wilco
4/5
Superb blend of country, folk, and rock. Album is a bit bloated, which results in some recycling of sounds and lyrical motifs.
Stereolab
3/5
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.
The Style Council
4/5
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.
3/5
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.
B.B. King
4/5
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.
Venom
2/5
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.
Neil Young
3/5
Young’s vocals were unimpressive. Decent lyrics, but not on par with other Young works.
Iggy Pop
2/5
Strange production choices. Vocals sound distant and it’s hard to understand the lyrics. Some questionable lyrical choices as well. Quite bizarre at times.
David Bowie
4/5
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.
Fela Kuti
3/5
Rather long-winded at times, but enjoyable. The album is better during instrumental portions rather than lyrical sections.
The Replacements
3/5
Rather standard post-punk. The coming-of-ages themes are still relevant, though the overall direction of the album tends to dart about.
Bruce Springsteen
4/5
Springsteen’s mediocre vocals are more than compensated for by a truly grand accompanying band. Creates sweeping moments rarely found in classic rock.
Hanoi Rocks
3/5
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.
Public Enemy
3/5
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.
Siouxsie And The Banshees
2/5
Rather unimpressive. Vocals are sloppy, and lyrical content seems forced. Becomes grating after extended listening.
Fleet Foxes
5/5
Superb folk rock. Vocals are perfectly tuned and neatly complement the instrumentals. Lyrics are compelling but retain a simple and readily understandable quality.
Burning Spear
3/5
Solid reggae. Rather repetitive at times, but maintains a relaxed atmosphere while incorporating politically-aware lyrics.
Q-Tip
3/5
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.
Slint
2/5
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.
Gang Starr
4/5
Smooth delivery and strong beats. Lyricism is compelling and remains relevant.
Al Green
3/5
Green's voice is incredible, though the songwriting is rather weak. Topics rarely deviate from heartbreak and relationships, and accompanying instrumentals are somewhat mediocre.
Paul Revere & The Raiders
3/5
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.
Jimmy Smith
3/5
Solid jazz, though a bit long-winded. Too much reliance on keyboard. Songs were rather shallow for their length.
Gary Numan
3/5
Pleasing synth melodies and high-quality production. Numan’s vocals are largely forgettable and lyrical content is repetitive.
Talk Talk
2/5
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.
U2
3/5
Average rock. Vocals are pleasant enough, though sometimes delivered too softly. Instrumentals are forgettable.
Violent Femmes
2/5
Album screams of the 90s. Vocals are strained and often unpleasant, and song structures are rudimentary at best.
Queen
4/5
Excellent rock. Truly unique sounds, though some tracks are a bit too avant garde.
The Cure
3/5
Glad the Cure pivoted from gothic rock. While innovative, the album is a slog to finish.
Wilco
4/5
Poignant lyricism. Successfully achieves their intended sounds without being married to a specific genre or style. Some tracks do tend to drag.
Kraftwerk
4/5
A truly innovative sound. Kraftwerk transforms repetitive synth sounds into beautiful melodies.
Van Halen
3/5
A solid rock album. Contains some true classics like Jump and Panama, but the latter half of the album is pure filler.
Aimee Mann
2/5
Typical 90’s singer-songwriter rock. Mann winges about cliche emotional problems, and instrumentals do little to improve the album. A chore to finish.
10cc
4/5
Witty lyrics and solid guitar instrumentals. An enjoyable listen
Penguin Cafe Orchestra
2/5
Rather odd. Felt more like the soundtrack to an indie film than a proper album.
Parliament
4/5
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.
Jeff Buckley
3/5
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.
Sly & The Family Stone
2/5
Tends to meander. Production is also rough, vocals are faint at times.
Joni Mitchell
4/5
Superb lyrics. The vocals are a bit shaky at times, and the inclusion of slang is somewhat jarring.
Elvis Presley
3/5
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.
Beck
3/5
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.
Everything But The Girl
3/5
Pleasing bass and drum rhythms, though lyrics and overall song structures are forgettable.
Crowded House
3/5
Enjoyable but somewhat unpolished. Vocals are occasionally garbled. Songs do sound novel, though, and lyrics and instrumentals are consistently above average.
LCD Soundsystem
3/5
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.
The Cure
3/5
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.
Nick Drake
4/5
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.
Led Zeppelin
4/5
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.
Fatboy Slim
2/5
Extremely repetitive and vapid. Though the tracks would create a vibrant club atmosphere, they do not lend themselves to the format of an album.
Neil Young & Crazy Horse
3/5
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.
Portishead
3/5
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.
A Tribe Called Quest
4/5
Witty rhymes and creative verse construction. Deftly walks the line between humor and compelling social commentary. Some of the beats sound a bit dated.
ZZ Top
3/5
Instrumentals are solid and surprisingly addictive. Lyrics are cliché at best, with an excess of thinly-veiled innuendos. Entertaining overall, but lacks depth.
ABBA
4/5
Infectious pop that stays within its boundaries. Songs are equally catchy to the modern listener as they were to the audience of the 70s.
Elvis Costello
2/5
Tracklist was bloated. Songs are often repetitive. Costello attempts vocal feats well beyond his capacity.
Oasis
3/5
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.
MC Solaar
4/5
Creative flows and high-quality beats. Each song is largely unique, leading to an entertaining experience.
David Bowie
4/5
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.
Green Day
3/5
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.
Fever Ray
2/5
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.
The Byrds
4/5
An interesting departure for the Byrds. The group ventures into more experimental music while retaining their tight vocals harmonies and pleasant instrumentals.
Muddy Waters
4/5
Classic blues. Waters deftly executes his setlist, complementing the backup band with his own powerful vocals.
Blondie
3/5
Fairly standard rock. The album lives and dies by Debbie Harry’s vocals. Entertaining, but unremarkable.
Red Hot Chili Peppers
3/5
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
1/5
Nico's vocals are simply irritating. Instrumentals are overly lush and overwhelm tracks. I cannot see how anyone can find entertainment from this album.
Tom Waits
3/5
Eclectic. Alternates between borderline-unlistenable experimental works and more pop-ish sounds.
Rage Against The Machine
3/5
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.
Belle & Sebastian
3/5
Pleasant enough, but doesn't leave much of an impression. Vocals tend to be a bit too wavering, and the instrumentals could be bolstered.
The United States Of America
2/5
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.
Dennis Wilson
4/5
Surprisingly pleasant. Wilson's vocals sound vulnerable yet controlled. Instrumental accompaniments are solid.
Roxy Music
3/5
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.
Elbow
4/5
An excellent showcase of the group’s talents. The wispy vocals pair well with the lush instrumentals. Some tracks do drag a little.
Slayer
2/5
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.
The White Stripes
3/5
Enjoyable, but feels somewhat bare. White’s guitar performances are great, though his vocals are inconsistent. Drumming is also inconsistent with mistimed rhythms .
The Sugarcubes
4/5
Surprisingly enjoyable. Bjork's powerful vocals elevate tracks into a higher plane of art.
Iron Butterfly
3/5
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.
Rod Stewart
4/5
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.
Ella Fitzgerald
4/5
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.
3/5
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.
Ghostface Killah
4/5
Superb storytelling and beats. The inclusion of rather meaningless skits hurts the flow of the album.
DJ Shadow
3/5
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.
The Damned
3/5
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.
Soul II Soul
2/5
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.
Leonard Cohen
4/5
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.
The Youngbloods
3/5
A lush sound with unorthodox motifs, though the group seems afraid to fully embrace the psychedelic themes they touch upon. Lyrics are surprisingly bubbly.
Koffi Olomide
3/5
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.
New York Dolls
2/5
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.
Blur
3/5
A fun album, though shallow at times. “Song 2” stands head and shoulders above the rest of the tracks. A solid sampling of BritPop.
Primal Scream
3/5
Often felt more like a soundtrack than a commercial album. I appreciate the experimental aspects, though some tracks were a chore to finish.
The xx
4/5
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.
Iggy Pop
4/5
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 Chemical Brothers
3/5
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.
Deep Purple
3/5
Solid hard rock. Many of the tracks are too long and become exasperated. Nevertheless, the album is enjoyable.
Grant Lee Buffalo
3/5
A good fusion of Americana and alternative rock. Vocals are largely forgettable, though the lyrical content does provide some staying power.
Cream
4/5
A high point of psychedelic rock. Also marks a shift to hard rock in mainstream music. A few filler tracks, but overall a triumph.
Eminem
4/5
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.
Haircut 100
4/5
Surprisingly good. A deft fusion of grooving funk and synth influences. A few filler tracks, but overall a fun record.
Hole
3/5
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.
Portishead
2/5
Felt like the same song on repeat. I appreciate the artistic vision, but a chore to finish.
Sly & The Family Stone
4/5
A fantastic sampling of funk. Lyrical content is often moving. “Sex Machine” is too bloated and drags the album’s pace.
Frank Sinatra
3/5
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.
The Allman Brothers Band
3/5
Too much improvisation. The album tends to drag after only a few tracks. However, the musical talent is undeniable.
The Streets
3/5
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.
Faust
3/5
A good sampling of styles, from more droning electronic sounds to lyrical content. Seems hesitant to fully embrace its experimental leanings.
Black Sabbath
4/5
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.
TLC
3/5
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.
Cornershop
3/5
Appreciated the incorporation of Indian musical influences. The lyrics often seemed a bit detached from the instrumental directions of songs. Enjoyable, but not memorable.
Bonnie Raitt
3/5
Smooth bluesy vocals. The lyrical content of the songs are similar, but enjoyable.
Nick Cave & The Bad Seeds
4/5
Excellent vocals and lyrical imagery. A dark tone that doesn’t become boring or repetitive.
Lambchop
2/5
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.
Jeff Beck
3/5
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.
Beastie Boys
4/5
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.
Jimi Hendrix
4/5
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.
Love
4/5
Smooth vocals and a surprisingly lush sound. Lyrics are often clever without straying into the avant garde.
Fairport Convention
3/5
Fairly standard folk rock. Strong lyricism, though the vocal quality sometimes wavers. The instrumental tracks tend to meander.
The Pharcyde
3/5
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.
Herbie Hancock
4/5
Smooth, funky jazz. Novel arrangements are deftly complemented with synth sounds. Chameleon should’ve been broken into two distinct tracks.
Beyoncé
4/5
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.
Prefab Sprout
3/5
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.
Metallica
4/5
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.
Talvin Singh
3/5
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.
The Sonics
3/5
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.
Daft Punk
4/5
An innovative house sound which still sounds fresh 20 years later. Compelling use of samples. Some tracks do overstay their welcome.
The Disposable Heroes Of Hiphoprisy
1/5
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.
Emerson, Lake & Palmer
3/5
Solid prog rock. Oddly, the title track is the weakest aspect of the album. Enjoyable, but not too memorable.
Radiohead
4/5
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.
Prince
4/5
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.
Ice T
3/5
A solid album of 90s gangster rap. Rhymes are creative, though the beats seem basic. The inclusion of rock sounds was unexpected, but successful.
The Teardrop Explodes
3/5
A fun, poppy album with some psychedelic influences. Most tracks were too short to leave a lasting impression. Entertaining, but ultimately shallow.
John Martyn
3/5
Song compositions are good, but Martyn has an odd vocal inflection on several tracks. An intellectually stimulating, but aurally grating listen.
Jane's Addiction
4/5
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.
Sigur Rós
4/5
Superb song arrangements. Staralfur is one of the most beautiful things I’ve ever heard. The vocals are a bit too weak at times.
Kanye West
4/5
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.
Pink Floyd
5/5
A superb example of music storytelling. Songs impart their lyrical message without sacrificing listenability.
Queen
4/5
Outstanding classic rock. Queen delivers solid performances without straying into the avant-garde.
Les Rythmes Digitales
2/5
Mediocre synth pop. Sometimes engaging, but generally a chore. This album did not merit inclusion on this list.
ABBA
3/5
Average pop. I respect ABBA’s choice to explore new artistic directions, but it often feels like an imitation of their older music.
Metallica
4/5
Creative song structures. Lyrics depart from metal clichés and remark on genuine emotions.
The Smashing Pumpkins
4/5
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.
Travis
3/5
The album sounded pleasant, but struggled to find a direction. Vocals seemed too weak. Interesting lyrical content.
PJ Harvey
3/5
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.
Beastie Boys
4/5
Complex production, with several unorthodox but successful samples. Rhymes and song content are clever. Delivery sounds a bit dated.
Mudhoney
3/5
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.
Van Morrison
3/5
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.
The Only Ones
2/5
Unremarkable. Lyrical content and instrumentals were average, but the vocals seemed lazy and often grating.
The Strokes
5/5
A superb pop rock album. Songs are bouncy and moving, but retain a powerful quality. Each track on this album is an enjoyable listen.
Todd Rundgren
3/5
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.
Run-D.M.C.
2/5
Feels empty. Rapping is choppy and often hard to follow. Beats are minimal, at best, and often don't complement the raps.
The Crusaders
3/5
A pleasant listen, though more akin to muzak than a true jazz album.
Tom Waits
3/5
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.
Thelonious Monk
4/5
High quality jazz. Rhythms are novel and generally engaging. Some tracks do taper off with extended solos.
The Rolling Stones
4/5
Outstanding blues rock with solid storytelling and strong instrumentals. Jagger's vocals can be a bit shaky at times.
Iron Maiden
4/5
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.
System Of A Down
1/5
Awful. Cringe inducing lyrics and repetitive song structures. Nu metal was a plague upon early 2000s music.
Genesis
3/5
Novel lyrical content with a compelling narrative. Musically, the songs are pleasant though the longer tracks tend to lose their direction.
X-Ray Spex
3/5
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.
Neu!
3/5
An odd balance between experimental rock and ambient music. While both were enjoyable, it generated a jarring listening experience.
Miles Davis
4/5
Superb jazz. Songs are novel and catchy, but do not overstay their welcome. Davis' technical skills are impressive.
The Afghan Whigs
3/5
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.
Suede
3/5
Very monotone, but enjoyable. Peppy and upbeat tracks create a pleasurable experience, though the songs hold almost no lasting impact.
The Blue Nile
3/5
Very artsy, often at the expense of listenability. Album shines when it abandons its avant-garde inclinations, though this is rare.
The Black Keys
4/5
Gritty and driving. Best blues rock album I've heard from the 21st Century. A bit thematically repetitive, but overall an engaging listen.
Rush
3/5
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.
LL Cool J
3/5
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.
The Mamas & The Papas
4/5
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.
1/5
Garbage. Just a mess of saxophones and drums. Utterly confused how this abomination made the list.
Aphex Twin
4/5
Ethereal ambient music which pushes the bounds of techno. Retains some qualities of dance music, but infuses its sounds with a type of fluidity.
Cocteau Twins
4/5
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.
Pretenders
4/5
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.
Megadeth
3/5
Strong technical skills and production quality. Impressive guitar speeds. Lyrics are rather cliché.
Screaming Trees
2/5
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.
Yeah Yeah Yeahs
4/5
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.
Hüsker Dü
3/5
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.
Coldplay
4/5
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.
3/5
A bit drab. Most of the songs are pleasant, but they're one dimensional. Enjoyable, but certainly not boundary-pushing.
Various Artists
3/5
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.
Tom Waits
3/5
Novel and irritating. Waits' songwriting is truly compelling, but he has the vocal talent of a squeaky boot.
PJ Harvey
4/5
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.
Happy Mondays
2/5
Not very enjoyable. Slurred, rushed vocals and uninspired instrumentals. I found it difficult to remain interested in most tracks. Production quality seems dated.
Public Enemy
3/5
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.
Jamiroquai
4/5
Outstanding funk. Incorporate of the didgeridoo was unique. Lyrics are a little cliché, but somehow seem fresh. "Revolution 1993" was far too long.
David Bowie
4/5
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.
Sheryl Crow
3/5
Average singer-songwriter. I found the lyrics to be mostly trite, redeemed only by Crow's vocals and supporting instrumentals.
Kraftwerk
3/5
Truly innovative for its time. Some of the songs feel quite similar.
Echo And The Bunnymen
3/5
Creates a compelling atmosphere, but the lyrics feel empty. Lots of empty buzzwords designed to create mystery which ultimately fall flat.
Sonic Youth
2/5
Strange. Full of chaotic and dissonant sounds. Respect for the artistic decision, but not an enjoyable listen.
Kacey Musgraves
3/5
Solid country pop. Interesting fusion of acoustic string instruments with synth. Lyrics are blasé at best, but they accomplish the intent of Musgraves.
The Who
2/5
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."
The Smiths
4/5
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.
The Smashing Pumpkins
4/5
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.
Astrud Gilberto
3/5
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.
Metallica
3/5
Enjoyable, but horribly bloating. I was waiting for this album to end after 90 minutes. The symphonic instruments pair well with Metallica's music.
Little Simz
3/5
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.
Alexander 'Skip' Spence
1/5
A garbage album made by a garbage human being.
The Flying Burrito Brothers
3/5
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.
The Zombies
4/5
Compelling psychedelic music. Strong lyrics, especially in tracks like "Butcher's Tale." "Time of the Season" is a classic.
The Beach Boys
3/5
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.
Iron Maiden
4/5
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.
The Go-Go's
3/5
Rather shallow, but full of earworms. Catchy and fun. An enjoyable listen, but lacks the depth to leave a lasting opinion.
Sinead O'Connor
2/5
O'Connor's voice is good, but her lyrics are naïve and shallow. Really embodies the excessively dreary tone of 90s singer-songwriters.
The Roots
4/5
Complex lyricism with funky beats. Cutting commentary without becoming edgy. The dance and electronic influences were compelling.
The White Stripes
3/5
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.
Nina Simone
3/5
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.
The Who
4/5
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.
Eminem
3/5
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.
Supergrass
4/5
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.
David Crosby
2/5
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.
Paul Simon
4/5
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.
Happy Mondays
2/5
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.
Kraftwerk
3/5
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.
Dexys Midnight Runners
4/5
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.
The Shamen
2/5
Felt like the music at a laser tag arcade. Not bad, but extremely basic and repetitive. Did not merit inclusion on this list.
Willie Colón & Rubén Blades
4/5
An excellent grooving salsa album. Intriguing incorporation of some disco motifs.
Roni Size
2/5
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.
Curtis Mayfield
3/5
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.
Nick Cave & The Bad Seeds
5/5
A brilliant and unsettling perspective on grief. Warm ambient sounds disguise the pain in Cave's lyrics. Leaves a strong yet haunting impression.
3/5
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.
The 13th Floor Elevators
3/5
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.
4/5
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.
Willie Nelson
4/5
Nelson provides moving covers of pop standards. Though covers, songs seem fresh and original to Nelson. A very pleasing and easy listen.
Spacemen 3
2/5
A disjointed mess of excessive synth and lackluster vocals. A pale imitation of true psychedelic music. Should not be on this list.
Sebadoh
3/5
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.
The B-52's
3/5
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.
Radiohead
4/5
Deep synth sounds that remain warm and accessible. Pensive and reflective lyrics. A very stimulating listen.
Lauryn Hill
4/5
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.
Elvis Costello & The Attractions
2/5
Energetic, but not really enjoyable. Costello’s vocals are often grating, and the song structures quickly become repetitive.
Michael Kiwanuka
3/5
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.
Massive Attack
1/5
Mediocre trip hop. Songs leave little to no impression, felt more like white noise than a musical experience. Boring and a slog to finish.
The Stooges
3/5
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.
Bauhaus
3/5
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.
Beatles
5/5
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.
Super Furry Animals
3/5
Mediocre 2000s rock which doesn't leave much of an impression. Not much to say on this album.
The Stooges
4/5
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.
The Chemical Brothers
4/5
Quality electronic music. Functions well as an album and as club music. An enjoyable listen.
Black Sabbath
3/5
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.
Moby
3/5
Enjoyable, though some tracks are duds. “Porcelain” retains an iconic sound.
Laibach
2/5
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.
The Last Shadow Puppets
3/5
Standard mid-2000s rock. Tracks are pleasing, but the vocals are pedestrian and fail to register a meaningful impression.
Ramones
4/5
Quintessential punk rock. Songs are short and simple, but embrace their limitations and deliver quality performances. Several memorable tracks, like Blitzkrieg Bop
Yeah Yeah Yeahs
3/5
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.
Songhoy Blues
3/5
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.
5/5
An absolute masterpiece. Bowie at his peak, pushing the bounds of pop music. Every track on this album is enjoyable. A remarkable experience.
Lou Reed
3/5
Album's main strength is its lyricism. Much of the instrumental performance feels routine, but overall the album was enjoyable.
The Pretty Things
3/5
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.
Primal Scream
3/5
A finely crafted album with a few standout tracks, but a slog to finish. Very little replay value.
The Mothers Of Invention
2/5
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.
Underworld
2/5
A bloated collection of unremarkable electronic music.
Soundgarden
3/5
Solid grunge. Song structures and guitar performances carry the album. Vocals are often grating, though typical of the genre and era.
Slipknot
3/5
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.
Carpenters
3/5
Enjoyable and easy listening. Songs are usually shallow, but they succeed in their intent. Vocals are the defining strength of the album.
Arcade Fire
5/5
A masterpiece of indie rock. Songs display compositional ingenuity and lyrical vulnerability, while remaining accessible to the average listener. Every song is fantastic.
Sade
3/5
An easy and acceptable listen, though with an incredibly dated sound. Was probably stronger in its era.
Motörhead
4/5
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.
David Bowie
4/5
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.
Fatboy Slim
3/5
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.
Abdullah Ibrahim
4/5
Excellent jazz. Songs convey rich emotion and avoid the common pitfalls of contemporary jazz.
Caetano Veloso
3/5
Songs are pleasant, though the production quality is rough. Wide variety of genres presented. Veloso’s vocals could be a bit stronger.
The Byrds
4/5
Very enjoyable fusion of folk and rock. The Byrds' tight vocals and jangling guitars pair quite well. A few filler tracks.
Incredible Bongo Band
3/5
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.
Bob Dylan
4/5
A thorough exploration of multiple genres by Dylan. Poppier than his usual work, though his vocals remain the same. Some songs do drag.
MGMT
3/5
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
George Michael
3/5
Michael’s vocals are near impeccable, though most of the tracks seem to meander. Struggled to remain engaged by this album.
Paul Simon
4/5
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.
Pantera
2/5
Empty calorie metal. Cringe-inducing lyrics and repetitive song structures. The strong guitar performances are the album’s only selling point.
Anthrax
3/5
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.
Willie Nelson
3/5
An oddly pedestrian outing from Nelson. Songs are solid, but the thematic intent of the album somewhat falls flat. No true standout track.
Animal Collective
3/5
Ingenuous song structures, but the vocals are incomprehensible at the best of times. Its influence is apparent, but not an easy listen.
Pentangle
2/5
Fairly unremarkable. Sounds like renaissance fair music. Not offensive to the ear, but mundane at best.
Nanci Griffith
3/5
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.
Dr. John
2/5
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.
Milton Nascimento
4/5
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.
Killing Joke
1/5
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.
Hole
3/5
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.
Ananda Shankar
3/5
Interesting fusion of Indian and Western rock. The more traditional tracks are fairly bland, however
The Stooges
4/5
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.
Michael Jackson
5/5
A triumph of pop. Jackson masterfully fuses power ballads with driving anthems. Vocals are immaculate, and the production quality is superior.
Nick Cave & The Bad Seeds
4/5
Deep harmonic sounds and profound lyrics. “Oh Children” is a triumph. Some of the tracks do miss and slightly derail the album.
Jacques Brel
3/5
Entertaining, but fairly shallow. A dated sound, but surely popular and fresh in its time. A little short to leave a lasting impression.
Led Zeppelin
4/5
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.
Nick Drake
3/5
Song structures and composition are outstanding, though the vocals are weak. Drake seems almost afraid to sing.
Spiritualized
2/5
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.
Deerhunter
4/5
Deep, introspective lyrics which detail relatable themes of growth. Instrumentals are unique and compelling. A few songs do drag.
Air
3/5
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.
Leonard Cohen
4/5
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.
The Doors
4/5
Smooth, bluesy rock that oozes charisma. The album thrives off of Morrison’s powerful vocals. A few songs are a bit too long.
Can
2/5
Failed to register a meaningful impression. Solid ambience, but it’s often just noise.
Dusty Springfield
3/5
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.
Janet Jackson
3/5
Lyrics seemed a bit naïve, and the tracks do blend together. I did enjoy the gaudy, excessive style of the 80s production.
Robert Wyatt
1/5
The album’s title was not wrong. Absolutely horrendous.
Alice In Chains
3/5
A solid example of 90s hard rock. Vocals are somewhat annoying, though always in tune. Lyrics are nothing special. Enjoyable, but average at best.
Steely Dan
4/5
Excellent jazzy blues rock. Songs are grooving with surprising lyrical depth. Sounds fresh after almost 50 years.
Jazmine Sullivan
2/5
Ok, but not particularly remarkable R&B. Did not warrant inclusion on this list.
Lana Del Rey
4/5
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.
Aretha Franklin
4/5
Swinging, emotional soul. Franklin’s vocals are almost perfect, and the accompanying singers and band pair quite well with her
Guns N' Roses
4/5
Dirty and irreverent hard rock. An exciting, fast listen with excellent guitar performances. Rose's vocals are grating at best, however.
Erykah Badu
3/5
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.
Jurassic 5
2/5
Unimpressive “spiritual lyrical” rap. A shallow attempt to emulate earlier sounds from the genre.
PJ Harvey
2/5
Bland. Her vocals are little more than groaning and screeching, and her lyrics are repetitions of the same two themes. A pain to finish.
The Fall
3/5
Average rock with a few solid tracks, but mostly blasé. Vocals are inconsistent. Often struggles to maintain the listener’s focus.
Pink Floyd
5/5
A masterpiece. Unparalleled depth and symbolism. Album inspires legitimate chills.
The Jesus And Mary Chain
3/5
Solid. Vocals are strong, and several tracks like “Lost in the Music” are memorable. However, most of the album is largely formulaic and forgettable.
David Holmes
2/5
Random noises over boring conversations. Felt like background music to a mediocre 90s video game.
The Police
4/5
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.
Ice Cube
3/5
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.
5/5
The pinnacle of psychedelia. Nothing more to say.
Arctic Monkeys
3/5
Enjoyable rock, though lacking depth. Tracks are thematically and structurally similar. Good party music, though a somewhat bland listening experience.
Japan
3/5
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.
Aretha Franklin
4/5
"Respect" is a foundational piece of pop culture. Franklin's vocals are potent and nigh impeccable. Lyrically, the album is rather repetitive.
The Clash
3/5
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.
Mike Oldfield
2/5
Technically impressive, but a failure of an album. More of a collection of sounds than a coherent work.
Hugh Masekela
4/5
An outstanding jazz album. Nothing truly novel, but a smooth and pleasant experience.
The Jam
4/5
A beautiful fusion of British Invasion era pop and punk rock. Songs are peppy with a distinct driving energy.
Ray Charles
4/5
An outstanding album from Charles. His piano performances and soulful vocals are top notch. Lyrical content is a bit repetitive.
Living Colour
4/5
A funky, driving album with often poignant lyrics. Deftly combines genres into a novel product.
Van Halen
4/5
Unparalleled guitar skill from Eddie Van Halen. Roth’s vocals drip with pure energy. Sometimes lyrically deficient, but a thrilling listen.
Ozomatli
2/5
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.
Supergrass
4/5
Peppy and driving, with an intriguing amount of lyrical depth. A compelling development on their first album.
Prince
4/5
Superb vocals and racy lyrics which still leave an impact decades later. Addictive synth sounds. Most songs are a little too long, however.
Elliott Smith
4/5
Smiths deftly weaves profound lyrics with the instrumental depth so commonly absent in singer-songwriter albums.
Pere Ubu
1/5
Nigh unlistenable. An irritating mess of acid-rock which overstays its welcome from the first track.
Paul McCartney and Wings
3/5
Starts strong, but seems to become uninspired in the latter half of the album. Linda McCartney’s vocals are sometimes grating. Interesting lyrical choices.
Public Enemy
3/5
Provocative lyrics and strong beats. Thematically similar, however. Flavor Flav is again a net negative.
Crosby, Stills, Nash & Young
4/5
An intriguing blend of country, folk, and psychedelia. Compelling lyrics, for the most part. The song composed by Mitchell about Woodstock was a bust.
Love
3/5
Latter half of the album is a bloated mess which ruins an otherwise strong album.
Elton John
4/5
Elton John’s narrative prowess is on full display, as are his piano skills. Songs are enjoyable while retaining a high degree of depth.
Nightmares On Wax
2/5
A collection of background music. Ok, but not truly functional as an album.
JAY Z
4/5
A lushly layered album which deftly blends Jay-Z’s delivery with soul samples. An engaging and occasionally thought-provoking listen.
Carole King
3/5
An easy listen, though it felt to register a meaningful impression. Strong lyrics, but instrumentals are average.
The Smiths
4/5
Marr delivers outstanding guitar performances, and Morrissey's vocals are nigh impeccable. Poignant lyricism, though some songs do stretch beyond their ideal length.
2Pac
4/5
Compelling, socially-conscious lyrics with smooth deliveries. Beats are a unique blend of old-school and contemporary sounds.
Mariah Carey
3/5
Carey's vocal talent is undeniable, but the album felt like the same 12 songs on repeat. Lyrics were unremarkable.
Kate Bush
3/5
Intriguing blend of genres and dense arrangements. Bush’s vocals were a bit odd at times and off-putting.
Red Snapper
1/5
The album failed to satisfy. Utterly dull.
The Flaming Lips
4/5
A smooth, ethereal concept album with poetic lyrics. Some of the later tracks slightly derail the album's progression.
Blue Cheer
3/5
A heavy and bluesy album. Lyrics are mediocre, but I respect the novel proto-heavy metal sounds.
Stevie Wonder
4/5
Rich, soulful vocals and compelling lyrics. A few weak tracks, but overall a strong album.
Black Flag
1/5
Just a mess of shouting and elementary-level lyrics. Punk at its lowest.
Charles Mingus
4/5
Excellent jazz. The album deftly delivers its narrative, paving the way for future concept albums.
Fleetwood Mac
5/5
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 Auteurs
3/5
The album begins strongly, but derails in its middle section and fails to recover. Enjoyable, but does not deserve inclusion on this list.
Os Mutantes
2/5
Failed to enjoy this album. A jumbled mess of sounds, with vocals that often seem off. Earns a star for its experimental vision.
CHIC
2/5
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.
Curtis Mayfield
4/5
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.
Arcade Fire
4/5
Poignant commentary on a lower middle class upbringing. Addictive melodies. Some tracks stray too far into the avant-garde.
Tim Buckley
2/5
Boring. Felt like the same song for 45 minutes. An absolute chore.
The Doors
4/5
A driving, bluesy album. Loses the slimy veneer of earlier works. The lyrical development of the group is apparent.
Todd Rundgren
3/5
Too long. Several enjoyable songs, and a good dash of humor. However, it overstays its welcome after the hour mark.
Amy Winehouse
5/5
Superb. Winehouse's vocals are impeccable, and her lyrics provide real insight into the pain of addiction and heartbreak.
Bob Dylan
4/5
Several quality long-form narratives. Typical Dylan vocals. A few duds, but overall a strong album.
Cheap Trick
4/5
A strong album. Cheap Trick's vocals are studio-quality, and they feed off the energy of the crowd. Addictive power pop.
Silver Jews
2/5
Felt uninspired. Lyrics were forgettable at best. Entire album felt like a bunch of city kids trying to create country music.
Stevie Wonder
4/5
Powerful, grooving funk. “Higher Ground” retains its energy and message almost 50 years later. A few tracks do drag a bit.
Tom Waits
2/5
Imagine if Tom Waits could sing.
Thin Lizzy
4/5
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.
Gil Scott-Heron
3/5
Strong poetry, though the instrumentals are sometimes lacking. Often felt like more of a slam session than a proper recording.
Ali Farka Touré
3/5
Enjoyable, though flawed. Vocals are shaky, and songs are mostly repetitive. Deftly captures the essence of blues, however.
Run-D.M.C.
2/5
Corny and outdated. I don't know a rap group can perform nursery rhymes and demand to be taken seriously.
Bruce Springsteen
3/5
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.
Beach House
4/5
Calming and ethereal. Vocals are not technically strong, but complement the intended atmosphere of the album.
Taylor Swift
3/5
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.
Basement Jaxx
3/5
Entertaining, but basic overall. A few annoying dud tracks.
The Rolling Stones
3/5
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.
Rush
4/5
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.
Pet Shop Boys
3/5
Gaudy, but secure in its excesses. Mercurial lyrically, though enjoyable.
Green Day
3/5
Filler galore. A few standout tracks, but the album mainly devolves into background noise during most portions.
Tom Waits
3/5
The spoken intros are better than the actual tracks. Typical Tom Waits vocals. Outstanding instrumentals; the bass and saxophone keep this album afloat.
Siouxsie And The Banshees
3/5
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.
Eagles
3/5
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.
Nitin Sawhney
4/5
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.
Culture Club
3/5
Several filler tracks, and their musical style is heavily outdated. Some notable achievements like Karma Chameleon. A slight slog to finish, but not offensive.
Depeche Mode
1/5
Painful. Unremarkable lyrics and repetitive synth structures. A failure to emulate the gothic sound of earlier groups.
Marty Robbins
4/5
Vocals are almost perfect, and the lyrics are strong. "Big Iron" is a classic. A paragon of country and outlaw western.
Bruce Springsteen
3/5
Songs are structurally and instrumentally solid throughout the album, but the quality of Springsteen’s vocals progressively deteriorates as the album proceeds.
John Grant
3/5
Tremendous lyrical depth, but songs structures and overall tone feel repetitive. Becomes slightly annoying by the conclusion of the album.
Barry Adamson
1/5
A soundtrack for an imaginary movie. Who wanted this?
Creedence Clearwater Revival
4/5
Superb songwriting and addicting rhythmic structures, though some songs are a bit too long. Succeeds in its creation of a Louisiana atmosphere.
New Order
3/5
Fairly repetitive, especially towards the conclusion of the album. Synths and the bass lines of Peter Hook are addictive. Lyrically average.
Thundercat
3/5
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.
Gang Of Four
2/5
Vocals sounded slurred, I struggled to understand the lyrics. Standard punk song structures. Seemed nonexceptional in most ways.
Neneh Cherry
2/5
Painfully 80s. Rapping is choppy and corny, while the beats are a mess of synths and high hats. A few creative rhymes.
Johnny Cash
4/5
Emotional covers of pop standards complemented with the country sound which popularized Cash. Vocals are occasionally rough.
Anita Baker
3/5
Vocals were a bit too husky, and lyrics were repetitive. Enjoyable, but somewhat pedestrian.
Booker T. & The MG's
3/5
A few classic tracks, but very one dimensional.
Patti Smith
3/5
Strong lyrics, though Smith's vocals are shaky. Songs seem to decay rather than end cleanly. No real standout tracks.
Buddy Holly & The Crickets
3/5
Influential, but very basic in hindsight. Songs do feel repetitive even though the album is under 30 minutes in duration. Strong guitar lines.
Goldfrapp
2/5
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.
Barry Adamson
2/5
Some enjoyable jazz grooves, though overall a layered mess of sounds. Too broad of a concept album.
Super Furry Animals
3/5
Fairly standard rock with some psychedelic influences. Some tracks are a slog, but its energy creates an ultimately enjoyable listen.
Brian Eno
2/5
Achieves its musical goals, but it feels basic. More of a proof of concept than a true album.
Rahul Dev Burman
3/5
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.
Electric Light Orchestra
4/5
Grand, operatic sound. Some of the lyrics feel a bit formulaic. At its peaks, ELO produces a unparalleled depth of warmth on this album.
Pink Floyd
3/5
Not their finest work. Tracks seems to meander, and the album lacks an overall cohesion. A few enjoyable moments, but overall a jarring listen.
Traffic
3/5
Pleasant vocals and creative song structures. Lyrical content is a bit meandering, and several tracks gradually lose their energy.
Santana
3/5
Enjoyable, but not particularly engaging. The guitar performances were underwhelming, compared to Santana’s reputation.
Jorge Ben Jor
4/5
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.
The Modern Lovers
1/5
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.
James Brown
3/5
Infectious energy, but technically deficient. Brown masterfully controls the audience, but his vocals waver in quality. Likely a better live experience than an album.
SAULT
1/5
Boring, repetitive black supremacist garbage designed to appeal to the white liberal.
Megadeth
3/5
The usual cliché lyrics from an early 90s metal group. Spectacular instrumentals with crisp rhythms. Average vocals.
Mj Cole
2/5
Boring. Good production quality, but the album could easily be bisected and not lose any meaningful content.
The Mars Volta
2/5
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.
Buffalo Springfield
4/5
A compelling mix of folk rock and 60s psychedelic. Mr Soul was a surprisingly amazing track. Strong vocals.
The Isley Brothers
4/5
Superb funk. Rhythms are clean, with a distinctly original sound. Vocals are sometimes shaky.
Common
3/5
Common is clearly drunk off his own ego, but his rhymes and deliveries are solid. Beats complement his rapping style well.
Lynyrd Skynyrd
4/5
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.
Bob Marley & The Wailers
4/5
Classic reggae. Marley's vocals are solid, and the structures create a calming atmosphere. The title track is too long, however.
Adam & The Ants
3/5
Extremely campy, especially with songs like Jolly Roger. Not a bad listen, but dated.
Dr. Dre
2/5
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.
King Crimson
4/5
Oddly enjoyable. Grandiose, but capable of intimate moments. A few bizarre moments which derail the flow of the album.
Taylor Swift
3/5
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.
KISS
3/5
Standard 70s rock lyrics, but clean rhythms and harmonies elevate the album. Could do with a bit more substance, however.
Marianne Faithfull
2/5
Aimless and often uninspired. The last track is a lyrical train wreck. Did not merit inclusion on this list.
The Lemonheads
3/5
Musically solid, but failed to grab my interest. Singer's voice felt flat and uninspired. An excellent cover of Mrs. Robinson, however.
Amy Winehouse
3/5
Thematically boring, just repetitive songs of her debauchery and wasted relationships. Her vocals are outstanding, however.
Sabu
2/5
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.
Donovan
3/5
Found Donovan’s voice to be irritating. Novel song arrangements, but his overall style felt unoriginal.
Leonard Cohen
3/5
Cohen embraced the 80s sound a little too hard. Lyrically brilliant, but the overall arrangement is dated.
Bon Jovi
4/5
Not too musically ambitious, but masterfully executes its intent. Infectious energy.
Talking Heads
4/5
Bass lines were surprisingly solid, and the groups seems more controlled than in their later works. "Psycho Killer" is a standout track.
Alice Cooper
2/5
Unimpressive shock lyrics. Instrumentals were also rather bland.
Elis Regina
4/5
Fairly shallow pop songs, but Regina’s vocals are superb. Excellent funk influences.
Billy Joel
4/5
A bit repetitive, though a strong album overall. “Only the Good Die Young” is an ear worm. Some of the tracks do drag.
Simon & Garfunkel
4/5
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.
Tears For Fears
4/5
A musical treat. Perfectly embodies the 80s sound with warm synths and full vocals. A few tracks are a bit excessive in length.
Dirty Projectors
2/5
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.
Spiritualized
2/5
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.
Steely Dan
2/5
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.
Throbbing Gristle
1/5
This monstrosity does not even warrant one star.
Brian Wilson
3/5
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.
Grateful Dead
3/5
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.
The Birthday Party
2/5
A rough listen. Vocals are scattered and grating, while the instrumentals are nothing spectacular. Very glad that Nick Cave evolved beyond this sound.
Isaac Hayes
3/5
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.
Cypress Hill
2/5
Unimpressive. Repetitive lyrics about weed and hood culture. B Real’s voice is also amazingly irritating.
The Smiths
5/5
A masterpiece of pop rock. Witty lyrics, emotional vocals, and superb guitar performances.
Emerson, Lake & Palmer
3/5
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.
Sonic Youth
2/5
Like most Sonic Youth work, this album lacks discipline and vocal polish. Started strong, but quickly devolved into noise.
Dire Straits
4/5
Rather flat vocally, but Strait’s guitar skills are gripping. Sultans of Swing is a classic.
The Icarus Line
1/5
Completely unremarkable in every facet. Undeserving of inclusion on this list.
David Bowie
4/5
A fitting finale for Bowie. Vocals are understandably rough, but Bowie reflects on his mortality in a succinct and moving manner.
Missy Elliott
3/5
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.
Pixies
2/5
Respect for its influence, but what a mess. Vocals are awful, and the group lacks cohesion and rhythm.
The Undertones
4/5
Surprisingly enjoyable. Songs are simple per usual punk rock standards, but vocals are crisp and the group holds a high degree of cohesion.
k.d. lang
3/5
Not my preferred genre of music, but structurally sound and a few moments of lyrical brilliance. The album does overstay its welcome.
David Bowie
4/5
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.
Sex Pistols
4/5
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.
Genesis
3/5
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.
Korn
1/5
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.
Earth, Wind & Fire
4/5
Excellent soul and funk. Some of the songs do sputter out, but overall a quality listen.
Randy Newman
2/5
A less talented Billy Joel who's more fond of racial slurs.
Billy Bragg
3/5
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.
Dire Straits
4/5
A more poppy showing from Dire Straits. Less guitar, which is a shame. However, tracks are still entertaining and full of depth.
Solomon Burke
4/5
Superb soul. Burke’s vocals are poignant yet driving, and the instrumentals are solid. An engaging listen.
The Velvet Underground
4/5
A gritty look at the dregs of 60s society. Nico’s vocals are again irritating, but an oddly compelling listen.
The Killers
3/5
First half of the album is a triumph, but the latter half is a mess of filler. Entertaining pop rock, but not truly innovative.
Sister Sledge
3/5
Pleasant disco-funk, though fairly tame in its artistic vision. A good listen, but lacks depth.
The Beach Boys
4/5
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.
The Beau Brummels
4/5
An unexpected hit. Songs are lush and embody the psychedelic sound of the 60s.
Joy Division
4/5
Dark, moody, and driving. A few tracks wallow around rather than cleanly progressing, but overall a masterful work of post-punk.
Marvin Gaye
3/5
Rather one dimensional. Gaye’s vocals are superb, but the album is just 30 minutes of the same lyrics.
Motörhead
3/5
Loses a star for Jailbait. Nevertheless, still a classic. Innovative bass performances and raw energy.
Destiny's Child
3/5
Vocals are excellent, but songs are repetitive. The track list could be cut in half and the album would feel no different.
Miles Davis
2/5
Failed to retain my attention. The album seemed to be an aimless fusion of contemporary styles, a boring listen.
Neil Young & Crazy Horse
2/5
Dull. Young's lyrics fall flat, and the instrumental arrangements are uninspiring. A chore to finish.
John Martyn
2/5
Vocals were rough. A forgettable album in most aspects.
Count Basie & His Orchestra
4/5
Excellent jazz. Songs display a wealth of technical depth without losing their groove or listening pleasure.
Teenage Fanclub
3/5
Fairly unremarkable. Mostly enjoyable pop rock, but failed to register any lasting impression.
Nitty Gritty Dirt Band
4/5
An amazing compendium of country and bluegrass music. A little too long, but a quality listen.
Leftfield
2/5
Another example of the author’s obsessions with British house music. Forgettable at best, annoying at its lowest points.
Dolly Parton
4/5
A simple album, but achieves its intent. Parton’s vocals are excellent. A very pleasurable listening experience.
3/5
Solid country. Lyrics were oddly fixated on adultery. A short listen, but enjoyable.
The Jam
3/5
Inflections energy and a driving sound, but lacks polish. Vocals are somewhat irritating. Lacked a true standout track.
T. Rex
2/5
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.
Baaba Maal
3/5
Solid, but repetitive. An interesting basic sound, but the vocals felt like the same track on repeat.
Fishbone
3/5
Felt like proto-mu metal. A compelling funky sound, but the vocals sound childish.
LCD Soundsystem
5/5
A masterpiece of electronic music. Masterfully touches on themes of loss and aging while retaining a distinct groove.
Supertramp
4/5
An excellent combination of prog rock and pop which deftly touches on themes of youthful confusion and alienation.
2/5
Immature lyrics, but the instrumentals were surprisingly solid. Doesn't belong on this list, but not an awful album.
Morrissey
4/5
Poetic lyrics and smooth vocals. Morrissey does occasionally indulge his excesses with tracks like “Bengali in Platforms,” but a quality listen.
Jimi Hendrix
5/5
The apex of Hendrix's guitar skills. Tracks retain a pop feel, but allow room for musical innovation.
David Gray
3/5
A return to emotional singer-songwriter standards of the 60s. Songs are pleasant, though some border on the verge of dull.
Pixies
4/5
A more energetic development from their earlier works. Not much lyrical depth, but an engaging listen.
Afrika Bambaataa
3/5
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.
Depeche Mode
4/5
Retains a gothic, moody vibe while embracing pop structures. More engaging than their previous work.
Fugees
4/5
Lauryn Hill carries this album. Word crafting is excellent, and the beats are above average for a 90s hip hop album.
Nas
4/5
Excellent hip hop. Embodies the gritty, dark feel of mid 90s New York.
James Taylor
3/5
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.
John Mayall & The Bluesbreakers
2/5
Blasé blues rock. Left almost no impression. Clapton was a bright spot, but the album is very forgettable.
Dwight Yoakam
3/5
Intriguing honky tonk revival. Songs do feel repetitive, though the incorporation of some Mexican banda influences is original. Not really my taste, but respectable.
Napalm Death
1/5
Influential? Maybe. Listenable? No.
Kendrick Lamar
4/5
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.
Wire
3/5
Average punk rock. Song structures are good, though the vocals and instrumentals were uninspiring.
Jungle Brothers
3/5
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.
Yes
3/5
"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.
Dinosaur Jr.
3/5
Solid alternative rock. Some intriguing melodies, though the vocals were unpolished.
Ray Price
2/5
Felt rather flat. Price’s vocals are largely one-dimensional, and the lyrical content of the album is repetitive.
The Divine Comedy
2/5
An odd listen. Lyrical content was unusual, and most songs were somewhat grating.
Pearl Jam
3/5
Vocals are usually muddled with an odd inflection. Instrumentals are good, with a few catchy guitar melodies.
The Notorious B.I.G.
4/5
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.
Finley Quaye
2/5
A Scottish man with Ghanaian heritage producing reggae music. Felt insincere and flat.
Fela Kuti
3/5
Rather chaotic, though Kuti's talent is apparent. The album would have benefitted from more structure, it felt like an extended jam session.
Orbital
2/5
Yet again, the authors’ for irrelevant British electronic music is apparent. A chore to finish.
Led Zeppelin
4/5
Quality hard rock. Tracks drip with passion, augmented by driving guitars. The drum solo track was somewhat odd.
Big Black
4/5
An intriguing amount of variety for a punk album. Rapidly shifts between a raw sound to a more melodic element.
Pulp
3/5
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.
Minor Threat
3/5
Complex for a punk album. Solid lyrics on self-reflection and the difficulties of interpersonal relationships. Incredibly short, however.
The Band
2/5
Several good instrumental performances, but lacked cohesion. More of a collection of songs than an album. Tender to meander, as well.
Bruce Springsteen
4/5
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.
Mudhoney
2/5
The low recording quality makes every track sound like a muddled mess. Unexceptionable in most regards.
Sonic Youth
3/5
More controlled than prior Sonic Youth albums, but still prone to outbursts of nonsense. Guitar rhythms were generally pleasant, though lyrics are lacking.
The Dave Brubeck Quartet
4/5
Smooth, easy jazz. “Take Five” is a classic. An enjoyable evolution of the big band sound.
Little Richard
3/5
Influential rock and roll, though rather one dimensional. Most songs are lyrically and structurally similar.
k.d. lang
2/5
Mediocre adult contemporary behind a veneer of country. This is the type of music that plays at rural truck stops.
John Cale
3/5
Horribly produced, the sounds are muddy and the vocals are difficult to discern. Otherwise, a quality album with intriguing themes and pleasant arrangements.
The Avalanches
4/5
A funky, unique album. Creative use of sampling. A few dud tracks.
Flamin' Groovies
3/5
Solid blues rock, but unexceptional. Did not merit inclusion on this list.
Moby Grape
4/5
A pleasing blend of genres. Vocals and instrumentals are strong.
The Human League
3/5
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.
TV On The Radio
2/5
Felt plastic. Touches upon several genres, but vocals feel flat and most track don't go anywhere.
Talking Heads
4/5
Each song is enjoyable. A good balance between Byrne's sometimes outlandish lyrics and the solid rock foundations of the music.
George Jones
2/5
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.
Arcade Fire
4/5
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.
Keith Jarrett
3/5
Technically brilliant, but Jarrett’s odd moans are extremely distracting. A bit too long.
Radiohead
4/5
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.
Doves
3/5
Inoffensive modern rock. Did not feel particularly influential. No true standout track, but no real duds either. Average in most respects.
R.E.M.
3/5
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.
The Electric Prunes
3/5
LSD is a helluva drug. Some solid psychedelia, but more goofy songs than not.
Prince
5/5
An exciting listen. Perfect fusion of rock and 80s synth. Prince’s vocals are immaculate, and the lyrical content is risqué and exciting.
50 Cent
2/5
A few enjoyable tracks, but mostly filler. 50's flow is one dimensional. Repetitive lyrics as well.
The Kinks
3/5
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.
Franz Ferdinand
3/5
Enjoyable, but lacks a degree of soul. Formulaic, but a solid listen.
3/5
Cringy, sophomoric lyrics, but solid musical structures. The classical training of Bellamy is apparent.
New Order
3/5
Some of the late 80s synth sounds are dated, probably even to contemporary listeners. Grooves are addictive.
Cyndi Lauper
2/5
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.
The Velvet Underground
4/5
Charming melodies with a markedly softer tone than their previous albums. The last few tracks are bizarre and jarring.
Crosby, Stills & Nash
2/5
Boring. For the assembly of talent, most tracks are similar and fail to build to any peak.
Isaac Hayes
4/5
Smooth, melodic soul. Hayes’ velvet vocals create an unmatched tone. Each track is a bit too long, however.
Lightning Bolt
1/5
It's noise alright. I struggle to comprehend how someone could derive any satisfaction from this.
Stevie Wonder
4/5
Classic Stevie Wonder. Vocals and rhythms are tight, and the lyrical content is generally strong. A bit of filler, however.
Bad Company
3/5
Technically solid, but unremarkable classic rock. Lyrics contain the standard 70s rock tropes, but the album is a solid listen.
Digital Underground
2/5
Corny and detrimentally horny. Some of the beats are solid, but the flows are painfully rigid.
XTC
2/5
A cheesy attempt at recreating a 60s sound. Vocals are irritating, and the lyrical content is mostly silly.
Billie Holiday
3/5
Holliday’s voice sounds rough. Songs are mostly similar in nature, leaving Holliday little room to explore her talents.
Suede
2/5
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.
Air
3/5
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.
Frank Sinatra
4/5
Excellent Sinatra standards. The content of each track is fairly similar, but they achieve their intended aim. Very pleasant listen.
Alice Cooper
3/5
Outstanding bass, easily the strongest aspect of the album. Mixing was somewhat off. Some intriguing lyrical ideas, though mostly forgettable.
The War On Drugs
4/5
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.
Pavement
3/5
Clear musical talent, but the arrangements are rough. Vocals are grainy and lack refinement, which tracks seem complex purely for complexity's sake.
Fiona Apple
3/5
Quality lyrics, though rather one dimensional. A little too angsty overall. Apple’s vocals are somewhat muddy at times.
SZA
2/5
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.
Gorillaz
3/5
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.
Tim Buckley
2/5
40 minutes of unrestrained horniness with mediocre vocals. Doesn’t belong on this list.
Ray Charles
4/5
An excellent fusion on Charles' soulful sound with contemporary country. The big band influences are also compelling.
Lenny Kravitz
3/5
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.
Marvin Gaye
2/5
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.”
John Coltrane
4/5
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.
David Bowie
4/5
Classic Bowie, with some standout tracks like “Changes” and “Life on Mars.” A couple of whiffs towards the end of the album.
The Specials
2/5
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.
Neil Young
4/5
Enjoyable folk rock with poignant social commentary. Avoids the worst tropes of the singer-songwriter genre.
Joy Division
4/5
Seminal post-punk. Lyrics reflect the darkest period of Curtis' life, and the bass performances are excellent. His vocals are occasionally rough.
Weather Report
4/5
Groovy jazz fusion that doesn't overstay its welcome. Birdland is a amazing track.
Adele
4/5
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.
The Kinks
3/5
Solid proto-psychedelia, though some of their lyrical choices are boring. Instrumentals are a step back from their previous albums.
Jeru The Damaja
2/5
Lyrics are intelligent, but the beats sound primitive. A hard listen.
Fleetwood Mac
4/5
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.
4/5
Great storytelling, though the vocals can be a bit sparse. Solid collaboration with Thom Yorke.
The The
2/5
Doesn’t belong on this list. Vocals are rough, and the synth melodies are grating. Most tracks are too long.
Britney Spears
3/5
A few classic pop tracks, but mostly filler. Repetitive lyrics about generic romance tropes. Spears’ voice is outstanding, though.
Incubus
2/5
A time capsule of the worst aspects of 90s rock. Whiny vocals, vaguely predatory lyrics, and repetitive guitars.
Steely Dan
4/5
Swinging soft rock with some Latin jazz influence. Some standout tracks, but also includes some more limp filler.
The Stranglers
4/5
A pleasant surprise. A punk foundation, but builds upon that foundation with grooves and some synths. A great listen.
Roxy Music
3/5
A few enjoyable tracks, but felt devoid of purpose. Solid, but doesn’t merit inclusion.
Sleater-Kinney
2/5
Vocals were grating, and most tracks were lyrically uninteresting. Instrumental performances were also bland.
Nick Cave & The Bad Seeds
2/5
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.
Radiohead
4/5
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.
Ryan Adams
2/5
Whiny soft rock with some half-baker country. Too long by half.
Wu-Tang Clan
4/5
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.
Leonard Cohen
3/5
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.
Tangerine Dream
3/5
Enjoyably ethereal, but very easy to lose focus. A pleasant album, but not particularly memorable.
Bob Dylan
4/5
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.
The Hives
3/5
Compilation albums are cheating. However, a solid listen. Some addictive tracks, though generally a modern and formulaic take on punk rock.
Khaled
3/5
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.
The Pogues
4/5
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.
Talking Heads
4/5
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.
Leonard Cohen
2/5
Failed to register with me. His voice seemed out of tune, and the lyrical content was boring.
Small Faces
3/5
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.
Scott Walker
3/5
Walker’s vocals are strong, and he touches on subjects beyond the typical range of 60s pop. However, the backing instrumentals are cheesy, and he resorts to needless scatting on several tracks.
Simon & Garfunkel
4/5
“Mrs. Robinson” is a masterpiece of a song. The rest of the album is superb, with Simon’s skillful songwriting and the duo’s smooth harmonies. Some of the instrumental tracks did disturb the progression of the album.
The Slits
2/5
Their musicianship is mediocre. Vocals are out of tune, and their guitar melodies are beyond simplistic. Their enthusiasm is apparent, which does lend a certain degree of excitement to the album.
Solange
1/5
Boring. Her vocals are one dimensional, and the lyrical content is cliche. I cannot remember a defining aspect of this album.
Radiohead
5/5
A masterpiece of modern rock. Perfectly captures the anxiety that grips the modern age. Very prescient in its warnings against the coming internet era.
Frank Black
2/5
Too long. Attempted to recapture a Pixies sound, but felt hollow. Doesn’t belong on this list.
Ryan Adams
3/5
Adams has a strong voice, though the song arrangements are fairly formulaic. The ballads tend to just wallow rather than meaningfully build.
The Fall
2/5
Lacked any sense of direction. Instrumental performances were sophomoric at best. Half-baked.
The Beach Boys
4/5
Unexpected depth, with lots of catchy rhythms. A bit heavy handed in its calls to action, though.
My Bloody Valentine
5/5
Brilliant. Ethereal vocals and distinctive guitars. One of a kind.
The Young Gods
1/5
Awful. Vocals are little more than growling, and the instrumentals are basic.
Jane's Addiction
3/5
Very energetic, though it lacks a degree of polish. Vocals are a little too nasal. A solid debut, though it does possess some filler.
The Magnetic Fields
2/5
Automatic two stars for its ridiculous premise. Some good songs, but an ungodly amount of filler.
Randy Newman
2/5
Every Randy Newman song sounds good until he begins to sing. Some genuine lyrical depth, but his whimsical voice and instrumental decisions makes every track resemble the soundtrack to a children's movie.
Big Brother & The Holding Company
4/5
Excellent blues rock. Joplin’s raspy, powerful vocals add another layer of emotion to the instrumentals. “Ball and Chain” is far too long.
Funkadelic
3/5
Excellent funk grooves, but the lyrics sound like a fever dream. An 11 minute track of only fecal references? Really?
Dead Kennedys
3/5
Decent shock value overlays some quality lyrics. Vocals are very rough and often out of tempo.
Metallica
3/5
Solid, but bloated. Most tracks are too long, and they fail to expand upon their initial poetic point. Some excellent guitar solos.
The Who
4/5
Prime Who. Moon’s drumming and Entwistle’s bass are powerful, and the band exemplifies the meaning of hard rock. Some odd song choices for a live concert, though.
The Go-Betweens
3/5
Bouncy pop rock. The lyrics were rather forgettable, but an easy and enjoyable listen. Didn’t quite merit inclusion on the list, but a solid album.
fIREHOSE
3/5
Felt a little half-baked, but enjoyable overall. Interesting song structures and guitar. Vocals were a little rough.
The Rolling Stones
3/5
85% covers, which I found uninspiring. The foundation of their future success is there, but the album is somewhat bland.
Pulp
3/5
Rather too long, but solid. The "Seductive" track was awkward and highly unnecessary.
Emmylou Harris
2/5
Milquetoast country. Attempts to exude a mature era, but still embraces common country tropes. Writing is average at best.
Badly Drawn Boy
3/5
A strong opening, though the album brings to flounder around the halfway point. Vocals are the weakest aspect of the album. The baroque pop influences were compelling.
Neil Young
3/5
A mature showing from Young, who imparts compelling commentary on loss and despair. Accompanied with some solid grooves. The blues tracks are somewhat awkward, as are their lengths.
Lorde
4/5
Outstanding pop. Lorde provides moving lyrics on heartbreak and a party lifestyle while infusing addictive pop beats. Her vocals are still somewhat unrefined.
Simple Minds
4/5
Amazing synth and bass. Vocals are smooth. A few tracks which waffle about, but a very enjoyable listen.
The Divine Comedy
1/5
At least it was short.
Deep Purple
4/5
A rock classic. The riff to "Smoke on the Water" is instantly recognizable. Hard, driving rhythms. I would've liked to have seen a bit more from the bass and vocals.
R.E.M.
4/5
An intriguing amount of depth for jangle pop. Vocals are deliberately muddy, but this negatively affects some tracks. Guitar was the strongest aspect of this album.
Everything But The Girl
1/5
Grocery store music. Irritating in every aspect.
Nine Inch Nails
3/5
A gritty, industrial sound. Not really my taste, but I appreciate the artistry.
Miriam Makeba
4/5
Very pleasant. Makeba delivers her vocals in a smooth manner.
The Sabres Of Paradise
2/5
Sounded like the soundtrack to a children’s point and click game.
Orbital
2/5
The amount of mediocre English techno on this list is astounding. An annoying listen.
Fiona Apple
3/5
Some solid tracks, but several more are little more than a spurned woman lamenting her failures. The spoken word delivery also gets old quickly.
Raekwon
3/5
Fairly one dimensional, but enjoyable. Delivery is solid, as are the beats, but the mafioso vibe comes across as plastic.
Wild Beasts
2/5
The instrumentals are solid, but the singer could’ve done with some more voice lessons. Most tracks were very annoying.
The Prodigy
3/5
Some solid grooves, but very repetitive. Several tracks are 4 minutes too long.
Miles Davis
3/5
Undeniably influential, but I found it hard to digest. Several tracks sound like little more than warm-ups.
Gillian Welch
2/5
Dour country. Most songs are a slog to finish, especially the 12 minute behemoth at the end. It’s like country for emos.
Brian Eno
3/5
Enjoyable, but failed to keep my attention for extended periods.
Beck
2/5
Songwriting is weak. Some good rhythms, but most tracks devolve fairly quickly.
Donald Fagen
2/5
Yuppie music. Structurally and lyrically sound, but quickly becomes annoying.
Gram Parsons
3/5
Rather one dimensional, but enjoyable. Emmylou Harris outshines Parsons on most tracks. A few moments of lyrical brilliance.
The Darkness
3/5
A throwback to 70s glam rock. Songs are fairly simple but enjoyable. The singer's falsetto is like nails on a chalkboard.
D'Angelo
2/5
Boring. D’Angelo’s vocals are strong, but each track sounds identical. I found myself losing interest after 30 seconds.
Manu Chao
3/5
Felt fairly mundane to a non-Spanish speaker. No song truly grabbed my interest, and the English lyrics were somewhat weak.
Beatles
5/5
A masterful end to the Beatles’ discography. Lush instrumentation, witty lyrics, and the triumphant emergence of George Harrison as a songwriter.
The Cure
4/5
Some tracks are bit too long, but overall very enjoyable. "Lovesong" is an absolute earworm.
Holger Czukay
1/5
Sounds like it was generated by an AI. I fail to see any significance to this album.
Fugazi
3/5
Vocals are often little more than disorganized shouting. Some solid melodies and guitars.
Garbage
3/5
Some solid tracks, but seemed plastic. Lacked the bite of most alt rock. Did possess some lyrical depth, however.
The Byrds
4/5
Strong vocal harmonies, and some compelling lyrical content. A few filler tracks, like that Lear Jet mess.
Ladysmith Black Mambazo
3/5
Fairly one dimensional, but a very pleasant listen. The group's talent is undeniable.
4/5
The first three tracks are brilliant, though the rest of the album tapers off. Bono’s vocals are sometimes grating, but the group succeeds in its musical vision.
Janis Joplin
4/5
Joplin shines on the blues rock tracks, but her raspy voice causes the ballads to shudder along.
Manic Street Preachers
2/5
Cringe and faux-intellectual lyrics. Their anger is sophomoric at best. Some solid rhythms, though.
The Rolling Stones
4/5
A strong blues rock album. Some tracks are too long, but the Stones produce addictive grooves and compelling lyrics.
The National
4/5
The smooth baritone vocals are enticing. "Bloodbuzz Ohio" is a masterpiece of melodic pop. Some of the lyrical decisions are a bit confusing, however.
Beatles
5/5
A masterpiece of rock. The origins of psychedelia and alternative rock are apparent. Experimental, but retains the listenability of pop.
David Ackles
2/5
Something about this album was off-putting. It felt like a mix of Newman and Walker, but with neither musicians' positive traits.
Elton John
4/5
If John had condensed the tracklist into a standard length album, this would be a top 10 work. However, there is a decent amount of filler.
Frank Sinatra
4/5
Classic Sinatra. He delivers pleasant songs on themes of loneliness and frustrated emotion.
M.I.A.
3/5
The fusion of Southern Asian and hip-hop was intriguing, but M.I.A.'s vocals are generally grating. Her lyrics are also sophomoric at best.
Duran Duran
3/5
Repetitive, but enjoyable overall. Most tracks have a similar synth sound, which sometimes falls into the worst excess of the 80s. “Hungry Like the Wolf” is a classic.
Tom Petty and the Heartbreakers
3/5
Completely average and inoffensive 70s rock. Most songs are short and direct. The album makes no statements or new musical perspectives, but does not possess any irritating aspects, either.
Richard Thompson
3/5
Vocals could have benefitted from some refinement. Technically proficient, but boring.
The Byrds
2/5
Thoroughly mediocre country. An odd choice for a group who excelled at folk rock. Doesn't belong on this list.
De La Soul
4/5
Unique and witty, albeit extremely corny. A distinct blend of hip-hip and psychedelia.
Traffic
3/5
Standard late 60s fare. Mostly filler, but a few standout tracks. Appreciated the harpsichord.
Circle Jerks
3/5
Short and basic punk. I wasn’t left with much of an impression, but I also wasn’t actively annoyed by the album.
Dion
2/5
Mindless muzak. Dion's voice is ok, but the album is instantly forgettable.
Rocket From The Crypt
2/5
High energy, but rather boring. Each song sounds exactly the same and the album quickly loses the listener's focus.
Guided By Voices
2/5
Some intriguing moments, but each track is too short to leave a real impression. ADHD made into an album.
Ash
3/5
Generic britpop. "Girl from Mars" was pleasant, but most of the album possessed the same driving sound. The production was also a bit messy.
Queen Latifah
3/5
Standard 80s hip-hop. Beats and flows are somewhat awkward, but the lyrical content is generally creative. The female empowerment angle does grow stale by the end of the album.
Jane Weaver
3/5
Solid electronic psychedelia. Weaver’s vocals were rather weak, I typically enjoyed tracks more during the instrumental portions.
Mylo
3/5
Decent house music. Strong beats, but the samples are sometimes off-putting.
Cee Lo Green
2/5
Green’s voice is irritating, and the tracks barely qualify as soul music. Generic drivel that doesn’t belong on this list.
Germs
2/5
Vocals are nasal and grating, and most tracks are near identical. The final track is almost 10 minutes in length, excessive for a hardcore album.
The Verve
2/5
“Bittersweet Symphony” is the only reason for this album’ inclusion. The remaining tracks are plodding and dreary, with little to distinguish them from one another.
Youssou N'Dour
3/5
Enjoyed the percussion. Vocals were rather repetitive, but a pleasant album on the whole.
Ravi Shankar
3/5
The explanations of Indian musical theory were interesting. Each track was too long, but overall a compelling insight into classical Indian music.
Tom Tom Club
3/5
Some quality funk grooves, but the songwriting overall was somewhat weak. Might have the worst cover of "Under the Boardwalk" I've ever heard.
Louis Prima
4/5
Highly entertaining big band music. Songs are witty and enthusiastic, and Prima's raspy vocals perfectly complement the female vocals.
Machito
4/5
Enjoyable Afro-Cuban jazz. The percussion was particularly strong.
Cowboy Junkies
3/5
Sultry bar room blues. Generally repetitive, but the album clearly succeeds in its intent. The vocalist is the most compelling aspect of the work.
Baaba Maal
2/5
Maal is clearly talented, but the production is awful. Dated synth horns and saxophones make the album a painful listen.
Jean-Michel Jarre
3/5
A fine ambient album. I would've liked to have seen some more variety in each track. The album doesn't overstay its welcome at 40 minutes.
Echo And The Bunnymen
4/5
A rich and mellow sound, but retains a degree of bite. An excellent post-punk album.
Stereo MC's
2/5
Early 90s British hip-hop, an unholy combination. The lyrics and flows are painful. Some of the beats were quality, however.
Ministry
2/5
Excellent drumming, but every other aspect of this album was weak. Imprecise vocals, childish lyrics, and unimaginative guitars.
Tim Buckley
4/5
Buckley’s vocals are pleasant, as are the psychedelic themes. The title track was far too long. The orchestral accompaniments, though underutilized, were excellent.
Captain Beefheart & His Magic Band
1/5
A musical aneurysm.
Jack White
3/5
Solid blues rock, but rather unexceptional. White’s guitar performance is notably lesser than his White Stripes era.
Duke Ellington
5/5
Superb jazz. The solo on "Diminuendo and Crescendo in Blue" was fantastic.
Lupe Fiasco
2/5
Automatic 2 stars for the outro. A 12 minute shoutout of everyone you’ve ever known? How self-indulgent.
King Crimson
3/5
Some good moments, but outweighed by the excesses of prog rock. Lots of random, directionless noises.
The La's
4/5
Quality no-frills rock. Each track was generally direct and catchy, with "There She Goes" being a standout. The final track was rather bloated.
Laura Nyro
3/5
Nyro’s vocals are strong, but each track flips out wantonly. There was 30 seconds of quality sound, then an abrupt jump to absurd grandiose arrangements.
Björk
3/5
The album shined when Björk wasn’t signing. Her wispy, childlike vocals were simply annoying.
Rufus Wainwright
2/5
Wainwright’s vocal talent is apparent, but he winges and whines his way through the entire album. The opening track is truly terrible.
Björk
4/5
A strong solo debut from Björk. Experimental, but retains listenability. Rich vocals and lyrics.
Paul McCartney
2/5
Felt unfinished. “Maybe I’m Amazed” was the only quality track on the album. The rest of the tracks were short and half-baked.
Throwing Muses
3/5
Rather hard to find. A raw sound, but mostly enjoyable. I did not find it to be notable enough to warrant inclusion on this list.
Bad Brains
2/5
Solid instrumentals, but the vocals were atrocious. Often grating and sometimes incomprehensible.
The Triffids
3/5
Remarkably average and inoffensive. Nothing about the album was irritating, but it also lacked any definitive aspect.
Röyksopp
3/5
A few standout tracks, but mainly a collection of elevator music.
Jefferson Airplane
4/5
Slick should have been the sole vocalist on this album. A lush psychedelic sound, but the male vocalist’s performance is weak.
Black Sabbath
4/5
Boundless experimentation. Black Sabbath may have invented several subgenres of metal in this album alone. Sometimes leans a little too far into the "doom and gloom" sound.
Cocteau Twins
3/5
Vocals were incomprehensible at best, but the band succeeded in creating an ethereal sound.
Boards of Canada
2/5
Oh boy, another underwhelming British electronic album.
O R A N G E
Brian Eno
3/5
Respectable avant-garde rock. Lyrically average, but some solid grooves.
Bill Evans Trio
3/5
Solid jazz, but it failed to keep my attention. The rather minimalist sound blurred together after a few tracks.
Fats Domino
3/5
Enjoyable proto-rock. Lyrics are basic and fairly repetitive, but Domino's energy is infectious and his piano skills are outstanding.
Queens of the Stone Age
3/5
Repetitive and fairly generic, but still enjoyable. Felt more like a demo tape at times.
Klaxons
4/5
Innovative. The album's creativity is apparent, though some tracks are somewhat boring despite the group's energy.
Bill Callahan
2/5
This man cannot sing. The songs are brilliantly constructed, but his bored monotone vocals absolutely kill the album.
The Adverts
3/5
Felt rather blasé. Standard punk with no real innovations.
Skunk Anansie
2/5
Nothing chill about it. A rough mess of angry, off-key singing and edgy lyrics.
The Monkees
3/5
Fairly standard 60s pop. No real standout track, but no annoyances either.
The Residents
1/5
Mindless drivel that should've stayed in a college classroom.
Kelela
3/5
Solid production, though get lyrics and Kelela’s vocals are forgettable.
Heaven 17
1/5
Garbage synthpop. Lyrics are infantile and the synth sounds are beyond dated. Absolutely no reason for this album to belong on the list.
Stan Getz
4/5
Pleasant samba music. A bit repetitive, but the instrumentals were solid throughout.
Stephen Stills
3/5
Decent southern rock. Tracklist was rather bloated, but no real negative aspects.
Brian Eno
2/5
Rather boring. Some interesting motifs, but failed to keep my attention.
CHVRCHES
2/5
Fairly unremarkable. Most tracks are standard synth pop with few distinguishing features. “Science/Visions” was great, however.
Mekons
2/5
Certainly experimental, but mostly falls flat. The group should've hired a better fiddler.
Magazine
3/5
Solid post-punk. Some odd tracks, but overall an enjoyable listen.
Joni Mitchell
3/5
I remain unimpressed by Joni Mitchell. An interesting concept as a road album, but most tracks ramble on towards their 5 minute conclusion.
The Velvet Underground
3/5
Amazing at its peaks, but typically meandering and directionless. A 17 minute final track, really?
Devendra Banhart
2/5
Ok, but rather irritating. Felt like any neo-folk produced by a number of musicians on the streets of Portland or Asheville.
The Temptations
4/5
Masterful funk and soul at its apexes. A few filler tracks, but overall an enjoyable listen.
Frankie Goes To Hollywood
3/5
Would have benefitted from a condensed tracklist. The sound is also a bit dated, albeit still enjoyable.
The Boo Radleys
2/5
Sophomoric. The group has talent, but they muck about on most tracks. The authors’ bias towards mediocre britpop shows again.
Method Man
3/5
Gritty and dark, but fairly repetitive. Some witty rhymes.
My Bloody Valentine
3/5
Lacks the shine of Loveless, but still a quality record. Some tracks relied too heavily on guitar effects at the expense of song structure.
Sugar
2/5
Painfully mediocre 90s rock. This album is unexceptionable in almost every aspect.
The The
2/5
Somewhat awful? The synths are irritating, and the vocals possess an odd inflection. Not particularly memorable.
Faith No More
2/5
A lot of empty noise. Vocals are frequently annoying, This album's influence on later nu-metal cannot be forgiven.
George Harrison
4/5
A masterpiece of Harrison’s songwriting. The third album, “Apple Jam,” was wholly unnecessary.
Morrissey
4/5
Surprisingly good for a solo Morrissey album. Strong vocals and witty social commentary with above average instrumental performances.
White Denim
3/5
Somewhat scattered, but an enjoyable neo-psychedelic experience.
Ian Dury
2/5
Dury cannot sing. Some of the tracks have funky grooves, but they're ruined as soon as Dury opens his mouth. His music might be good in a pub, but it doesn't work on an album.
Def Leppard
2/5
Empty calorie pop metal. Most tracks feel like filler, with little redeeming lyrical or instrumental aspects.
The Libertines
2/5
A pleasant listen, but absolutely forgettable. Hard to recall a distinguishing aspect of the album.
Van Morrison
3/5
Album is too long. Vocals are excellent, but the production is generally weak.
Steve Winwood
2/5
A very dated sound. “Second Hand Woman” was a great track, but most of them dragged to their conclusions.
Grandmaster Flash & The Furious Five
3/5
An interesting blend of genres. Refreshing to hear positive hip-hop. However, the flows and deliveries are extremely wooden and dated.
Bee Gees
2/5
Painfully boring. A slog of cheesy ballads with few memorable features.
Sonic Youth
3/5
Much of the album was noise, but it delivered a few standout tracks like "Teen Age Riot." No need for this to be a double album.
Minutemen
3/5
A discordant blend of genres, but the album somehow works. It loses marks for its bloated tracklist.
Christine and the Queens
3/5
Lacked any true original sounds or concepts, buy enjoyable. Seemed to lose its momentum towards the latter half of the album.
The White Stripes
3/5
White's whiny blues vocals quickly grow stale. A handful of good tracks, but rather dull overall.
The Jesus And Mary Chain
2/5
Largely a mess of noise. The album was difficult to finish. The initial track was good, however.
Nusrat Fateh Ali Khan
3/5
An intriguing departure from Western music. Album was a bit too long, and Khan's vocals were a bit fried at times. However, his talent was obvious and most tracks were enjoyable.
Radiohead
4/5
An outstanding blend of synth and rock. The sociopolitical lyrics are insightful and cutting. A few tracks do drag.
The Young Rascals
3/5
Unremarkable. Standard 60s pop which did not merit inclusion on this list.
Madonna
2/5
Bland pop. The “It’s so hard to be a girl!!!” tracks lose their bite considering that Madonna was a multimillionaire superstar at this stage of her career.
Blood, Sweat & Tears
3/5
A rather wonky listen. The album wildly oscillates between classical and blues rock. Very enjoyable at its high points, but it struggles to find a groove.
Aerosmith
3/5
Some solid tracks, but the lyrical content is downright irritating. Listening to middle aged men wax poetic about their sexual desires for 40 minutes is a chore.
Marvin Gaye
5/5
A triumph of soul music. The instrumentals perfectly complement Gaye’s powerful vocals. Lyrical content is moving and poignant.
Deee-Lite
2/5
Strongly dated. Most tracks are forgettable at best, with "Groove is in the Heart" being the only standout addition.
Gotan Project
2/5
Above average elevator music. A mediocre album.
William Orbit
2/5
The author's obsessions with mediocre 90s house music once again shows. Over an hour of repetitive sounds and irritating vocalists.
Dizzee Rascal
3/5
Solid grime with some creative production and beats. Album was a bit too long.
Bonnie "Prince" Billy
3/5
Billy's vocals are not particularly strong, and the production is weak. However, the album succeeds in its intent to create a gloomy folk sound.
Bebel Gilberto
3/5
Solid bossa nova. I found Gilberto’s vocals to sometimes be grating. Quality production, however.
Steve Earle
3/5
Guitars were exceptional, but Earle’s vocals and lyrics were generally forgettable. Enjoyable, but mostly bland.
Peter Gabriel
3/5
The production is horrendously outdated. Most tracks are very well written, and the album successfully engages in a good amount of world-building.
Simply Red
2/5
Irritating production and vocals. Lyrics were similarly unimpressive. Did not merit inclusion on the list.
Stephen Stills
4/5
Contains a wealth of soul and depth. The keyboard, guitar, and vocals are similarly impressive.
Kate Bush
2/5
An odd mish-mash of sounds. Bush making donkey noises was rather bizarre. The album never truly settled upon a direction, making it a difficult listen.
Ms. Dynamite
2/5
Decent R&B, but entirely unoriginal. Zero novel motifs, production techniques, or lyrical ideas.
Ute Lemper
1/5
Mediocre covers of mediocre songs. The male vocalist was absolutely atrocious. In no reality is this album essential to the human experience.
Rod Stewart
3/5
Fairly repetitive, but enjoyable. Vocals were a bit rough at times. Solid instrumentals.
Kid Rock
1/5
This is absolute trash. No one deserves to be subjected to this for 70 minutes.
Massive Attack
4/5
First trip-hop album on this list that was truly enjoyable. Solid beats and vocals that don’t become repetitive.
John Prine
4/5
The vocals and instrumentals are average, but Prine's lyricism is outstanding. A true titan of folk poetry.
Robbie Williams
2/5
Standard pop. Felt like thousands of other 90s singers, it did not sound unique in any meaningful way.
3/5
Decent Brazilian samba with a intriguing amount of acid jazz. Album grew stale by its conclusion, but a solid listen.
Justice
4/5
Excellent dance music. Most tracks are simply addictive with hard electro beats and creative sampling.
Missy Elliott
3/5
The spoken-word sections were wholly unnecessary. Production was excellent. Elliot delivers some quality lyrics, but also dedicates an unnecessary amount of time to sophomoric sex references.
The Everly Brothers
3/5
Generally enjoyable rock and roll, though very shallow and lyrically repetitive.
More groups should take note of the 27 minute runtime.
The Bees
3/5
Peasant ethereal music, but one dimensional. Not particularly memorable.
Morrissey
3/5
Morrissey's voice has noticeably improved since his Smiths and early solo work. However, the lyrical content is largely the same. Enjoyable but repetitive.
Slipknot
2/5
Production is awful, I can hardly discern the vocals at times. Lyrics are childish at best. The album is oddly enjoyable at times, but overall an irritating listen.
GZA
3/5
Outstanding lyricism. Production was rather rough at times, and I found that the kung-fu movie sections overstayed their welcomes.
Orchestral Manoeuvres In The Dark
4/5
Surprisingly solid. The group deftly merges synth sounds with pleasant vocals. Shades of Kraftwerk.
Stevie Wonder
4/5
The album is too long. Magnificent at its peaks, but a detrimental amount of filler tracks.
Grateful Dead
2/5
75 minutes of improvisation. Great on a technical level, but an absolutely boring listen.
Probably amazing if you're on acid.
Kendrick Lamar
4/5
Superb production, but Kendrick himself is the weakest aspect of the album. His flows are monotone at most times.
The Zutons
2/5
Rather unremarkable. Most tracks are a mess of quirky sounds which don't amount to much. Highly forgettable.
Linkin Park
3/5
Possesses a great deal of depth for a nu-metal album. Some cringey lyrics, but retains a degree of poetic quality.
Terence Trent D'Arby
3/5
D'Arby's vocals are outstanding, but the production is awful. This album probably sounded dated a mere 5 years after its release.
The Dandy Warhols
3/5
Bizarrely ends on two irritating, extended instrumental tracks. Taints an otherwise solid shoegaze album.
The Yardbirds
2/5
Rather flat. Some intriguing experimental aspects, but the vocals and lyrics are uninspired.
Einstürzende Neubauten
2/5
The album is deliberately unlistenable, but I respect the experimental aspects.
Belle & Sebastian
4/5
Excellent songwriting and progression. Vocals are rather blasé, but the album was an enjoyable and accessible indie rock experience.
Dr. Octagon
1/5
The first album on this listen to make me truly uncomfortable. Dr. Octagon's lyrics are outright predatory at times. He also has a strange fixations with peepee and doodoo rhymes. Childish and goofy rap which is a disgrace to anyone involved with its production.
R.E.M.
3/5
Stipe's vocals once again failed to impress me. Some solid tracks, but much of the album felt like filler.
3/5
The second half of the album shined, whereas the first mostly dragged. I wish that the crowd heckling had been left in the record. The overuse of the harmonica was also staggering.
Red Hot Chili Peppers
3/5
The latter half of the album is a drag. Kiedis' vocals are irritating at most times. Some enjoyable tracks, but overall the album is shallow radio rock.
Kings of Leon
2/5
A solid rock album that is ruined by the singer's garbage vocals. Sounds like he put his vocal cords through a wood chipper.
Dexys Midnight Runners
2/5
Much of the album is the group just chatting, accompanied by pointless mumbling and wailing over 11 minute tracks.
The fact that Dexys Midnight Runners has 3 albums on this list is a travesty.
Jerry Lee Lewis
4/5
Absolutely electric energy, though it did seem to dull by the end of the album. Would’ve preferred more original tracks rather than Little Richard covers.
The Verve
2/5
Boring. Each song slogged into the next. Felt almost AI generated.
British mediocrity is again celebrated on this list.
The xx
3/5
Great production and song arrangement. The vocals are blasé at best. The tracks blended into one another towards the end of the album. A good listen, but somewhat forgettable.
Pavement
3/5
Mercurial. The group alternates tight rhythms and expressive vocals with inconsistent performances and meaningless lyrics. The talent is apparent, but a rough execution.
Ali Farka Touré
3/5
Solid blues. Some tracks overstayed their welcome, but an intriguing look into Malian music.
Giant Sand
2/5
A chore to finish. Vocals are annoying, and the album fails to grab the listener’s focus.
Ride
3/5
Much like its title, this album went nowhere. The group emerges with a pleasant and chilled sound, but fails to really build on it. A good listen, but not essential.
Snoop Dogg
3/5
The transitional skits are painfully unfunny. Snoop’s cadences are fantastic, though his lyrical content is a bit repetitive.
1/5
This sounds like an elaborate tax write-off scheme.
Waylon Jennings
3/5
Short and simple outlaw country. No track truly impressed me, but their direct nature made for a generally pleasant experience.
Kanye West
3/5
Fantastic production and sampling. West's lyrics and rapping are not as robust. Far too much focus of West's ego and his relations with women.
Syd Barrett
2/5
A disorganized mess. Seems like the producers deliberately incorporated studio audio just to pad the album's length. Barrett's mental decline is apparent. Borderline exploitative.
4/5
Smooth, soulful jazz. Some tracks are a bit too long, but they do not detract from the album’s vision.
Turbonegro
3/5
Fairly generic hard rock. A raw energy, but lacks any degree of lyrical depth. Good for a mindless listen, but not much else.
Mercury Rev
3/5
Incredibly dated sound, especially for an album from 1998. Some excellent lyrical depth, but many of the synth sounds are jarring and offputting.
2/5
Horrifically corny. "Dictionary" was a grating listen. The orchestral accompaniments were the only redeeming aspect of the album.
Kanye West
5/5
This is the finest hip-hop album ever made. Outstanding production, creative lyrics, and excellent features.
Eels
4/5
Surprisingly good. Possesses a great deal more lyrical depth than its contemporaries. A few filler tracks, but overall a quality listen.
Christina Aguilera
2/5
Aguilera's artistic intent is clear, but she is unable to avoid pop tropes. The second half of the double album was wholly unnecessary. The "Thank You to Fans" track was also also oddly self-fellating.
Stan Getz
4/5
Pleasant Brazilian jazz. The vocals are occasionally weak, but Getz’s saxophone performances are exceptional.
Bob Marley & The Wailers
3/5
Good reggae. "No Woman No Cry" is the only true standout on the album with many other filler tracks. Lacks the cohesion of other Marley albums, but still a solid listen.
The Vines
3/5
Quality garage revival, though rather simple at most times. A good listen but not particular innovative.
Goldie
1/5
Almost two hours of meaningless noise. I fail to see how this album is innovative or exceptional in any regard.
Drive-By Truckers
3/5
The album does speak much truth about the Southern experience. However, the project is far too long and the vocalist is not particularly talented.
G. Love & Special Sauce
2/5
Unimpressive in most regards. The vocals are muddled and annoying, and the lyrical content is forgettable. The instrumentals are ok.
Jah Wobble's Invaders Of The Heart
2/5
Wobble is a talented musician, but this album just doesn’t work. The tracks are largely disconnected and forgettable.
Suicide
2/5
I respect the experimental vision, but the album is largely disorganized. “Frankie Teardrop” was about 5 minutes too long.
Big Star
3/5
Big Star possess some outstanding harmonies, but the other aspects of this album are mostly average. A few enjoyable tracks, but nothing truly noteworthy.
Peter Gabriel
4/5
Outstanding songwriting. The album maintains a high degree of quality with a few truly amazing tracks.
Joe Ely
3/5
Fairly standard country. Not irritating, but also did not leave much of an impression.
Björk
2/5
Bjork's "Bjorkisms" are starting to lose their appeal. Her vocal talent is still apparent, but her songs meander about for 6 minutes with no real growth or direction.
a-ha
3/5
This album is only on the list because of "Take on Me." Nevertheless, it was a decent new wave album. None of the other tracks matched the quality of "Take on Me" however.
Public Image Ltd.
2/5
The group has talent but awful songwriting skills. Album was about 30 minutes too long.
Muddy Waters
4/5
Superb blues. Waters' vocals and guitar performances are dripping with emotion and skill. A few of the tracks are much too long, however.
Bruce Springsteen
2/5
This album really exposes Springsteen's shortcomings as a singer and guitarist. His vocals are generally weak, and the lyrical content is monotone. Seems like Springsteen had an idea for a good song that spiraled into a mediocre album.
The Gun Club
3/5
Intriguing fusion of punk and blues, but the group has a fairly mediocre execution of it. Every track on the album was forgettable.
Kings of Leon
2/5
Bland dude rock made even worse by the singer's awful vocals. How he convinced 3 other men to join a band with him is beyond my comprehension.
Merle Haggard
3/5
Solid county, but fairly one-dimensional. Haggard stays within the same 3 lyrical topics and takes almost no musical risks.
The Associates
2/5
Total misfire. The group has a solid foundation but fails to capitalize upon it. Mediocre vocals and songwriting derail an interesting genre fusion.
Beck
3/5
Very monotonous. The tracks quickly blended into one another. Solid, but not particularly memorable.
The Psychedelic Furs
3/5
Brash 80s new wave. Did not excel in any particular facet, but a good listen nonetheless.
4/5
Gaudy and tacky, but extremely fun. Perfectly embodies the excess and glam of the 80s.
Peter Frampton
4/5
An excellent live album. Frampton’s guitar performances are superb.
Skepta
2/5
Begins strong but quickly becomes repetitive. The lyrical content and overall rhyme structures sound dated for an album released in 2016.
Robert Wyatt
1/5
Pretentious music for pretentious listeners. Made only to woo music critics. Its inclusion on this list is laughable.
Kings of Leon
2/5
Generic radio rock. It is baffling how this group has 3 albums on this list.
The song "17" is disgusting, and I cannot explain how this song released in 2008 without any controversy.
Hot Chip
4/5
Fun electro pop. Very lush song arrangements with rich instrumentations. One or two dud tracks, however.
Django Django
4/5
Quality electronic rock. The group's rhythms and song structures are compelling, and "Default" is a standout track. A bit repetitive towards the end.
M.I.A.
2/5
The beats and sampling are solid but MIA's vocals seem somewhat misaligned with them. She's also a bit out of tune at times.
I also fail to see how MIA is influential enough to warrant multiple inclusions on this list.
Mott The Hoople
3/5
Standard glam rock. Sounds like Great Value David Bowie.
Justin Timberlake
2/5
Mediocre R&B. Pharrell's production is the defining trait of this album, while Timberlake's vocals are fairly weak. He often attempts a Michael Jackson impersonation and comes up short.
The Coral
2/5
Unremarkable. Waffles about for 40 minutes with no real growth or development.
Soft Machine
2/5
Some enjoyable sections, but the album is far too rambling and extended to constitute an enjoyable experience.
Robert Wyatt and his various projects are massively overrepresented on this list.
The Dictators
3/5
A decent listen. The foundations of later punk rock are apparent, though the lyrics are mostly juvenile.
Björk
2/5
I respect the experimental vision but this album was a difficult listen. Much of the album was Björk moaning in an uncomfortable manner.
Echo And The Bunnymen
3/5
Decent post-punk. The vocals on some tracks do not mesh with the instrumentals, but overall a solid album.
Scissor Sisters
4/5
High-energy glam rock revival. Some vocals aren’t the best, but the album is fun from beginning to end.
The Mothers Of Invention
2/5
A bit too avant garde for my taste. Most of the album is just noise, and any hint of lyricism is nonexistent.
Coldcut
3/5
Like most 90s British techno albums, this was too long by about 30 minutes. However, the album was generally pleasant and contained some innovative sections.
The Beta Band
2/5
The instrumental talent is apparent but this band cannot write a song to save their lives. The lyrics on the last track were painful.
Neil Young
4/5
Young's vocals perfectly pair with the instrumental performances. Profound lyrics, especially on "Southern Man."
Paul Simon
3/5
Smooth pop rock that doesn't really build to anything. The structures of some tracks are rather irritating. Solid, but not comparable to Simon's other work.
U2
4/5
"Sunday Bloody Sunday" is a fantastic track. The rest of the album was equally good with solid instrumentals and a great deal of lyrical depth.
Girls Against Boys
2/5
Unremarkable in every facet. The author’s bias towards 90s alt rock is apparent again.
Queen
3/5
A bit too operatic, but the foundations of Queen's later success are apparent.
Neil Young & Crazy Horse
3/5
Felt rambling at most times. Several filler tracks, and the lyrical content was inferior to Young's previous work.
TV On The Radio
2/5
The group plays genre roulette without settling on a defined sound, creating a jarring listen.
Doves
3/5
An evolution of 90s Britpop. Many tracks were simply noise, and the lyrics failed to resonate with me. Nevertheless, the album has some quality moments and is an easy listen for a 59 minute experience.
Quicksilver Messenger Service
2/5
Decent psychedelia that overindulges in its own excesses. The latter half of the record is mostly forgettable.
Sufjan Stevens
5/5
A fantastically lush exploration of Illinois's culture, history, and Stevens' own struggles.
R.E.M.
3/5
Decent alt rock. There was no true standout on this album, but each track was mostly agreeable.
My Bloody Valentine
3/5
Half-baked on some tracks, and the group's vocals lack refinement. However, the high points of the album are massively enjoyable.
Johnny Cash
4/5
Not Cash's finest live album, but his audience interacts are hilarious. Cash's charisma is on full display.
Captain Beefheart & His Magic Band
3/5
Some intriguing experimental motifs, but remains listenable. Vocals were somewhat annoying at times.
Rufus Wainwright
2/5
Wainwright’s voice is not particularly pleasant. An album of one-trick songs, though the instrumental accompaniments are often quite good.
Elvis Costello & The Attractions
4/5
The rare Elvis Costello album that I actually enjoyed. His vocals remain grounded and lyrically compelling, with excellent accompanying vocals. Several later new-wave trends are apparent.
Nick Cave & The Bad Seeds
3/5
Like most Nick Cave albums, the tracks are unremarkable except for his lyricism. Somewhat of a slog to finish.
Morrissey
3/5
I enjoy Morrissey's vocals. but his solo albums are overrepresented on the list. His commentary on this album was generally boring.
N.E.R.D
2/5
Extremely monotonous. Didn’t merit inclusion on this list.
Frank Ocean
4/5
Lyrically unimpressive. Excellent production and vocal talent.
The Good, The Bad & The Queen
3/5
Rather forgettable overall. Alburn’s vocals were generally good, but no track truly grabbed my attention.
Dolly Parton
4/5
Three outstanding vocalists. Mostly cover songs, many of which are dated for the standards of 1987. An enjoyable short listen.
Calexico
3/5
An enjoyable blend of genres. I found the instrumental tracks to be largely unnecessary.
The Police
4/5
Fantastic instrumentation. Lyrically weak at times, and many of the tracks were a bit outlandish. Still enjoyable from start to finish.
David Bowie
3/5
Unexceptional. This album is only on the list due to the word “Bowie.” Tracks are ok, but not innovative in any regard.
Death In Vegas
2/5
Uninspired electronic music. I fail to recall any meaningful or special aspect of the album.
Joanna Newsom
3/5
Newsom is talented but each track is far too long. Her lyrics are often compelling but then descend into rambling. Excellent at times, but inconsistent.
Peter Gabriel
4/5
Fantastic blend of progressive rock and post-punk. Gabriel's songwriting skill is apparent.
Public Image Ltd.
2/5
Little more than slam poetry. The track "Low Life" keeps the album from 1 star.
The Monks
3/5
Innovative, but rough. Roots of punk are clear.
Norah Jones
3/5
Very relaxing, but rather tame and conventional. Jones is an outstanding vocalist, but lyrically the album is safe.
Astor Piazzolla
3/5
Objectively good, but a chore to finish. Only real fans of vibraphone music could truly enjoy this.
The Cult
3/5
Generic hard rock. Decent enough, but unexceptional in most regards. They owe AC/DC some royalty checks.
Bee Gees
2/5
A meandering mess. The fundamental concept of this “concept album” is dull. Far too long.
4/5
Production is fantastic. Mixing is amazing and the guitar tones are crisp. The song structures and content are somewhat odd, but there is no bad track on the album.
Soft Cell
2/5
Cheesy synth pop. The album is only on this list for "Tainted Love."
Can't believe that I listened to a track called "Sex Dwarf."
Sam Cooke
4/5
Fantastic soul music. Cooke delivers an energizing performance with electric vocals.
The KLF
3/5
Fairly enjoyable, though it still reeks of cheesy 90s techno tropes.
Slade
4/5
High quality hard rock.
Joni Mitchell
2/5
Like most of Mitchell’s work, this album is utterly boring and made to appeal to soulless white collar types who think they’re progressive.
The Sensational Alex Harvey Band
2/5
A mess musically. Loud and bombastic, but it fails to really deliver on its grandiosity. The “Gang Bang” song was quite uncomfortable.
Mike Ladd
2/5
I fail to see how this is influential in any way. Ladd has some creative lyrics, but the album was a chore to finish.
Pet Shop Boys
3/5
Gaudy and cheesy, but still somewhat enjoyable. “Go West” is positively awful, but the other tracks were solid.
Madness
2/5
Rather annoying. Ska is generally a shallow genre, and this album is no exception.
Meat Puppets
2/5
Vocals are horrid. Some decent guitar moments, but overall the album feels like half-baked garage rock.
Malcolm McLaren
1/5
Utterly lame. Awkward production and a bizarre fixation on a pair of unfunny radio DJs.
Adele
3/5
Ridiculously cheesy. The album is also full of filler. The singles are good, but the album does not excel as a whole.
Goldfrapp
3/5
Strong productions and songwriting, but the vocals may be too ethereal. Each track blurs into the next and is quickly forgotten after its conclusion.
The Thrills
3/5
Fairly generic jangle pop. Lyrics are generally blasé.
Odd to see a bunch of Irish people try to incorporate country influences into indie pop.
Beatles
5/5
Truly fantastic folk rock. This album nigh-singlehandedly altered the direction of modern pop music.
Pere Ubu
2/5
Some quality moments, but overall a bit too avant garde. Not worthy of a second listen.
Aerosmith
4/5
Excellent hard rock. Bass lines are dripping with funk. Tyler's vocals are sometimes weak, however.
Antony and the Johnsons
1/5
Abysmal vocals, might be the worst of any album on this list. Unnecessary vibrato at all times. Completely details any other aspect of this album.
Buck Owens
3/5
Solid country. Lyrics are repetitive thematically, but overall enjoyable for a 30 minute album.
Sepultura
3/5
30 minutes too long, and the vocals are rough. It retains 3 stars for the inclusion of Brazilian musical instruments and motifs into metal.
The Charlatans
3/5
Fairly inoffensive BritPop. The instrumental tracks were largely unnecessary, but overall the album didn't leave much of an impression.
Can
2/5
It's just noise. I respect the experimental vision, but it's just noise.
John Lennon
4/5
Vocals are sometimes rough, but Lennon delivers poignant lyricism with simple melodies.
American Music Club
2/5
Rather bland folk rock. The singer’s vocals are not good, and the tracks quickly become monotonous.
Dagmar Krause
2/5
I really did not enjoy this album. It gains an additional star due to obvious translation hiccups and my lack of cultural context for several of the songs.
LTJ Bukem
1/5
Far too long, even for a compilation album. Tracks are beyond repetitive.
Christina Aguilera
3/5
Standard pop. Aguilera's vocals are strong, but the lyrical content is typical of early 2000s music. Not sure why this album merited inclusion on the list.
The Jon Spencer Blues Explosion
2/5
Sounds like open mic night at a honky tonk bar. A disorganized mess.
Lloyd Cole And The Commotions
3/5
Vocals were weak and rather annoying, but the instrumental performances were great.
The Prodigy
3/5
Better than other 90s British electronic albums. Still rather repetitive, but had some good tracks.
808 State
3/5
Repetitive, but the driving drums make the album far more listenable than most of its contemporaries in this genre.
Scritti Politti
2/5
Each song on this album sounded exactly the same. Talent is there, but buried behind layers of cheesy synth.
The Incredible String Band
2/5
The album is fairly annoying, full of random noises. It retains a second star purely for the artistic vision.
Hookworms
3/5
Solid electro pop. Vocals were decent at best. Some of the tracks were too long.
The Beta Band
3/5
A few good tracks, but overall the album is very forgettable. The Beta Band did not merit two albums on this list.
Fairport Convention
3/5
Good folk music. Too many Dylan covers to warrant more than 3 stars.