Hey, reader! If you can't find the full album anywhere, email me at sodaco3@gmail.com and I'll send a zipped file of the songs. John Zorn. Hmmm.....let's talk about John Zorn. He's a jazz artist (saxophone) who specializes in avant-garde jazz. This alone will turn away quite a few people, and I can't blame them: avant-garde art is inherently pretentious with it's "ooo, look at how I deconstruct certain pervasive elements in art and rearrange them for new experiences". It's pretty anarchist, and anarchists SUCK! Given this, I'm pretty surprised that Zorn is even on this list. I would've went with his much more popular "Naked City", but maybe that was too "jazz-rock" for 1001. Regardless, most people are going to walk away not enjoying John Zorn's work. So, what is he doing with this album? Well, he's got a 5-piece band built of two alto-saxophones, a bass, and TWO DRUMMERS! Neat. Double drummers is always risky but it's avant-garde so we'll let it slide. Cool production note: each saxophone is playing in a different channel (Zorn is in the right; listen for his licks!). Also of note is that everyone playing is improvising, giving a sort of full sound that surrounds the listener like a chaotic hug. Can you feel it? Zorn's compositions are interesting, as he opts to do these much shorter tracks that don't stick around for long before moving on the the next one. Zorn is heavily inspired by the hardcore punk scene in New York, London, and Tokyo at the time, particularly the rise in grindcore (see: Scum by Napalm Death). That sort of quick-and-dirty, attack on the ears is something that was very much inspired from grindcore and can be seen crossing over in jazz through Zorn. Again, most people will not like this, but for what it's worth I think it's a cool approach to jazz. By the 80's, Jazz had pretty well split; smooth jazz was on the rise with the likes of Kenny G, producing the most accessible, commercial music possible. Meanwhile, Jazz was being used more as a prop for other genres, such as acid jazz in the UK being a combination of electronic beats with jazz (great for clubs), or hip-hop producers incorporating jazz samples in their beats, leading to the rise of jazz rap in the late 80's and early 90's. This comes AFTER the prominence of avant-garde jazz actually, so Zorn is late to the party and very much on his own. Regardless, his approach to jazz with the mindset of hardcore punk makes for a fresh and thrilling listening experience. Overall, I think there's a lot one can take from this album, but they'll need to be open to the weirdness of it all. Do not expect structure, melodies, and rhythms that ground most songs. Instead, listen for how each instrument is playing off the others while also being totally independent from the song. There are times in this record where the stars align and you can hear the purposefulness of Zorn's band coming together in creating some really rad shit. But you gotta be open to it, or you'll just walk away thinking it's a total stinker. If you liked this record, consider listening to Ornette Coleman's stuff! I recommend "The Shape of Jazz to Come" and "Free Jazz", both records that did NOT make this list because Coleman ISN'T ANYWHERE ON THE LIST, DESPITE HIS NAME BEING HONORED BY THIS ALBUM. FUCK YOUUUUUUU 1001 ALBUMS!!!!

I can't believe I get to listen to this album. The vibes are immaculate, just perfection. It's like floating along warm summer air. Everything feels so purposeful in it's placing, with every sound, word, and visual just lifting the album above levels I didn't know could exist. My only complaint is that it gets a little same-y here and there, but man I can forgive that with how beautiful it all is. Perfection.

At the time of writing this, Scum by Napalm Death is the lowest-rated album on this website. Which makes sense, in a way, because Grindcore is inherently inaccessible. The genre goes out of it's way to be heavier, faster, and more brutal than hardcore punk in every way, and Napalm Death is the exemplification of this. Yet, the production is so purposeful in what I hear. Riffs are distinguishable and blast beats keep time while the singer roars lyrics of anger and nihilism. It sounds heavy and loud without being messy. Maybe a little messy for stylistic purposes, but overall it's actually pretty good! Even fans of power metal should have a good grasp of this album. Songs are a lot shorter here so nothing overstays its welcome. You get some heavy riffage, maybe a verse-chorus, and then you're on to the next song. It plays pretty well. I'll discuss the weaker aspects of the album now. One of the downsides of the shorter songs is that they tend to come and go with little lasting power. You'd be hard pressed to match a song to a riff that you remember, so repeat listens are kind of needed for full absorption. Vocal also lose a little impact as their mostly unintelligible. They contribute more to vibes than anything. This album also features the renowned "shortest song on record" with "You Suffer" clocking in at 4 seconds. It's pretty good; blink and you'll miss it! It's worth noting that After "You Suffer", you get to side b of the album which actually has a differwent lineup. With the except of drummer Mick Harris, you get a whole new band on the back half. With this comes a whole new sound, leaning into a more guttural tone than the edgy tone of the first half. Either way you cut it, you need to be a certain kind of person to like Napalm Death, and I liked em! I'm going to point to the metalheads and ask those who didn't like it to try again. I think it's worthy of a spot of the list! God bless.

Minutemen came up around the same time as Black Flag. In fact, their debut EP Paranoid Time (pure excellence, please check that one out) is the very second release on SST, Greg Gin's label. The difference between Minutemen and Black Flag was that Minutemen's sound was way more playful and intricate. Instead of blasting out pure hardcore riffs, the three-piece played almost jazzy licks and took inspiration from Creedence Clearwater Revival. It's actually really cool. But audiences hated it. They didn't know it at the time but Minutemen were playing music of the future. These San Pedro boys gave us the first post-hardcore sounds, and it was so cool. But Black Flag crowds didn't want post-hardcore, they wanted just hardcore. So it took Minutemen a few years to get traction on shows. That being said, shows were their life. Minutemen had an interesting approach to the financial side of being a band: they would "jam econo", making their records for as cheap as possible by minimizing studio time, recording the tracks in the order they wanted to avoiding editing costs, and tracking on recycled tape reels. These guys were the definition of frugal and the embodiment of DIY. They would then take a somewhat backwards approach to touring, stating that they sold records to support touring instead of the usual touring to sell records. Obviously they knew something that we didn't because this worked pretty well for them, and they were able to put out some banger albums throughout the 80's, all while making money on the road instead of being in the red. Also worth noting that Minutemen releases are notoriously short. No, their name doesn't reference how they play their songs in about a minute. Minutemen comes from a local right-wing group of the same name, which they wanted to steal in order to make them lose momentum. The band is very left-wing working-class with their lyrics, something that is refreshing imo. Anyway, with their past three albums and four EPs all being quite short, they were gearing up for another standard Minutemen album that clocked in at about 30 minutes in 1984. And then Husker Du came out with their double album Zen Arcade. A punk double album. Fucking unheard of. Minutemen had to head back to the studio to make their next album a double too, and thus Double Nickels on the Dime was born. A few notes about DNotD: 1. There are four sides: one for each of the three band members and a "chaff" side that had all the leftovers. The boys would alternate between picking songs for their side in a sort of draft after they drew straws. This gives each side a sort of unique personality, in my opinion, and helps pace the album for me. 2. "Double Nickels of the Dime" refers to going 55 mph (double nickels) on the interstate 10 (the dime). This was a sort of reaction to Sammy Hagar's "I Can't Drive 55" which was just Hagar bitching about federally-imposed highway speed limits at the time. Minutemen, being jokesters, decided it would be funny for a punk record to go the speed limit. Hence the album cover, which has Mike Watt flashing a cheesy grin while he goes exactly 55 mph on the interstate 10, heading towards their hometown of San Pedro. This is a perfect album cover and title. 3. The boys consider this to be their "artsy record", and I'd say that's a correct assessment. Earlier Minutemen stuff was way more straightforward hardcore and post-hardcore, whereas DNotD experiments more with things like classical guitar, Tejano, contemporary folk, and a few other things scattered across different songs. It's all executed so skillfully with D. Boon's dexterity on guitar, Mike Watt perfectly keeping up on bass, and George Hurley giving it his all on drums to round it out. You could not ask for a better band to pull this off. 4. This would be Minutemen's penultimate album before D. Boon's untimely death, which would eventually lead to the end of Minutemen. DNotD is also their most fondly-remembered album, probably because of it's length and execution. The band had not made anything like it before or since. For a project so ambitious, and a band so full of genuine heart and soul, I can't not love Double Nickels on the Dime. Three great musicians having a fun time, pulling together songs that have no right being this good. This band could be your life. This band is my life. Also the theme song for Jackass is on here, if that means anything to you.

Gimmie Shelter starts us off strong and damn is it a fine-ass song. Like, one of the best of it's kind. After that banger of an intro, it reels itself in and stays pretty lackluster for the rest of the album. It kind of makes me wish they had brought the same talent and energy that they did for Gimmie Shelter, which shows us better energy and songwriting overall. The closest it gets to piquing my interest again is Monkey Man and maybe Midnight Rambler. It stays in this low until the very end of the album when it closes with the classic You Can't Always Get What You Want. Guess they were trying to tell me something there.

Good punk for it's time, but doesn't have the same impact as other artists in the genre.

It's weird to write that in an album with only 7 songs, it feels like there's so much padding. Steinman wrote 2 really good songs and handful of others to make it an album, which brings the whole thing down.

Some clear stand-out tracks here: Waterloo Sunset, Situation Vacant, and Love Me Till the Sun Shines. The rest is just fine. It's a perfectly fine album.

Each song is so good, with none feeling out of place. The gospel gives it an extra punch without overstaying its welcome, and the production is exquisite. Enjoyed the first half compared to the second, but still easily my favorite album so far.

What a groovy, fun album! The first track Zombie is the more upbeat of the half, with a clear blueprint for the incredible opening track Born Under Punches on Remain In Light, released three years later. Clearly an important political album, criticizing the Nigerian military of the day. It's impossible not to appreciate such a cornerstone.

I didn't realize I knew Killing Me Softly until it came on! What a hit, huh. Anyway, as far as East-Coast Hip Hop goes this is good but definitely not the best. This feels more like a tea-up for Lauryn Hill who would go on to release an incredible solo album. For what it's worth though, it's still a real good hip hop album. More of a 3.5 than a 3.

Sounded more Jangle Pop than Post-Punk, which is a shame because I like Post-Punk but not Jangle Pop. The edgier songs were highlights (Thorn of Crowns), but those were rare. Found myself mostly bored throughout.

A great album for Black History Month. This is the genesis of truly radical hip hop that would go on to influence all the best hip hop records to date. Terminator X provides the hard-hitting production that keeps the music memorable, Chuck D's presence is unmatched, and Flav is...there. Not a perfect album, but still a one worth listening to for it's history alone.

Good, simple singer/songwriter folksy music. It never wowed me but it's a nice listen

Notable more for Bowie's influence than anything else. Not a huge Bowie fan either, so this album didn't do much for me. Still good though, so 3 stars it will sit.

Very unique production applied to fine pop songs. Not my bag, but not bad either. I can walk away at least appreciating this.

Alt rock is a gamble because you can end up getting lame mainstream butt-rock more times than not; This unironically rocks. There are some cheesy production choices that are very late 90's/early 2000's (turntables in a rock album?), but I ended up enjoying the overall product. Good riffs make a good album, who knew? WHATEVER TOMORROW BRINGS, I'LL, BE, THEEERRREEEE

I can't believe I get to listen to this album. The vibes are immaculate, just perfection. It's like floating along warm summer air. Everything feels so purposeful in it's placing, with every sound, word, and visual just lifting the album above levels I didn't know could exist. My only complaint is that it gets a little same-y here and there, but man I can forgive that with how beautiful it all is. Perfection.

This is smooth as hell. John Martyn has a voice that makes this record so crisp, it's hard not to enjoy it. Also comes with interesting and varied instrumentals that keeps things fresh. Solid record.

Good, but not nearly as good as the work of Fela Kuti. Often times feels too polished. A nice piece of work though.

THE FUCKIN BESSSSST. Janelle Monae does not miss on this album. A beautiful voice and wonderful, amazing songs. An honest treat to listen to.

Bland and uninspired britpop. Wished I was listening to something else almost the entire time. No more of this, please

Good, but not nearly as captivating as the first Nick Cave album we listened to. West Country Girl keeps things interesting, but the stripped-down piano thing was never my jam.

Sounds like the kinda stuff me and some buddies jammed to in the basement, so I'm going to muse about improvisational rock for a moment. Typically, the drummer lays down a 4/4 beat and plays that for 64 measures. During that, the guitarist usually plays some sort of noodley riff and the bassist matches up to the key. Play around that for the however many measures then the drummer switches things up. Sometimes there's change in dynamics (see: Where You Love) and sometimes they synchronize to certain "hits". The overarching point is that the band has to be in lockstep with one another (known as being "in the pocket") to know where to make smooth transitions and where to play around for a bit. It's a departure from typical songwriting and requires building on (or borrowing from) foundational elements of the craft started by many others (see: The Grateful Dead and Phish). For 1969, this can be pretty impressive because these guys were at the forefront of "Jam Rock", a genre that isn't super highly regarded. That's why looking back on this today can seem pretty mediocre and uninspired, especially considering the lack of vocals which delegates this to mainly background music than anything. But for what it's worth, I think it's perfectly good. Wouldn't put it on a pedestal or anything, but it has it's place in music history and I think that's worth something.

Oh god, it's so lame. Just four white dudes doing "funk" and occasionally there's a good song in there. Clocking in at 70 minutes, this album way overstays it's welcome. I want to listen to anything else. Closer to 1.5 to gets a 1 for punishment's sake.

Lenny Kravitz is just fine. I listen to this and think "He sure is making that music and singing". It stirs no strong emotions in me. For reference, Doolittle by Pixies came out the same year, so, yeah. I hope I get to listen to a good album this week.

Lukewarm alt rock that never really grabbed me. First time hearing this band it's not a great first impression. Vocalist is probably the weakest point here, but the production is too clean so it always sounded like the band was pulling their punches. Coulda been way better, there's potential.

Mr. Costello didn't quite click with me on his last album "This Year's Model", but I've found myself enjoying this one! Pretty straight-forward new-wave pop rock stuff; nothing revolutionary, but still a light and fun listenin- wait, did he just drop the n-word with a hard r in Oliver's Army? Oh my god he did. What the fuck?

Hard not to enjoy at least the opening track. Quintessential music that cemented THE Michael Jackson that's most widely known, and for good reason. First side is like a non-stop dance party with MJ as the MC keeping things alive. The energy is infectious! The second side mellows out, embracing a more chilled out vibe without sacrificing too much of the fun. (Quincy Jones is on production and is a master of the craft). She's Out of My Life feels more like an obligatory ballad than an earnest entry; Gotta make the runtime quota somehow I guess. It's clear that side B is the weaker of the two, but it's definitely still solid music at the end of the day.

It's a double album and clocking in at 2 hours, I found it difficult to digest in one sitting. To start, they make great fuckin' bangers with wild riffs, maxed distortion, and superb composition makes the heavier songs pack a serious punch. Contrast that to the more soft and tender songs like Tonight, Tonight that give the album breathing room and variation. This makes for a wholly strong album, giving great credence to the legendary status of this alt-rock treasure. Rarely did I feel like there was a low point, but the length of this titan makes it hard not to get at least a little burned out. Closer to a 4.5 than a 4.

Nice, simple, sombre. There's beauty in the stripped back, basic delivery of these little songs. Nick Drake has a voice does not carry much though, and perhaps that's the point, but it doesn't impress on me much.

Holy enjoyment, Batman! An album with a jangle pop inflection that I actually enjoy? What a marvel... This record has a lot of stellar things going for it, from the genuinely fun songwriting to the delivery of the band. The drums and bass lines do exactly what they need to do without sounding flat or invisible, the flourish of guitar and synths give the songs great personality, and Paddy McAloon on vocals is a genuinely pretty good singer. All in all, this is an easy album for me to enjoy, though the slower songs didn't quite capture me. Either way, a great album!

The very first album in the book! Frank Sinatra did us a lot of favors by being a workhorse, namely bringing "the LP" as it were to everyday households. The music itself is very low-key, mellow, just plain ol' sad. Perfect for "the wee small hours of the morning", but kind of makes me sleepy. Shoutout to Sinatra's backing band, they nail the performance here.

Brazenly different and interesting. The kind of pop for weirdos, which is cool. Kate Bush is so dramatic in every one of these songs, it takes the form of a sort of "camp" that isn't really my style but I can still appreciate it from afar. Pretty cool!

Pretty good Psych Rock. The first two tracks along with Interstellar Overdrive were clear standouts, but the rest sort of breezed along with no real impact. It's good overall though.

I listen to this Steely Dan album and I learn EXACTLY what all the fuss is about: it's the most accessible music while still being dignified, eloquent, and fun. It's exquisite how good this album is, really. Jazz rock has never been more fun. I bet my parents will love this; we can listen to it over drinks and talk about current events or something, idk! People with taste listen to Steely Dan, and Aja has to be the pinnacle of this or I'll be damned.

What the fuck is this.

Maybe I'm just sleepy right now, but this album puts me at ease. Neil Young is one of the masters of singer/songwriter music and this album proves it with his delicate strumming and unique singing style (I grew to enjoy it). Production is also masterful, especially for a live album. It all sounds so clean and warm, exactly how you want Neil Young to sound. That was just side 1, of course. Side 2 woke me up as the electric guitar took over and it rules. I know Powderfinger is the darling track here, but Welfare Mothers and Sedan Delivery bring a heaviness that help cement the contract between the two sides, both being equally great in different ways. Closer to a 4.5 than a 4, truly.

Simple indie rock, doesn't wow me but it's still pretty good.

Bowie really knows how to frame an album, making it theatrical without making it too campy. Each song is good, but when compiled together it makes an album greater than the sum of it's parts. And it's all under 40 minutes! One of the greatest albums of all time is actually pretty digestible; who knew? Anyway, I can see why this is considered the GOAT album but I don't love it like a lot of others do. It's great, don't get me wrong, but a 5-star album's gotta feel special!

Nina Simone is a master of words, summoning vivid imagery and commanding you hear them with her soulful voice. The band is simply there to reinforce these things, but that's not to downplay their role! Everything works together in wonderful tandem to set a high bar for vocal jazz and soul music. Simone has one of the greatest voices, doing these songs great justice. The only complaint is that the hard-hitting songs on here (Four Women, Wild is the Wind) are watered down by the more forgettable ones, making the album weaker as a whole.

Incredibly unique, for better or for worse. Sometimes it comes across as groovy hi-volume punk rock with an Elvis Presley inflection, and sometimes it comes across as white people making noise for the sake of it. I can see why people would dislike it for the latter, but the former is just too intriguing for me to not enjoy. Album just kinda chugs along though, taking no time to let you digest the previous song as it hurls you into the next, and then the one after that. Herein, it makes for mainly nonsense and I can't help but shake that this sort of music is mainly built for a live crowd to just go buck wild, with little semblance of a setlist, opting for just "vibeS" (except the vibes are loud, crazy, and energy that are all off the charts).

A lot of fucking around that amounts to extremely mediocre songwriting and execution. Impressive that it managed to be wildly weird and different while also being lame as hell.

This is a comfy album that's great with morning coffee (or an evening drink). Just the right amount of country drawl and simple strumming makes Jones a solid artist for his time. Not much of a country guy here, but if I can enjoy a country album then the name on the front must be pretty damn good.

It's okay. The vocalist can get on my nerves at times and the songwriting isn't all that good either, but it keeps things interesting enough to maintain some semblance originality. I doubt this is anyone's favorite album though; it certainly isn't mine.

Songwriting doesn't do much for me. It's well produced and executed for what it's worth, I like the fuzzy guitars and there's a great confident vibe from the vocalist that effectively makes these songs better than what they are: shallow and lame. I throw it a 3 for goodwill, but I only thought it was alright.

This is a nice little listen! Nothing groundbreaking or subversive, just an enjoyable pop rock record kind of reminiscent of Genesis later into their career. Pretty good!

Sounds like Soundgarden set out to make an album just full of bangers: heavy riffs, superb production, even Cornell's singing (God rest his soul) works well in this hazy grunge environment. Another 70 minute album makes it a bit overly long, but with songs like these you can't go wrong.

Tom Petty never did much for me but I'll admit that "The Heartbreakers" are carrying the weight here. Simple well-produced pop rock is all that's here, and it's good! Won't go back to it, but it was nice enough at the time.

Wow, what a unit! These guys really know how to build a song, mastering their compositions to bring everything together in perfect harmony. It may seem like simple rock on the surface, but the way these songs are played blows me away. Only hangups is that it loses some steam on Side B and singer Fogerty is not a favorite of mine. For a tight, all-around superb Swamp Rock record, this is your go-to.

Amazing how much of a wholly unique and incredible album this is. Just wonderful, not much else I can say.

Another Costello record, this time his debut. This one has so much more edge and snark, I can finally see what all the fuss is about. Taking old-school rock and roll songwriting and twisting it make for an exceptional sound, like if Buddy Holly got jaded and cool. It seems as though something got lost as he carried on, but this album does a good thing, I think.

The whole "exorcist" part on the bells is a nice motif at the start of the album, well-built and executed by Oldfield. Then the album drops off like a fucking bag of bricks, just bad. Computationally aimless, terrible mixing, a total mess of "prog rock". Oldfield excels when he's building on something, adding and taking away elements for the purposes of repetition. This magic is somewhat ruined in the part where he explicitly states the name of the instrument being introduced next instead of letting the music speak for itself. Man also need to learn variation during these repetitive parts; just something else, anything! I think this record was a fluke: Oldfield is a subpar songwriting and producer who stumbled onto a catchy-yet-eerie riff that got itself into one of the most acclaimed horror movies of all time. Outside of that, isn't worth a full 50 minutes worth of material. I can't believe I own this album.

Such a drastic change in quality compared to the other prog rock record from yesterday. Pink Floyd was in their prime with this one, and this a huge fucking stride to hit. Instrumentally rich, compositionally unmatched, structured perfectly. Only gripe I have is with David Gilmour's occasionally strained vocals, but man is it easy to look past. One of the best albums ever.

Fine, albeit boring. Hard to recall anything that left an impression, good or bad. Perhaps that is the worst sin in music, then. The lone exception to this is the final track Cynicrustpetefredjohn Raga, which takes a turn from the folksy stuff to demonstrate some incredible instrumental raga rock. Felt like they took a risk on the closure and it paid off imo. Bumped from a 2 to a 3 for this alone.

Exactly what it says on the tin 😎 Exceptional listen, sounding somewhere between big band/swing and bop with it's frankly extensive list of performers on here (16 in rotation, to be exact). Although released in 1957, recordings were from 1949 and 1950 which was years before Davis would begin forming his quintets, so the songs can get a little busy at times. I'd reckon this is an overall easy listen though, and pulling all these singles together on the one album is certainly appreciated. This here is jazz 101, so don't skip your fundamentals

The Roots? Like from the Jimmy Fallon talk show? Unfortunately, this will be many people's initial exposure to these east-coast hip-hop legends. While this isn't the most prominent album in the discography, there is still great music here. There's clear Mos Def influence here, and I fuckin love Black On Black so I'll happily listen. And for the most part it's great! Around the mid-point it does seem to get a little aimless and experimental, which causes it to lose steam for me. This, combined with the 70 minute runtime, makes for a overly long album that maybe could've been broken up into two separate releases (maybe an experimental EP?) and reorganized for a more concise listening experience.

Fitting to get this one right after it's been officially added to streaming services! If you showed me just the first track and told me "this is what shoegaze is", I'd be totally hooked. Unfortunately, I feel the album falls off a bit and loses a good bit of it's edge that got me hooked. While the flood of reverb is nice to listen to, the way it's used doesn't impress me nearly as much throughout the rest of the album. Despite all this, the album still comes across as a stellar and unique listening experience, so hats off to mbv for killing it with this album.

I groaned when I saw I had to listen to U2. Everything about this band from Bono's lame "activism" to their polished pristine sound has made the thing seem so sterile and boring. For what it's worth, it is well-produced and easy on the ears. It's just so underwhelming, so uninteresting. It just doesn't do much for me, even if it is competent enough to not be strictly bad. Maybe that's my confirmation bias talking, I dunno.

Fuck, I had notes but forgot to save! It's a good album, very theatrical and purposeful in it's songwriting. Back half had me hooked more than the front. Gave it 3.5 on rym sooooo I'll give it a 4 here

Apparently at the start of Cheap Trick's Career, they put out 5 albums in only 3 years and this was the height of it all. You can tell, because the fans are totally fucking into it and their playing is full of energy. The songs are good enough that they perform well on a live stage, probably even better than the studio albums. But if we're talking live albums, I've heard plenty better performances so it doesn't blow me away by any means. File this one under "Good".

Coldplay gets a bad rap for being bland or corny but these songs are compelling enough to me that I enjoyed the album quite a bit! Varied songwriting and solid hooks that keeps the runtime fresh, exceptional production that plays to that songwriting, and a few hit songs to keep things fresh at the halfway point. My biggest problem, however, is the runtime. A couple of songs in the back half could easily be axed to allow for a more digestible album, but instead it ends up feeling a bit bloated and kills the momentum near the end. The CD era of albums is certainly to blame for this, but alas.

They've got the beat! This is pure, concentrated new wave in a bottle, and it's totally good for you maaaaan. It's simple enough: catchy hooks, drums keeping an peppy beat, and everything else to fill out the sound. There isn't anything else to this album; it delivers on the basics and that's all it needs to do. Songs don't stand out too much except for the two singles, but none of the songs are bad either! It's all good, that's pretty much it.

Gimmie Shelter starts us off strong and damn is it a fine-ass song. Like, one of the best of it's kind. After that banger of an intro, it reels itself in and stays pretty lackluster for the rest of the album. It kind of makes me wish they had brought the same talent and energy that they did for Gimmie Shelter, which shows us better energy and songwriting overall. The closest it gets to piquing my interest again is Monkey Man and maybe Midnight Rambler. It stays in this low until the very end of the album when it closes with the classic You Can't Always Get What You Want. Guess they were trying to tell me something there.

These guys again?! Once again they wear their Bowie influence proudly, but this time the man is hands-off. I think that after the help on the last album (All the Young Dudes), they were more confident in their abilities so it ends up being a better album overall. I want to take a moment to talk about the huge Bowie bias this list has, as he's come up arguably more than any other artist (except for Neil Young on a technicality). Sure, he's a influential artist, but do 9 of albums need to be on the list, including some of the passing music influenced by him? It feels like the compiler wanted to show off Bowie as much as possible.

The album that showed another side of the noisy grunge band, and did so extremely well. Particular hits like Smells Like Teen Spirit, Heart-Shaped Box, and Lithium can't be found here because they simply wouldn't work in this "unplugged" setting. Instead, a more carefully-selected setlist is used to great success for a more tender and intimate album. Overall, it's just incredible. You have everything there is to love about Cobain et al. with a whole new vibe that sounds just as good as when they're being loud and large. A must-listen.

Coming deep out of left field (Mali to be exact), this album has a lot of grizzled soul. Songs tend to be overly long and overstay their welcome with little variation to justify their length. This ultimately becomes an exercise in how much one can "appreciate" world music in one sitting, which isn't very long for me.

Catchy! I do not know much Pet Shop Boys but I can get down with most of what they're doing here. Fun synth lines, dance beats, and lyrics make for a fun album, and I can't hate that. Unfortunately, some of the sampling here sucks and takes away from the overall product. Otherwise solid stuff.

Bjork crafts these wonderful pieces of music with so much purpose, you can hear it in her production. I'd like to think she is primarily a vocal artist, with her voice at the forefront. This makes the music all the more purposeful, being built around the central driving force of Bjork's singing (which is wonderful, by the way). As such, there's a lot of beauty here in this album, with some of the compositions reminding me of one of my favorite albums of all time (Actor by St. Vincent). It's a wonderful body of work, I don't think I can find anything bad to say about it. Well done, Bjork.

Another U2 album noooooooo. Sans Brian Eno on production and a whole 5 minutes longer than The Joshua Tree, I had a feeling I wouldn't like this one any more than The Joshua Tree. And in a lot of ways, that's true! But the extra edge on this album that helps make it more compelling. Unfortunate that it's all I can say that's good on the album. It all just comes across as a snoozefest and I can't be bothered to engage with it more than that.

Roxy Music is kind of in a league of it's own, in that it's hard for me to find strong comparisons. That, combined with the strong show of compositions, makes me adore this album's presence. It's pretty weird, but also loud and fun! It also takes time to wind down and get pretty lowkey, which is always welcome for pacing purposes as long as the songs don't suck (they're fine here). Pretty good overall!

Your parents will HATE these guys! Edgy, loud, proud, punk rock (kinda)! There's a lot of energy packed into this album and I can respect it. It also has a certain amount of polish not normally found in most albums like it, so it's got a lot going for it imo. Yeah, this kicks ass.

Bootleg Bob Dylan, not very interesting. A few catchy songs but nothing substantial enough to warrant talking about.

Joy Division is one of the GOAT bands, hands down. I don't think anyone did it like they did before or since. They were and still are the name synonymous with post-punk. Then why do I feel like I'm listening to a record so amateurish, so mediocre? I cannot enjoy the opening track at all, I feel it rarely finds its footing, and god rest his soul but Ian Curtis is not a good singer. It sucks because I genuinely enjoy a few of Joy Division's songs (Disorder, Transmission, and Warsaw are all classics), but I can't for the life of me give this album above a 3. Shame.

Imagine me, for a second, looking up this album and reading the genre on the tin: "Is...is that funk metal? Oh dear lord". Not my idea of a good time but alas, we're here for a reason. And sure as rain, it doesn't suck! I mean, kinda. Epic is strange...the verse is so lame but then the chorus hits and I'm like "Yooouuuu want it alll but you can't haaave it" cause it's great. It's an album that can have genuinely good songwriting when it wants to, but that's dependent on if they feel like white-boy rapping like RHCP or not. To boil it down to it's essentials, the Alt Metal parts are worth the listen, but the Funk Metal parts drag it down, averaging it out to just a "good" album. 3 stars!

Depeche Mode are masters of their instruments, crafting synth lines and electronic beats that are meant for each other, as if they were destined to come together in perfect darkness. The songs here are just so incredibly well-composed, it's difficult to not enjoy them. The atmosphere built into these songs are also strong and compelling. Overall great album.

Arguably the beginning of Rock & Roll as we know it, Little Richard was belting these songs and people were going fucking insane for the music. And there's a good reason for it: it's so loud, energetic, and passionate that it leaves the whole performance on the floor. You got your money's worth with Little Richard. As is the problem with these sorts of albums, it often sounds like it would be better live in the moment of Richard's prime. Unfortunately, we're all several decades too late so we won't get to experience the true awesomeness of Little Richard killing it on stage in the 50's, but the album is still great.

A very nice listen. Dusty has a graceful voice that's always appreciated. The album is at it's best when the songs find footing to elevate Dusty's voice, like in Windmills of Your Mind and Son of a Preacher Man. If I didn't know any better, I'd think Windmills was a James Bond song. Overall a treat.

Hmm. It's good indie rock stuff but I don't know if I like it enough to really vibe with it. The singer isn't great but I can easily look past that, and the production is a perfect match for what they're going for I think, but man it just don't click with me. Sorry, only 3.

I listen to my little samba songs and do my little samba dance (I do not actually know how to samba, so I just white-boy dance. You know the dance). An easy listen and one with few complaints, but a pretty shallow listen too. It mostly becomes relaxing background music, which can lead it to becoming underappreciated.

To Pimp a Butterfly (TPaB) might be one of the most important hip-hop albums of the decade, maybe even regardless of genre. It is masterfully structured, made with thoughtful social commentary and just all-around good music in general. We're exploring the best of funk, jazz, soul, and hip-hop (obviously). And it isn't just anyone on the credits, you've got Thundercat on bass, Dr. Dre producing, and a laundry list of great features worthy of admiration. I can't find much negative to say about this record, but I honestly don't want to because it is just so so good. It's simply the best at what it does.

For an alt rock record, there are some interesting sounds being explored here. There's some NIN influence I think, given the timeframe and the drum loops mixed with darker guitar tones. Not explicitly industrial but you can hear some semblance of the genre. I don't think Shirley Manson's vocals aren't quite for me, but I can appreciate the songwriting. A very 90's record.

Very blues, very loud. The sound is totally on point but the songwriting does nothing for me. I'm mostly just along for the ride with this album, letting it go from one song to next while soaking in the sheer bluesiness of it all. Overall good.

This album is so british, I wouldn't be surprised if album cover was tea-stained.

Full, unrestrained personality. Queen just does Queen so well (I wonder why that is...) and I can't stop enjoying how simply great this is. The compositions are large and perfect for a sunny day. Just radiant, I love them. And the best part is that it never gets stale! Queen keeps things fresh from song to song, such as the lovely acoustic ballad '39 or the soft and sweet Love Of My Life. I would be remiss to not talk about Bohemian Rhapsody which, though sorely played out, is larger than life in it's own way. Overall great album. We could all use a little more Queen in out lives.

This is the best of it's genre and an extremely important album to boot. It's style, sound, and substance was huge, managing to enjoy mainstream success while also resonating with music nerds of the day (and today). To top it all off, it managed to do this while being the follow-up to the darling Nevermind, and it still rocks. Oh, and it has Albini production. Nirvana forever.

Tender and light, these songs are wonderful listens. Carried mostly by the thoughtful songwriting and Stuart Murdoch's soft vocal deliveries, this album is sinister in intent only. Sneaking out at night to meet a friend or a lover, having harmless fun under a full moon, and eventually parting with bittersweet feelings. It's a nice album :)

Time for a confession: I own the actual 1001 Albums book (2014 edition). This album was one of the few times where I felt compelled to crack open the tome and learn why deserved a place in the music history canon. After reading, I'm still not totally sure. There's reference to clear influences (Peter Gabriel and Prince) and the album's sound (soulful vocals over electronic explorations), but nothing that really answers as to WHY I'm listening to this. I think that TV On The Radio might just a be a middle-of-the-road indie darling to point to for hipster points (remember, this was 2008. Hipster culture was alive and well). But now, over a decade later in 2021, I feel this album needs some sort of staying power other than just being "pretty good". Was it largely influential? Did it build upon it's own influences in a unique and compelling way? Is it indicative of a certain music scene or genre? I need the people over at 1001 to throw me a bone with this one because I can't always pick up everything you're laying down. I guess when you're recommending 1001 albums, a few aren't going to stick the landing. We'll try again tomorrow, I suppose.

Devo is a one-of-a-kind band. Though they weren't quite coneheads yet, you could sense their weird nerd-iness and quirky delivery through many of their songs. The album starts with a banger and follows up with a cover that rivals the original. Devo rules at playing their songs in their little oddball world. Not ever song is a winner but this album is an undeniable new wave cornerstone. We Are DEVO!

Elton starts out strong with this album, and I mean really strong: he's in his own league and it shows. It drops off a little after Goodbye Yellow Brick Road, but it's still good songs overall. There are a few particular weak points on this album (Jamaica Jerk-Off) but otherwise I enjoy Elton John's works. Even here, though, the album is overly long and could have benefited from cutting down on a few of the songs.

Bruce Springsteen is the main guy here but the E Street Band really add so much to the overall compositions. They keep things from getting too boring, too formulaic, and elevate Springsteen with sweeping instrumentals that allow for a fuller sound with more personality. Springsteen brings his own, and the E Street Band give it more ground to stand on. Helluva band. Anyway, Springsteen basically IS heartland rock, and he's very much in this sound. Undeniably solid album.

It's the big popular REM album. The one with "The One I Love" and "It's the End of the World". But this is solid alt rock that I can get behind. Admittedly not very familiar with REM outside of the hits. That doesn't mean I can't enjoy something like this though.

More than anything, I really enjoy the production on this album. Everything sounds so full and rich, it lends itself extremely well to the compositions. Not much of a fan for Brett Anderson's vocals though (too steeped in glam rock stylings, it borders on parody), but the rest of the band does a lot of great work here.

Bon Jovi ROCKS!!! 🤘 In like a sort of Gen X, classic rock radio kind of way. They play a commercial for Naproxen and your local mattress store before coming back with "15 minutes of non-stop ROCK!" and they kick it off with Livin' on a Prayer. What I'm saying is that in the wide world of rock music, from Deep Purple to King Gizzard, Bon Jovi is kind of lame. A little fun, but also a little lame. It feels like Jovi is performing rock, but is never really hitting the mark. Oh, and the b-sides are b-sides. It probably has a reason to be here.

Beautiful piece of work. I think the blend of western classical music and North Indian classical music lends itself well to being more accessible while preserving the integrity of both genres. Full of peace and serenity, this body of work is best for relaxation. I appreciate being introduced to this album, as it also lays groundwork for later psychedelic influence from the likes of The Beatles, Grateful Dead, Bob Dylan, and many others I'm sure. Love this album.

Fundamentals! You must know your fundamentals! Who was at the forefront of acid rock at it's peak in the late 60's? Who headlined Woodstock and opened with an electric Star-Spangled Banner? Who turned a down-and-out nightclub in Greenwich Village into one of the most popular recording studios in New York City? It's Jimi Hendrix. And Electric Ladyland is his great swansong. Giant sounds suit the artist, as this man was larger than life. Album's way too long though. Cut it in half, keep the bangers and it's golden. I mean, it's still golden but it's 70 minutes.

Good music that is sorely held back by artists that are too full of themselves to realize that maybe they should cap it out at one hour so that it's a more concise and focused album. I understand this is peak space rock but man is it a slog to get through. Going to use this opportunity to say now that a long album does not make it a bad one. There are great double albums and longer albums! The issue I tend to have is that if you are going to structure a record to be longer that 40-50 minutes, you need to have a good reason. Do all the songs make it so that the album is greater than the sum of it's parts? Does it lend itself to an overall experience rather than just a collection of songs? How does that experience fare in the end? These are the questions that put longer albums like Space Ritual on trial, because the artists behind the album are ultimately asking me to invest more time and attention than I would a regular album, so they need to make it worth my while. Ultimately they nail certain thematic ideas (the length of the album could be equated to the vastness of space), but when I'm in the thick of it I find I'm not so impressed. The smaller moments that I enjoy don't make up for the fact that the whole piece, front to back, is not as incredible as it would lead me to believe. And no, I'm not going to listen to it while high.

Within Sonic Youth's discography, EVOL and Sister were described to me as companion albums: two sides of the same coin. Sister is the more accessible of the two, as it starts to leave behind the no wave and experimental roots for the band. Sister sees Sonic Youth move gracefully into some great alt rock songs without getting too "safe". Well-paced tracklist, standout songs, and overall cohesive tone means you've got a bonafide classic on your hands. More, please!

Quiet and easy music. Kinda rides the same wave for the whole album, making it devoid of interesting dynamics. Hard to stay engaged when it does so little to engage. Really it's only until the end that I find it picks up a bit and does more. For what it's worth though, the reverb-filled dream pop is a nice listen. I just wish it did more.

A pretty album. Easy to listen to, nice compositions, but left little impact on me. The title and cover art imply it's a heavily political album but I ended up sort of drifting away to the sweet melodies. This one is interesting because it's kind of tinged with country/alt-country but it lands on a more pop sound with hints of soul. It's a unique sound and I like how it's developed over time. Reminds me of Magnolia Electric Co., but Jason Molina is untouchable. Lambchop will have to sit comfortably in that shadow.

My first of many Dylan albums on this list. From later in his career, it seems as though a 90's Dylan has grown a more grizzled singing voice, giving the songs a bit more edge. Most of it is a pretty easy listen though. Nice songwriting (as expect from Bob Dylan), but never much of an impact. I think you need to be a certain kind of person to really enjoy Bob Dylan, and I'm just not that person. Overall it's a fine album.

My only prior knowledge to Fatboy Slim was Rockafeller Stank and Weapon of Choice, so when I put on the album and found it wasn't nearly as good as the singles, I was disappointed. Although I'm not familiar with Big Beat or Breakbeat, I feel that there are far better sample-based albums that elevate the samples beyond just selected beats and single lines ("Fatboy Slim is fucking in heaven" is particularly uninspired). A mere two years after this album's release would be The Avalanches' "Since I Left You", a masterclass in plunderphonics; The Funk Sould Brother should take notes. Otherwise this is a perfectly fine album. Pretty good beats but overall not blowing me away or anything.

I don't listen to much house (or just electronic music for that matter), so I can appreciate something new like this. The beats are nice, but the ambient parts get a bit hollow and generally drag out for me. I think a large part of this album is that it's meant to be played in a club setting. Lights, dancing, drinks, and socializing would all enhance the music! But in a vacuum, the music has problems keeping me engaged as a I sit here at my computer. Some standout tracks on here (Space Shanty gets especially good with that phaser/flanger. Daft Punk, anyone?), can't say I was into the whole album though.

Goddamn beautiful. Deserves every bit of praise it gets. The production, the songwriting, the personality and everything that comes along with it. It flows so well from one song to the next, it feels like one giant, wonderful experience. And that is what albums should strive for: experiences. I've had a string of 3-star albums for a bit now so this will break the streak, and I couldn't be happier that it did.

Missy Elliott is a lot of fun on this album! The production stands out and her confidence makes this worth listening too. It's not the best hip-hop by any means, but Missy Elliott has cemented herself in the history of hip-hop and it's well-deserved by all accounts.

Shoutout to making a soundtrack sound fun. I find that most soundtracks tend to fall into the background and have no life to them outside of the intended movie, but Hayes clearly wanted music that could be enjoyed at home as well. That kicks ass! Thank you Issac Hayes. The penultimate track Do Your Thing is also a certified 19-minute banger and deserves to be immortalized.

Britpop at it's peak and it totally rules. Just such a large sound being used to the full extent of it's abilities. It feels like they frontloaded all the good songs though, because it ends up losing some steam after Lenny. Still worth a full listen though; the Britpop history is a fascinating one which I'm happy to explore outside of the usual Blur and Oasis records.

Going to play this for my dad to gain street cred with him.

Lynyrd Skynyrd were at the top of their game when they released their debut album. Excellent songwriting, perfected tone, and THE GUITARS! Oh man, this is guitar heaven. Can't call yourself a fan of rock until you've heard Skynyrd absolutely tear it up. Good album.

Fun little songs, but they can get busy at times with synths on beats on synths on synths. Combine that with songwriting that's hit or miss, and you have an album that didn't impress me as much as Actually, the earlier Pet Shop Boys album. Still a few bangers here though, just not consistently impressive. Disappointed :(

This is a different kind of metal. It comes at the genre from a whole new angle, giving low-key vocals and aiming for overall atmosphere rather than riffage. It's a risk I can respect, but not one that pans out super well. It ends up being pretty mundane and somewhat abrasive. And not the cool, challenging abrasive like early Sonic Youth or Swans, but the kind of abrasive that sort of meanders and doesn't do much to enhance the music. Bad Brains tried here and didn't come up with much.

Not only are they insanely important in the history of music, but they rock harder than any band at the time. Clocking in at just under 30 minutes, they also don't overstay their welcome. I'm willing to bet that with slightly more nuanced songwriting that they'd have more barn-burners like The Witch, but some crazy guitar solos make it seem like music your parents would hate. And that's awesome.

This isn't your "Breakfast In America" Supertramp! This is your prog rock, big sound Supertramp. Still theatrical and fun, but it takes a slightly more nuanced sound here. Admittedly not familiar with their older stuff, but happy to have listened to it. Songwriting is the real standout. Check out "Bloody Well Right"

At the time of writing this, Scum by Napalm Death is the lowest-rated album on this website. Which makes sense, in a way, because Grindcore is inherently inaccessible. The genre goes out of it's way to be heavier, faster, and more brutal than hardcore punk in every way, and Napalm Death is the exemplification of this. Yet, the production is so purposeful in what I hear. Riffs are distinguishable and blast beats keep time while the singer roars lyrics of anger and nihilism. It sounds heavy and loud without being messy. Maybe a little messy for stylistic purposes, but overall it's actually pretty good! Even fans of power metal should have a good grasp of this album. Songs are a lot shorter here so nothing overstays its welcome. You get some heavy riffage, maybe a verse-chorus, and then you're on to the next song. It plays pretty well. I'll discuss the weaker aspects of the album now. One of the downsides of the shorter songs is that they tend to come and go with little lasting power. You'd be hard pressed to match a song to a riff that you remember, so repeat listens are kind of needed for full absorption. Vocal also lose a little impact as their mostly unintelligible. They contribute more to vibes than anything. This album also features the renowned "shortest song on record" with "You Suffer" clocking in at 4 seconds. It's pretty good; blink and you'll miss it! It's worth noting that After "You Suffer", you get to side b of the album which actually has a differwent lineup. With the except of drummer Mick Harris, you get a whole new band on the back half. With this comes a whole new sound, leaning into a more guttural tone than the edgy tone of the first half. Either way you cut it, you need to be a certain kind of person to like Napalm Death, and I liked em! I'm going to point to the metalheads and ask those who didn't like it to try again. I think it's worthy of a spot of the list! God bless.

The Rolling Stones are hack frauds. They write well-over an album's worth of songs and basically land on one or two good songs that sell it as singles. The rest are boring or just outright bad. Under My Thumb is a good song! I like it as a single. The rest is just whatever. This is the genesis of "pop" albums where you get a couple of songs to sell the whole album and it makes everyone a bunch of money. I know people like to complain about contemporary pop music but honestly it's not bad for the reasons they complain about. It's bad because they make a handful of boring album-filler and promote the hell out of the singles. It sucks the life out of me. Thanks, Rolling Stones.

As someone who is not all-too familiar with Dylan's work, this sort of folk rock is something I can really get behind. I can understand why purists got mad when Dylan "went electric", but this gives the flat folk sound some real texture and life. In this context, Dylan's voice becomes alluring and mysterious instead of sort of annoying. Ballad of a Thin Man is particularly memorable with it's heavy piano and simple drums giving full leeway for Dylan's vocal performance of the blues-y tune. This is just a compositional wonderland, so rich and inviting. I didn't think I'd like a Bob Dylan record this much, but here we are.

Around the same time that Sonic Youth was transitioning from no-wave experimental rock to noisy alt rock, Dinosaur Jr. was in full-force with this second studio album. It's a tidal wave of sound and distortion, as the guitars sweep you away while the drums keep time. It's almost a comforting kind of noise, opposed to the dark and haunting noise of Sonic Youth. One if the big problems with the metaphorical wave of sound though is that it tends to wash over you and get a little same-y. The obvious differentiator though is Poledo, a bizzare sound collage mixed with a heavily-degraded tape recording of a simple folk song that closes the album. Crazy! Overall definitely worth the listen for the overall tone being presented.

In order to stand out with house music, you need to make unique production choices that can elevate the sound overall. Les Rythems Digitales does that to some extent, but it feels like it falls flat more often than not. "From Disco to Disco" uses these great dirty synths and "Music makes you lose control" samples a bassline that seems out of place for house music but works extremely well. But then you get tracks like "Dreamin'" and "Sometimes" that are a bit more boring. With such a mixed bag, it's hard to outright say if this album is good or bad. I think it's definitely worth it's salt in one way or another, just not the best thing to grace this list.

Kinda fun, but ultimately a wash. I'm guessing the UK club scene in the late 80's/early 90's was a fun time, but it doesn't translate well to home media.

You're very brave to be recommending this album to me, 1001 Albums You Must Hear Before You Die; Did you know that? I suppose you have to list the obvious albums, but little did I know we'd be here. For the uninitiated, almost everything we owe alternative rock in the 21st century can be traced back to this album along with a good chunk of Radiohead's discography as a whole. They are simply too important not to have on this list. It's so glaringly unlike anything else before it, with it's songwriting and production and little flairs that make it memorable. The pacing is perfect, making for an effortless listen. It is Radiohead's magnum opus, and they've still got a few albums in the pipe that come really close. I find it hard to talk about individual songs because it's all so great, but I'll attempt: Paranoid Android is this fantastic piece of art rock with multiple movements to tell a larger story and give us a truly wired experience for the rest of the album. Karma Police is the climatic down-beat song right before the interlude that gets us a little moody. See what I meant about pacing earlier? This is followed by a back half that goes through a different set of experiences and it ends on such a wonderful strong note. Yeah, this album is good :)

Had no idea who this artist was (possibly a result of my overall lack of country music knowledge) but she's left an immediate impression on me. Just a country gal with a lot of soul. It's lonely, longing, but not depressing. It's a sort of familiar loneliness that you can appreciate and drift away with. The album never dwells on one feeling for too long though, as it picks up and slows down in nice peaks and valleys. Some songs lean further in a country rock direction than simple folk. This variation is welcomed and makes the music all the more enjoyable.

Chapman has a voice made for this kind of smokey, deep folk music. The kind of music that really means something. It's impactful and you can tell Chapman has poured her heart and soul into a debut to ensure it was something that could resonate with listeners. I can respect that through and through. Obviously the first two songs "Talkin' Bout a Revolution" and "Fast Car" are big songs, but other tracks on here like "Behind the Wall" stand out for their full showcasing of Chapman's voice (also helps with pacing). "For You" is a smooth closer that allows for greater reflection on the album. The biggest thing holding back this album is that the other songs not mentioned end up being a sort of wash, lending itself to album filler which is a shame because it clocks in at under 40 minutes. Not a whole lot to this album and I wish that the other songs had a bit more to them. Not sure how but it would be tremendous if that aspect was improved. Otherwise, it's a fine album.

New wave punk rock, so cool! Attitude, rumbling bass, keyboards, all in a band! Gets me going. I like the drive of this album. This is the kind of nerdy hooligan music I can get behind. It's the right amount of edgy while also being fun. I like it a lot.

Unfortunate that I got the second album before the first (Want One). What purposeful music though! Compositions are wide and sweeping, lifting Wainwright's voice and giving it so much dignity. I'm reminded of Sufjan Stevens in a lot of ways, that being "fancy pop" for lack of a better term (there's even banjo at one point!). I think it is very good, but perhaps a little to grand for it's own good? It ends up trying to be this magnificent magnum opus and comes across as maybe too much. It becomes a bit tiring with all of it's orchestrations and it makes me wish there was just a straight pop song or stripped-down acoustic song for grounding. Otherwise it's a nice listen. I don't want to rag on it too much but I had to figure out why it didn't click as much as I had thought.

Always grateful to get recommended more country music, as I don't know the genre all that well and being exposed to the best can allow me to garner a greater appreciation. Sounds a bit like Dylan at some points but is nowhere near as grating. It's a sweet and mellow album, as the warm sounds of Clark's voice and guitar float through my ears. I wish it had a bit more substance though. Nothing wrong with a simple album, it just ends up not being wholly remarkable or memorable for individual moments. Still rocks near the end though and I can always get down with a barn-burner! Thanks for the music, Gene.

Lost my album notes but I thought the album name was very fitting. Great stuff.

The year is 1995: UK media is giving generous coverage to the like of Blur and Oasis as a "Battle of Britpop" rages on the charts with a battle between the leading singles for each band's subsequent albums, "The Great Escape" and "(What's the Story) Morning Glory?", respectfully. The media was late to the party though, because "Parklife" was the real big hit for the lads and the prime definition of britpop. These are great songs, too. Catchy as hell, good fun, and tons of personality from Albarn et. al., all culminating in a definitive album for the genre. This is nothing if not exemplary by the album's title track "Parklife", in which does an exaggerated accent of a very content englishman, followed by the chorus where we all sing "ALLLLLL THE PEOPLE. SO MANY PEOPLE" and then we go hand-in-hand through our parklife. The back half of the album is not nearly as good as the first half, dropping off all Bank Holiday, picking up with To The End and the last three tracks. Still worth a listen for Britpop history.

Nice, simple, unoffensive. Miss Sade has a nice voice to carry away with the music, but nothing ever feels like it sticks with me for more than a few seconds after. Sometimes it picks up and gets a little funky like Cherry Pie, but for the most part I'm just sorta vibing to the tunes.

A genuine treat, listening to k.d. lang. One of Canada's finest singers, we get a nice array of country, singer/songwriter, and tremendous songwriting to back it up. I just find it to be a bit unengaging sometimes, like Lang doesn't want to do too much. Which is fine, but leaves me not yearning to relisten again. A real pity, if you ask me.

Another fantastic funk/soul soundtrack. This one comes a year after Isaac Hayes' "Shaft" soundtrack, going for a more lush and mellow vibe instead of a bombastic one. It's just the funky stuff that everyone can get down with. An all-around good time.

Completely unique sound, utilizing big band, banjo, some strings, it honestly feels like a nightmare to play live. But the studio album? Perfectly campy. A show within itself. Just a ton of fun. There's even a little refrain they do of the main melody at the end of "Old" as if they're changing the stage for side b, haha. Reminds me a little bit of Supertramp's Crime of the Century in it's framing and whatnot. I think it's a very well-done album, but something will always keep me from absolutely loving this big theatrical albums. No matter how good, it always comes up a little short. Oh, and Come On Eileen is the ultimate white-people jam, so credit for that.

The debut Chicago album is a DOUBLE ALBUM?! And it's "only the beginning" (see what I did there?). Chicago is, without a doubt, very good at this kind of music. It's well-composed, well-performed, and well-paced. This is all undone by Side C's opener "Free Form Guitar" which rocks my socks. It totally breaks the flow of the album built up for the past 30-40 minutes by just experimenting with horrid guitar sounds and I love it. I wish more albums had a mid-point wake-up call. After that though it gets right back into it's normal groove and everything is alright again. I definitely feel that this is one of the better double albums, but it still ends up being too big for it's own good.

Underwhelming 90's alt rock. A bit jangle pop-y. Not my style, frankly. There are some catchy bits for the most part it just doesn't leave much of an impression on me.

Reminds me a lot of early Swans with a bit more punk than no-wave! Still retains a lot of no-wave elements (see: that high-class piano solo in Religion II, the vocals on Fodderstompf) without explicitly being a part of the scene. This is made all the better by the fact that the no-wave movement would've been at it's genesis around this time, so PIL is at the cutting edge around this time. The punk elements are also a huge part of the sound, lending itself extremely well to the sneering sarcastic tone of the album. This is so great. More modern post-punk bands should aspire for this level of raw vitriol. And coming off of the less-than-stellar Sex Pistols, I applaud John Lydon (formerly Rotten) for making this move in the music scene. If only his contemporary political views didn't make him a FUCKING TRUMP SUPPORTER, THEN MAYBE HE'D ACTUALLY BE A COOL AND ADMIRABLE FIGURE IN THE MUSIC WORLD, YOU FUCKHEAD. LISTEN TO YOUR OWN GODDAMN MUSIC FOR ONCE.

With the monumental Velvet Underground behind him, Lou Reed has moved on to do his own thing. A lot of these are perfectly good songs but Walk on the Wild Side is a bonafide classic. Overall though, I'm not all that impressed with the music. Around this time Bowie was doing Ziggy Stardust and that blows Transformer out the water imo. Side B is a bit more theatrical and fun than side A, but the whole product still stands on it's own.

Acid/Psych rock bands of the day tend to be meandering or simple in a lot of their music, preferring to play with the guitars and see what cool sounds they could pull up rather than focusing on songwriting. It's fine. I don't mind too much because the music isn't bad but it also isn't memorable. Giving it credit for being a cornerstone of the genre, but that's about it.

I find it difficult to write about jazz because the whole world of it seems so untouchable, so magnificent that mere words cannot describe the blood, sweat, and tears put into the records around this time. Miles Davis is, of course, a household name in this regard. His work can be appreciated around the world, and this is an album for the books. It's so simple, yet so much is happening underneath the surface, it's surreal. I can't not call it perfection. Miles Davis is a master of sound. What more can I say?

This is it. This is THE pop album. Quincy Jones on production, and Michael Jackson riding high off the success of Off the Wall, coming together for an album of just hits. Well, 7 out of 9 were hits, but that still makes for a juggernaut of an album. It's funky, fresh, and full of energy that makes you want to get up and DANCE. MJ was the biggest music artist in the world. Even long after his death, I reckon people will still call him "The King of Pop". This album is the reason why he's the king. The only thing keeping it from a 5 is some songs don't stack up to others (I'm looking at you, The Lady In My Life). Otherwise this is the quintessential pop album. You either know, or got to know.

Simple, cozy little folk songs with the band. You can tell there was some cross-influence with The Doors here, what with the jazzy drums and electric organ freestyle. Nothing too crazy, just nice songs played well.

Would this be considered part of the post-punk revival bands of the early 2000's? I can't say for certain, but what I do know is that they have some great songs on here. It's all loud and rockin' and differentiated. I can't help but feel there's a weird gap in quality here, not sure where but it's holding the album back. Either way, I appreciate the energy.

It may not seem like much but the rock compositions on here is super compelling. Like, fantastic riffs and backing rhythm makes this album a crazy-good listen. The stylings are also uniquely great, pulling from some folk, some soul, and maybe even a bit of funk. To that extent, I think this goes from a forgettable one-and-done rock album to a well-polished piece of work. I still take issue with the longer runtime, although I did not find it was excruciatingly overlong like some others on this list. You could potentially trim a few songs here and have a really great album on your hands, but the overall product is still worth a listen.

A live album. A live comedy album? There is definitely music here, but Waits does not hesitate to play the crowd instead of his guitar (or piano, or whatever). There are several Intro tracks, if that gives any indication of the length of this album. This is due to Waits mostly fucking around. Worth noting that I do not know Waits' music prior to this album, so it's a bit muddled on what's supposed to be a part of the song and what's Waits just fucking around. He does this a lot. His voice and personality lends itself to this though, making it a smooth album for the ears. The instrumentation is pretty good too, with nice blues/jazzy bits with the band. The songs I could leave, but Waits is a naturally-gifted performed. He just take to the stage so naturally. I can see why this live album makes the list, as it exists as a document of pure and simple entertainment at it's finest, but as music it's alright.

Truly spectacular songwriting, just not really for me. I was worried this would be like the other 60's psych albums and be a bit of a messy compilation of sounds but it ended up being surprisingly well done. I wish I liked it more though.

Nilsson is an expert songwriter. I am impressed by most every song on here, just lovely works. I don't have much more to say. Just great songs.

A lovely low-key album. Alison's vocals work well with these smooth, lush sounds that move so slowly, it feels like you're in a memory or a dream. It experiments with some weird ideas and doesn't always pay off, but for the most part it's a nice album. Even the circus music ended up sounding pretty good!

These are some tight songs! Well-performed, excellent guitar work especially. Largely upbeat, fun jangle pop with a sort of indie/britpop edge. Looking Glass is also a killer closer. Grateful to have heard this.

Insufferably dumb, but they lean into it in such a way that the dumb-ness makes too much sense. I don't know what to make of it. The music is pretty good, but man is it so obnoxious. I understand that's a selling point for some people though. Just not for me, I guess.

A krautrock classic! I have listened before and loved it. Listening again, I still love it. This albums comes at the end of their relatively short stint in the 70's, forming in 1970 and releasing this as their last official album in, well, 1975. This finality was due to differences between the duo of NEU! that could not be reconciled. As such, this is widely know as a fantastic "double album" with side 1 being completely by Rother and side 2 being only Dinger. Rother's side is noticeably more calm, entrancing listeners with ambient bits while keeping that classic steady Motorik beat. This is my favorite side of the 2, but side 2 is still worth exploring. A much more punk-influenced edge on the sound, still with the Motorik beat driving it. Dinger decidedly makes his side a wake-up from Rother's side, a stark contrast for listeners who had got up to flip the record over just a few seconds ago. The only major low point for the album is near the end of E-Musik where Dinger slows everything down. It just doesn't work as well in comparison to side 1, and ultimately takes away from the upbeat precedent set by the rest of side 2. Other than that, this is a wonderful album. Well-worth the listen. Loved it!

A brilliant album in it's own way. The intro track and Jump makes you think Van Halen might've gone full synth! Where's the hard rock guitars I'm so used to? But then Panama kicks in and you know they're business-as-usual, and business is really really good. So side 1 is going really well, a nice ambient intro with back-to-back hit singles and then it kinda dips down for two non-singles that aren't bad, but don't have the same lasting power. Still keeps the shredding in tow though; we all love a bit of Eddie shredding. Flip over to side 2, and it's all Alex just killin' it on drums. Oh man! Eddie comes in with pure shred. Guitar and drums are on fire. It's fucked. It's kind of jazzy with it's fun swing and little clean guitar interludes when David Lee Roth asks "What do you think the teacher's gonna look like this year?". Great song. Strong way to open side 2. The rest doesn't quite reach the same level as Hot For Teacher, but at no point are the songs bad or even boring, they're just sort of not quite at the same level. Closest song that could hang would be Girl Gone Bad

Oh boy, The Wall. I audibly sighed when this came up as the next album. Not that I dislike Pink Floyd in anyway (quite the contrary!), but The Wall is such a behemoth of a thing to tackle. Plus, having heard it before, I need to find the words to explain my feelings about this album. It's difficult, but I'll try. The Wall is impressive. It's Pink Floyd's most ambitious, sweeping work that tackles, sex, drugs, and rock n' roll but in a realistic way. It's not fun or cool or sexy, it's depressing and antisocial. It's a way to cope. It's also a double album, 80 minutes long, and I've got issues with double albums...but alas! We've got music to listen to, not just bemoan about. There's a great flow to the album which helps with pacing and overall structure. There a few what I'll call "bridge songs" that help get the track playlist from point A to B. For example, The Happiest Days of our Lives helps bridge Another Brick in the Wall Part 1 to Part 2. I would be fine with this, but then you have a bunch of great songs that string together without any sort of "bridge songs" (Brick in the Wall Part 2 through to Goodbye Blue Sky is particularly excellent), so it calls into question whether it acts as padding for the album. For what it's worth though, they all string together to form a cohesive story of mental breakdown and eventual isolation. Side 1 and 2 are good at this, making for a solid first half of the album. The second half, in my opinion, isn't nearly as strong. The songs wallow a bit in the depression, which I understand is the point, but they don't quite stack up until it hits Comfortably Numb. This song is so goddamn good. This is a turning point for the rest of the second half (with The Show Must Go On starting side 4) and things really pick up here. In The Flesh! is a great retread of In The Flesh? but now we have more context as to what's happening. It's great storytelling as far as the album goes. This side as a whole is about as climatic as it gets, with a huge build up to The Trial that, eventually, tears down The Wall in a big fashion. For this, we get to take a look around Outside the Wall. It's kind of nice, actually. The soft accordion, the children singing...hey, isn't this where- The Wall is a magnificent piece of work. It's The Goddamn Wall. It also stops itself short of being perfect in more than one way, which kind of hurts because it feels like it should be perfect. It ends up being really good, and that's not a bad thing. It just isn't what I hoped it would be.

A 2018 release! This means that I won't be able to find it in my edition of the book, so I'll have no idea why it's on here. And that's kind of the problem with newer albums: unless they made a big splash upon release or soon after (see: Black Star by David Bowie), then an album is going to have to so some heavy lifting to convince me that it's important or influential. Otherwise, it's just a newer album that some guy liked more than another album on the list. Well, consider me impressed because this mountain of sound is so good. The steady beat with the psychedelic synth walls envelop the sound so nicely. "Opener", in particular, is not afraid to explore it's sonic landscape for a while before kicking in the vocals. And that's probably my only real problem with the album: the vocals. While the grandiose electronic arrangements blow me away, the vocal bits remind me of a generic garage-rock revival band from the 2000's that is just alright. "Boxing Day" also ends abruptly; who's production choice was that? Overall it's a good album. Pretty superb album, if you ask me. However, it'll need more time to see if it'll do anything to the wider music landscape. I can hear some of it in the newest King Gizzard album "Butterfly 3000", but "Microshift" still has some heavy lifting to do for it to really earn a spot on the list.

George Clinton makes a type of funk that is explicitly a character of the genre. It is exaggerated compared to the likes of Curtis Mayfield and Sly & The Family Stone. Parliament brings phatter beats, wonkier bass, and an explosive personality to the vocals. It's so good! Of course, we have to pay respect to Bootsy Collins in the band for bringing awesome bass skills to this funk. This carries over from his significant work with James Brown, making for a truly funky sound. Also worth noting Bernie Worrell's work on the synthesizers, who would go on to work with the Talking Heads on Speaking in Tongues and live album Stop Making Sense. Clearly, a star-studded lineup coming together brought together to just record some fun songs. And they are great! Okay that's it. Go listen :)

Folk music framed as a children's book: whimsical, playful, and a bit intense at times. Stevens is particularly good at building songs with this intensity, giving it a sort of build and fall. To that extent, I think Stevens is an excellent songwriter. That being said, it doesn't resonate with me very much. No fault of the music, it just doesn't stick with me.

A bit of odd-ball pop music. Does not stray away from eccentric arrangements and play-styles. But, at it's core, it's still pretty good indie pop music. Some may find the eccentricity annoying, what with the constant off-beat hits and moving from one riff to another. It sounds similar to what ADHD would be like in music form. All that being said, I don't think it would be nearly as memorable if it didn't have those manic moments. One of the simpler songs, Two Doves, is a nice song but doesn't stick with me like the weirder tracks that come before. The drum break in Useful Chamber was particularly fun, leading into the dirty distortion of the next section in the song. I think, at the end of the day, this isn't going to be one of my favorites. It's just too self-indulgent to have any really depth, despite how much I appreciate the choices made to make this album stand out.

Welcome to the most underwhelming album. Such an okay place Least it has some grace

I love LCD Soundsystem with my whole heart. James Murphy is god's gift to music lovers and I'll stand by that. Truth be told, I was late to the party. By the time they had released three spectacular studio albums, broken up, and gotten back together again, I was only just getting around to trying Sound of Silver (easily in my top 5 favorite albums of all time). So when this album came out, I experienced it at around the same time I experienced the rest of LCD's other albums. At the time, I found it very underwhelming. Compared to weight that Sound of Silver and This Is Happening was pulling, American Dream felt like an album made out of necessity. As if "okay, we got the band back together and now we need to get enough songs for an album. We've got a few great ideas here but still need some more things to flesh it out", which leads us to a somewhat underwhelming tracklist. The opening songs, Oh Baby and Other Voices, feel like they're trying to approach prior LCD songs, but never quite reach the same heights and end up being perfectly acceptable. Not bad, not great either. Just acceptable. However, other songs on here, like Change Yr Mind and How Do You Sleep?, are clear standout tracks with fantastic production and dynamics that hit different. Though I still believe that LCD mastered the art of song dynamics on Dance Yrself Clean, these songs can still hang with the best of em. Worth noting, I think, that this album partially exists because of David Bowie. James Murphy had the great opportunity to play on Blackstar and talk with Bowie before his death. His discussion with Bowie led Murphy to become inspired about his own music and it drove him to contacting the other members to kick-start the band again. To what extent Bowie's influence is on this album, I can't really say, but I appreciate a good story nonetheless. Anyway, Tonight is also a clear standout track. Probably the most pop-y on the album, it's got a great synth bassline and motorik drums to keep the pace while James Murphy muses (as he does so well) and the other elements of the song build in and drop out. Of the many tools in LCD's toolbox, repetition is probably the one used the most. And this is because repetition legitimizes. And when repetition legitimizes, the song has a solid foundation for build off of. It is the essence of LCD Soundsystem's sound, so if you can't get down with that then you probably can't get down with most of their catalogue. THAT'S DANCE-PUNK, BAYBEE. The run from Change Yr Mind to Call The Police is great stuff, but it sinks back into being just acceptable by the title track. I think that, at the end of the day, I'm always gonna love LCD Soundsystem through thick and thin. Even if I don't love every album or every song, they're a band that has done so much great work that I can't not give them credit. This album, though, is definitely the low point in their discography. I can't wait to listen to the rest of LCD Soundsystem on the list.

An awesome wave on 90's rock. Heavy distortion, big drums, just a wall of sound, while also using dynamics effectively to give room for wider sonic exploration. Vocals remind me of Rivers Cuomo of Weezer, cementing that 90's power pop feel. This sound is incredible, I love the rawness of the distortion and the chosen riffs. This is definitely a fallout from Nirvana's career, and I have no complaints whatsoever. Sonic Youth is another clear influence, with all of the best parts. 1977 is probably the most straightforward album on the list so far. As in, there isn't much to branch off from here, it's just making the best of it's influences. Ash doesn't do anything inventive or boundary-pushing, they just do the best with this sound and it's great.

Production on this is superb. Aiming for a more downtempo and laid-back sound, it is immensely good at utilizing reverb, delay, and mixing to bring out these feelings with the songwriting. You can hear influence from Radiohead especially, which had released the monumental OK Computer just two years earlier. This is for the best, though, as it never fully feels like it's trying to copy or attempt to become Radiohead, but dialing Travis' own sound through this new alt rock lens. It is worth noting that it slightly more pop-y, though more in structure than sound. I quite enjoyed this one overall. Nice and relaxing record with the stylings of the day that I like. Can be compared to Radiohead, Coldplay, and Muse without explicitly being any one of them.

Intentionally abrasive music that grinds, gnashes, and snarls are you. Reznor is putting his production skills on full display from the word "go", using dynamics as a tool to make the loudness hit harder than ever. Drums hit you like a punch, square in the jaw. The Downward Spiral also shows Reznor's flexibility, as he from loud, exciting bangers to slow, building jams that give room for experimentation. Reznor is not afraid to work outside the box, playing into the thematic elements of mental illness and mania. He does these magnificent pieces of songwriting with each song it's incredible. Like ever frame is a painting, every song is a case study. Bring March of the Pigs of music class and dissect that marvelous piece of work. I have no reservations about the "angsty" or abrasive bits of NIN. That's kind of the whole jam. I love it. I think the front half is stronger than the first half but overall it's the best stuff to come out of the 90's.

Pretty underwhelmed by this album. Sounds mostly like half-baked ideas that vaguely sound like Sonic Youth. From what I understand, this is an album that requires a few relistens to really enjoy. I don't think I will, though.

Pretty good 90's rock that takes from a lot of it's contemporaries at the time. Radiohead, Soundgarden, a third band. It's not bad! But it didn't impress me all that much.

Amongst the likes of Sufjan Stevens and Bon Iver in the folksy singer/songwriter scene, Devendra Banhart is a name that stands out. Haven't heard of him before but his delicate playing and storytelling can hang with the rest of 'em. He's sweet and sour at the same time, evoking bittersweet feelings of autumn days with only his guitar and voice. It's vaguely evocative of the more tender parts of Fleetwood Mac's "Rumors", while still remaining distinct. On a sleepy weekday morning, Devendra Banhart is a perfect way to appreciate the time.

This is Mayfield's "What's Going On". It's subtle yet effective in all the right ways. Fans of "Superfly" and his earlier works should be ready to slow it down. We're just gonna soak this music in and look around. Reflect for a moment. Yeah.

The original GLAM!!! Loud, proud, and definitely cross-dressing, these Dolls will let you know what you're in for with the very first track. The vibrancy of David Jo Hansen's vocal performance brings the music to life, you can tell the group was destined for greatness just listening to it. Iconic.

The early 90's was a great time to be a hip-hop fan. You had the incredible debut of Nas with Illmatic in '94, the explosive Enter the Wu-Tang (36 Chambers) in '93, A Tribe Called Quest's jazz rap classic The Low End Theory in '91, and many more. Among all these, though, is Jeru the Damaja's debut. It's got classic east coast stylings with boom bap beats, but the interesting part is Jeru's willingness to push the boundaries on the samples. All be frank though, this is just great hip-hop. As far as I'm concerned, Jeru can hang with the rest of them. Wicked.

The Pixies are in their own field of 90's alt rock. The being, there doesn't seem to be any other band like them. And to that extent they're pretty good at what they do, but it's not for me. I think that, for the people that it is for, they'll absolutely love it. I can easily see this being my favorite album if I was more into the sound, because The Pixies are exceptionally good at what they're doing here.

The pinnacle of modern prog rock. Move over, Rush. Step aside, King Crimson. We've got an eccentric Mexican with a fantastic falsetto, a savant Puerto Rican with a knack for a guitar, and a band who can keep pace with the two. There are segments on this album that will blow you away, just raw compositional goodness. There's solid dynamics too, with The Mars Volta knowing when to go full tilt and when to be more reserved. These allow for truly memorable moments such as in Eriatarka where the songs builds itself to the choruses. There are parts that are a little overly long, though, and could use some sparing in order to keep things moving along, but it can be easily forgiven for how spectacular everything else is. Great great album.

The B-52's do an excellent job of laying down an old-school surf rock riff and riding that all throughout the song. It's an element that sounds conventional, until you hear it for yourself and realize that the B-52's are anything but conventional. They get spooky synths, nonsense lyrics, and lean 100% into making fun upbeat bops. It's a shame that pretty well every song on here is eclipsed by the incredible Rock Lobster, which fully explores every facet of the riffs they use with excellence. No complaints there. Another great one near the back-half is 6060-842, which just rocks. All the songs rock! The B-52's rock.

Funk rock and funk metal are genres with the cards stacked against them. It's taking the cleanness out of funk and the edge out of rock/metal. Fishbone, in comparison to their contemporaries (RHCP, Faith No More, Sugar Ray), is slightly more successful in this regard, but it still comes out as being a bit of a wash. The ska-inflected bits are better than the others, but it still doesn't end up feeling sounding all that great.

Some pretty good 60's songs mixed with some pretty mediocre 60's songs. This is punctuated with the strange smooth jazz instrumental with a spoken word piece in the beginning and end about some random girl. Weird.

Yeezus is on the list? Why is Yeezus on the list? I guarantee most listeners on this site will not give this album a generous rating. Honestly I don't blame them; Yeezus is far from West's strongest album and marks his exploration into more experimental hip hop. It is also, in my opinion, his most confident album. It is oozing with machismo and loud production. West wants to make sure you really hear him. Well, I heard it. And it's pretty damn good. Not great, but pretty good. It loses a bit of steam after New Slaves and takes a while to pick back up, but the product as a whole is undoubtedly a complete product. Here's the kicker about this release: every West album from here on out would be a mess upon rollout. The Life of Pablo would see post-release changes to the tracklist, Ye was lead by two controversial singles that are not on the album, Jesus Is King kept getting pushed back surrounding listening parties and a film, and, lastly, Donda is the most recent of West's bizarre releases with more pushbacks and listening parties. Here's the truth: at the time of Yeezus, Kanye West was THE hip hop artist. With a unique creative vision and total freedom in how he approaches his work, the music industry had little-to-no control over him after this album. This is a benchmark in West's career in more than one way, and I have no doubt that his mental health had some part to play. But, all in all, West is unmatched in the current landscape of hip hop: this album could be considered proof of that. I'm tired, you're tired, Jesus wept.

Fugazi holds great importance for their contributions to the post-hardcore genre. They are my favorite band's favorite band. Underneath the screaming vocals and loud guitar, these guys are expert songwriters. It is computationally complex without becoming overbearing or boring. It is simply a better vehicle to carry hardcore punk to new heights. Obviously they are not the first post-hardcore band, with the likes of Minutemen and Husker Du doing great things with the genre in the 80's, but 90's post-hardcore was ran by Fugazi, alongside Unwound, The Jesus Lizard, and a particularly notable album from Slint. I think this is the stuff of champions.

Like most EDM-derived music, this album is best judged on the dancefloor instead of my home office. Regardless, the only high point on this album for me was Red Alert, which had a great dirty bass synth and a tremendous beat to drive it. Everything else is really just alright. Nothing terrible, but I don't think I'd ever come back to this album again.

A lot of comparisons to the Smiths and Talking Heads without ever holding a candle to either. Some songs fare better than others, but the album suffers as a whole for not having much to offer in the way of genuinely good music. The best songs are when Zeke Manyika has a hand in things, which is unfortunately few. The rest, I can leave.

Before the Talking Heads released one of the greatest albums of all time, even before they honed their new eave sound with Brian Eno, they released this: a sound more focused on the art punk tendencies of before. They have not gotten fully weird yet. Alas, their songwriting shines and the extent of their instrumentation and Byrne's vocals are undeniably unique. Far from their best album, but still really good. Says a lot about their discography, methinks.

With hip-hop still being a relatively new genre, we'll have a few entries that don't approach it the same as most others. The production on this album is interesting, because it's somewhat minimal in it's choices. A focus on just the drum beat, with a undercurrent baseline and occasional sampling means that the MCs are not overshadowed in any way. Speaking of, their lyrics and flow are super good and worth checking out. My biggest issue is that no songs really stuck with me on here, likely a byproduct of the minimalist production. The exception to this would be Good Newz Comin', which has a fun and funky instrumental outro. Oh, and A Tribe Called Quest is on here.

Grace is a fantastic, sweeping piece of alt rock. It stands apart from it's other 90's alt rock contemporaries, like Radiohead, the Pixies, and Sonic Youth. Jeff Buckley plays his own songs and it comes with his own flavor of alt rock. It's really fuckin good. Wide-ranging barn burners to quiet, tender moments make for a great album with expert pacing.

I was extremely fond of Bjork's Vespertine, so I was looking forward to what she'd do here on her first album. I will say that her compositions are beautifully arranged with an eye for fantastic production. She is one-of-a-kind in what she is creating and I think that's fantastic. There is a particularly interesting bit in live track There's More to Life Than This where Bjork seemingly takes the microphone offstage to the back and continues to sing along to the now-muffled instrumental. before going right back out. Incredible! Although I don't love this as much as I loved Vespertine, I think Debut is a great record. Deserving of a place on the list, no doubt.

Prince is a GOAT music artist. Now that the formalities are out of the way, I'll focus on the album. It's a weird product of it's time. I suppose that makes the name more fitting than not. There's lots of gated drums, funky synths, and it's all exacerbated by Prince's unique songwriting. He's so confident in his delivery though that Prince convinces me that it's great music. And there are certainly some great songs on here. But Prince doesn't wow me like he does for many others. I think he's certainly talented and worthy of praise, but I don't love any of his albums. That's just personal preference; I can't control that. It certainly seemed like Prince was trying to make a big statement about music and mankind as the 80's grew old, but I can't see much past the odd production choices and long runtime.

Some very okay rocks songs, with maybe two good ones. Not worth talking about when there are so many albums that do what Jane's Addiction does but better.

Common on the mic and Kanye West on production is a powerful thing. This is on display throughout the entire album, but The Food is where it really shines, especially where it's a live performance with so much energy. The whole album is a spectacular showing of rap excellence at this time. Common has great lyrics and flow, and Kanye has great beats from early in his career. Majestic.

God, this record rocks.

Extremely mediocre 90's pop rock. The opening track grabbed me a little, but I quickly became bored with this album. Skippable, in a word.

Undeniably one of the greatest album openers of all time. A lot of the rest is just a lot of your typical cock rock of the 80's. I mean, everyone knows GnR. I liked it.

After NWA, Ice Cube showed he could still deliver with a strong debut solo album. There's no doubt that The Lench Mob brings a-game production for the album, but it's Ice Cube's attitude and lyricism that really cements this as a hardcore hiphop album for all time. NWA deserves praise on their own, of course, but Ice Cube clearly did well for himself after the group. I'll say that the first half of songs are better than second half, but the whole thing is still cool af.

ELO has established themselves prior with albums such as Eldorado and A New World Record. Leaning heavy into the string arrangements made them one of the most notable "Symphonic Rock" bands . Hell, there's even a "conerto" on this album! It's always been their wheelhouse, of course, but Out of the Blue was the most ambitious ELO album at the time of it's release, being a double album and having their most popular singles ever. Being a symphonic rock album, it's naturally going to be very theatrical by nature. This usually isn't my style but ELO sells it so well that I can't not love it. However, the album's tracklist length hinders the total product as a lot of the songs on the first half sail right by me. I love Turn to Stone, Sweet Talkin' Woman, and Jungle, but the rest didn't stick with me as much. This then brings us to the second half which kicks off with the "Concerto for a Rainy Day" and I'm 100% enamored with what this album does. Just a fantastic display of musical prowess. Wow! The last few songs are a nice way to close the album, especially The Whale. Overall a wonderful experience that I'm sure I'll love even more with repeat listens. Based and GOATed

Eno was a very busy man around this time. But before he worked with Bowie, Genesis, Devo, and the Talking Heads, he released Here Come The Warm Jets. Also notably before his ambient works, this leans more into the art/glam rock that he would also help produce with Bowie. Let's call a spade a spade: Eno is a goddamn genius. He's experimental approach to production means he's not afraid to take risks and try new things. I truly believe his music acts as a blueprint for others, as we can see elements of the songs here get incorporated into future songs and albums. Even if I don't like all the songs on here, I think it's an important album that's worth visiting at least once. Worthy of being on the list, no doubt.

Oh, god. I didn't think we'd see it but it's here. We have Ska on the list. To give it credit, Ska is not all bad. And it also isn't the kind of Ska you'd clown on these days. No, we're looking at 2 Tone! A "second wave" of the genre from England during the 80's alongside New Wave. Madness, as it turns out, is a pretty good example of 2 Tone. It's sounds a lot more New Wave than Ska at times, but the influence here is undeniable. And for what it's worth, it's pretty good! Catchy, fun stuff with lots of unique sounds to carry the melodies that would otherwise be unremarkable. It also has Our House (in the middle of our street), which is undeniably a classic. An album that's hard to dislike, good times all around! Oh, and there's a guy doing blackface on the cover.

Leonard Cohen, the great singer/songwriter from Canada, is on his third album here. He's continuing the dark and somber feeling from his last album, Songs From a Room, and knocking it out of the park. Each song here stands on their own in excellency. He weaves incredible stories and drenches them in ambience, not just in his guitar but in little flourishes of strings and backing vocals as well. Beyond instrumentation, Cohen will sing with an unbridled passion, even in the quieter and more subtle moments. Some might find him boring but I find his stuff compelling. I mean, Cohen will always be considered one of the best. He's just too damn good.

Miles Davis, who had not missed once in over a decade thus far into his career, decides to make a jazz fusion double album to let people know who's the king around here. This comes right after the 3-year long stint of psychedelic albums that have largely put the music industry in a strangle hold. This also comes one year after In A Silent Way, which was certainly not psychadelic. By god, I think we're about to hear Miles Dewey Davis III put his whole bussy into this album. Bitches Brew is not cool; it is dynamic, bright, and unpredictable. Bitches Brew is a wildfire.` It was sparked by a drive to make jazz more relevant again, hence the fusion in jazz fusion. These are not concessions, though. Fusion is an opportunity, one that Davis is more than willing to grab and master. A lot of Bitches Brew is simply musing on the sounds. It's not for understanding, but for feeling. Let it carry you away and explore the soundscapes. Miles has created this wonderful sonic environment for you to enjoy, so enjoy it. No doubt, it'll get weird at times and it is 90 minutes long, but you'll be surprised with how quick time passes when you're digging the Brew. I'll say right now that Spanish Key is the tightest song on here, but the individual songs matter less so in the long run. You've gotta just experience this album as is. Not everyone is going to like it because it's jazz and that ends up being a devisive genre more often than not. I promise that there's nothing to "get"; you either like it or you don't. I like it a lot.

Rush joined the wave of prog rock in the 70's and really hit it big with their concept album 2112. Since then, they've been putting out bonafide classics. By 1981, they really hit the big time with Moving Pictures, featuring all their biggest songs like Tom Sawyer, Limelight, and the famous instrumental YYZ. This record rocks. I think a part of it is just awesome prog stuff that is clean and concise. Rush doesn't wank around too much, getting to the point and then moving on. This is their strongest point and probably the thing that sets them apart from their contemporaries. Maybe it's because I'm Canadian, but I've heard Rush on the radio plenty before, but I've never heard King Crimson, Genesis w/ Peter Gabreil , or 70's Yes on the radio. That's not to say commercialized or marketable = good, but that there's a certain widespread accessibility to Rush (aside from Lee's vocals, sorry) that you wouldn't find otherwise in prog rock. That being said, perhaps the 80's were a turning point for prog rock. After their heyday in the 70's it seemed as though things were moving towards a more pop-rock sound (or New Wave, in the case of King Crimson). But Rush would hold their own, continuing to make prog rock into the 80's, for better or for worse. Anyway, album is frontloaded to fuck lmao

A band and album completely foreign to me. The only thing I recognized was the opening song, "(We Don't Need This) Fascist Groove Thang", covered by LCD Soundsystem on a live album. Pretty good. Obviously, the whole album is a satire of sorts intended to dunk on yuppie corporate life. But I'll be frank, this is pretty shallow, musically. Some of it is catchy, sure, but I'm sitting here listening to some fart-y synths and can't help but feel like this album needs some "punching up", so to speak. Bass groves are, more often than not, holding this shit together. I love the idea of this album, but the songs just don't deliver.

In a sea of psychedelia in the late 60's, Pentangle holds strong with an album that is decisively not very psychedelic at all. It's folksy and prim and proper. The compositions, for how nice they are, deserve praise. Unfortunately, I didn't get much out of the album. Just a bit boring, even if it is well-composed. I'd believe this is a product of being a folk baroque album: nothing wrong with it, just not for me.

God, they're so good. Legendary songwriters, performers, and all-around instrumentalists. I want to listen to it again.

Eminem, for all his notoriety, was THE rapper for white dudes in the early 2000s. He was up there with 50 Cent, Lil Wayne, and Jay-Z, and he was WHITE. I can't understate the race thing; in a genre built and dominated by black guys, Marshall Bruce Mathers III was this hardcore white guy who seemingly gave no fucks. Even years later, he's left an imprint on internet culture with the song "Stan" taking on new meaning. Dr. Dre is on production here so you know it's gonna be good. Eminem's lyrics are pretty hardcore for the sake of being edgy. I think at this point he knew his audience wanted shocking so he gave them lyrics that would scare parents, the same thing that worked for N.W.A. Only two reservations are the album length and the extent that Eminem is trying to be edgy. So by the time you hit the 11th track he's spewing homophobic shit and it's not even cool or funny, it just sucks. That's not trying to hold him accountable or anything, I just don't care much for the content. It didn't age poorly or like fine wine. The Marshall Mathers LP aged okay.

It's 1978, and Marvin Gaye is BACK! After the thoughtful "What's Going On?" and the sexual "Let's Get It On", Gaye gives us the buttersweet "Here, My Dear". It's a divorce album. Funny side note, we're having a bit of a year for divorce albums. Country star Kacey Musgraves, R&B megahit Adele, uh....Kanye West went through a divorce. But he never went made Donda a divorce album. It doesn't matter, the point is that there's a wide array of emotions to explore on a divorce album. Definitively different from a mere breakup album because they're more "adult" for a lack of better words. There's legality involved! There's lawyers for this sort of thing! It's serious stuff. Marvin Gaye is doing the thing he does best on this album: reflection. He wants to explore every emotion, every moment, every facet of his divorce to delivery a truly multi-dimensional album. It's also a double album, so you're getting many dimensions whether you like it or not. It's a pretty mellow album. You get some funky danceable stuff in there, but a lot of it is musing on a topic for about 5 minutes at a time, which might overstay it's welcome a bit. When Marvin Gaye muses, he really stays musing for a while. Specifically the song "When Did You Stop Loving Me, When Did I Stop Loving You", already 6 minutes long, gets an instrumental reprise (that's not really all that instrumental) to close out side 3 and then pops up again as a reprise (though only 40 seconds long) to close the album. Man up a lot of stock into that song, huh? It's good. It's not his best, but it's certainly never bad. Of the double albums on this list though, I think this might be one of the weaker ones (but nothing will ever be worse than Space Ritual).

Sly and The Family Stone will always have my respect. High-energy, radical songs where everyone in the band their a-game to deliver a truly spectacular album. It's awesome. A ton of tight songs in the first half, and then the incredibly bluesy jam "Sex Machine" dominating the second half. It's too good.

The story of Nick Drake is a sad one, and his music reflects this. It's lonely and melancholic, while also being nice and lush. His compositions bring these beautiful strings and percussion flourishes to accompany his simple guitar and voice. It's also not afraid to get a little exciting at times, with a rockin' sax solo on Poor Boy. Very mellow for the most part though, making for a wonderful morning album. Worth a spin.

The definitive heavy metal album from the definitive heavy metal band. At least, the definitive New Wave of British Heavy Metal. Semantics aside, this is a band that consistently brings their a-game when it comes to metal. The riffs are heavy, the solo are shreddy, and the lyrics are evil. Iron Maiden delivers this in spades, perhaps a little too well. Album also features one of my favorite riffs of all time in the titular song (the riff in question is right after the second solo). Overall I'd say side B is stronger than side A, but the whole product delivers.

Marquee Moon is, of course, the cornerstone of the art punk side of post-punk. They gave an energetic boost to the otherwise very dark and dingy sounds of Joy Division, Bauhaus, The Cure, and....oh, huh? Marquee Moon came out before all those bands? Huh. Well, even if they aren't the cornerstone! They put out some quintessential post-punk. Compositionally unique, it sticks with me even after repeated listens. They'll explore cool new bridges or verses and then move on to another, refusing to stick around too long leaving you wanting more. But then you get even more punk-y goodness that you can forgive it.

Everyone is entitled to their own opinion about music, and this includes Illmatic. But I hold strongly that Nas's debut album, Illmatic, is the greatest and most important hip-hop album of all time. I cannot and will not dispute this. It goes hard. The sampling and the beats, Nas's flow on each song, the lyrics, the whole product. It's the combination of Boom Bap production with hardcore lyrics and flow. But the lyrics aren't just braggadocious or tough, they're a reflection of reality. Nas was born in Brooklyn and grew up in Queens, later dropping out of school and fully immersing himself in music. Nas, of course, is a natural wordsmith and lyricist. His cadence along with the depth of the bars elevates the art of rap to a multi-dimensional instrument. Each song stands on their own, you can tell that love and care went into the album as a whole. It is not a product of commerce, but of passion. Incredibly impactful and insanely catchy, Illmatic is an all-timer.

My second Fela Kuti album, with more awesome afrobeat. The funk is infectious, the grooves are killer, and Ginger Baker kills it on the drums. Baker is like half the reason that this rocks so hard, and Kuti is the other half. You really can't go wrong with the insanely great music here.

Very distinctly New Wave. Interestingly enough, belongs to the New Romantic scene form the UK in the early 80's (see: Duran Duran) that took New Wave and added a glam spin on it à la Bowie. Tres chic! Big focus on ambience with this album. Japan likes to fully flesh out their environmental soundscapes, which ultimately sets them apart from other New Wave artists of the day. Otherwise it's not all that notable. Not bad!

Hey, reader! If you can't find the full album anywhere, email me at sodaco3@gmail.com and I'll send a zipped file of the songs. John Zorn. Hmmm.....let's talk about John Zorn. He's a jazz artist (saxophone) who specializes in avant-garde jazz. This alone will turn away quite a few people, and I can't blame them: avant-garde art is inherently pretentious with it's "ooo, look at how I deconstruct certain pervasive elements in art and rearrange them for new experiences". It's pretty anarchist, and anarchists SUCK! Given this, I'm pretty surprised that Zorn is even on this list. I would've went with his much more popular "Naked City", but maybe that was too "jazz-rock" for 1001. Regardless, most people are going to walk away not enjoying John Zorn's work. So, what is he doing with this album? Well, he's got a 5-piece band built of two alto-saxophones, a bass, and TWO DRUMMERS! Neat. Double drummers is always risky but it's avant-garde so we'll let it slide. Cool production note: each saxophone is playing in a different channel (Zorn is in the right; listen for his licks!). Also of note is that everyone playing is improvising, giving a sort of full sound that surrounds the listener like a chaotic hug. Can you feel it? Zorn's compositions are interesting, as he opts to do these much shorter tracks that don't stick around for long before moving on the the next one. Zorn is heavily inspired by the hardcore punk scene in New York, London, and Tokyo at the time, particularly the rise in grindcore (see: Scum by Napalm Death). That sort of quick-and-dirty, attack on the ears is something that was very much inspired from grindcore and can be seen crossing over in jazz through Zorn. Again, most people will not like this, but for what it's worth I think it's a cool approach to jazz. By the 80's, Jazz had pretty well split; smooth jazz was on the rise with the likes of Kenny G, producing the most accessible, commercial music possible. Meanwhile, Jazz was being used more as a prop for other genres, such as acid jazz in the UK being a combination of electronic beats with jazz (great for clubs), or hip-hop producers incorporating jazz samples in their beats, leading to the rise of jazz rap in the late 80's and early 90's. This comes AFTER the prominence of avant-garde jazz actually, so Zorn is late to the party and very much on his own. Regardless, his approach to jazz with the mindset of hardcore punk makes for a fresh and thrilling listening experience. Overall, I think there's a lot one can take from this album, but they'll need to be open to the weirdness of it all. Do not expect structure, melodies, and rhythms that ground most songs. Instead, listen for how each instrument is playing off the others while also being totally independent from the song. There are times in this record where the stars align and you can hear the purposefulness of Zorn's band coming together in creating some really rad shit. But you gotta be open to it, or you'll just walk away thinking it's a total stinker. If you liked this record, consider listening to Ornette Coleman's stuff! I recommend "The Shape of Jazz to Come" and "Free Jazz", both records that did NOT make this list because Coleman ISN'T ANYWHERE ON THE LIST, DESPITE HIS NAME BEING HONORED BY THIS ALBUM. FUCK YOUUUUUUU 1001 ALBUMS!!!!

Another Cure Album, much darker than Disintegration, but still fantastic.

Fundamental album for....ska. Ska is a weird genre. It originates out of Jamaica which is considered the "first wave" of ska in the 60s and 70s. It's very calypso-inspired, if you know about that. Heavy on the brass section, emphasis on the off-beats, and so on. Then, in the late 70s and into the 80s, it was picked up in England and thus began that "second wave", more commonly known as 2 Tone. The Specials embody 2 Tone. You hear more guitar, along with elements of new wave and early punk rock in 2 Tone compared to the original Jamaican Ska, but it's still unmistakably ska (just pick any track and give it a listen). This was then picked up in North America during the late 80s and was expanded upon as Ska Punk. Leaning more into hardcore punk, you had a heavy focus on faster and dirtier riffs, more aggressive vocals, while still retaining the brass section and off-beat rhythms. This was the most commercially successful iteration of ska, with The Mighty Might Bosstones being a standout of the genre. Gamers will be quick to recognize this flavor of ska in Tony Hawk games, with Goldfinger being a favorite. Pop Punk enthusiasts will know of Jeff Rosenstock, former member of ska punk bands "The Arrogant Sons of Bitches" and "Bomb the Music Industry!", along with his more recent solo release "Ska Dream", which features all flavors of Ska, not just Ska Punk. So what does this say about The Specials? Well for one thing, they aren't in one place for the album's runtime, no. They tend to move back and forth between the more energetic punk-rock influence distinct to 2 Tone, and the more laid back original sounds of Jamaican Ska. This represents largely the "importing" of ska to England, brining a fresh and more local sound. This mirrors the very real migration of Jamaicans coming to England in the 50s after World War 2. Children of Jamaican parents growing up in England during this time would be adults by the 70s and 80s, and some would be musicians! So the blend of Jamaicans Ska along with punk-rock and new wave would be the natural conclusion of Jamaican immigration. Specials members Neville Staple and Rico Rodriguez are both from Jamaican and contribute largely on this album. Worth noting that this album was out in 1979, too early for new wave, so we got mostly punk rock influence. This put The Specials on the leading edge of the genre, with none others like it. This, however, becomes a double-edged sword for 2 Tone. On one side, The Specials were doing something very unique and notable at the time, indicative of real-life current events at the time. On the other edge, few could meet the same level of quality of The Specials (Madness was the closest), as a result of Ska being kind of...hokey. Almost like a cheap imitation of the more "genuine" ska music of Jamaica, as leaning too much into international music can sort of cheapen the experience. This leaves The Specials being special and important, but not really all that good. It's a hard thing to swallow, but 2 Tone deserves to be clowned on. Jamaican Ska and Ska Punk can hang though, they're cool.

Glam rock masterpiece from Bowie because he is the greatest artist of all time etc etc. You know what, Bowie is maybe a little overrated! I like his songwriting and his approach to performance art, but I find the songs themselves pretty underwhelming. I like Ziggy Stardust! I enjoy Hunky Dory. I do not think this is is a great album. Did it make a splash when it landed? Oh god, it's clicking. His song writing is better than I gave it credit for. No, it's not "just alright". God dammit, how is he this good? I don't even like Bowie that much, but his skill is undeniable. Quicksand is introspective and thoughtful in it's purposeful piano playing, Andy Warhol is snappy and quick, both in guitar and lyrics. I don't know why but side 2 did more for me than side 1. Argh! Curse you, Bowie.

Before becoming the name synonymous with Disco, the Bee Gees made some pretty fancy pop. Odessa presents itself as this grand sweeping double album, the stuff of legendary bards. Akin to epic poems from ancient Greece, accompanied by orchestral strings upon strings, Odessa so badly wants to be larger than life. Simple gold lettering laid atop a royal red, it is simple yet effective in conveying to those who judge books by covers that this album is the last great album of the 60's. It's okay. I can appreciate the amount of effort that went into this though; a concept double album is a grand undertaking and with all the tensions on the group at the time, it would be no small feat to complete a project as ambitious as this. However, I find the Gibb brothers to be underwhelming songwriters. Not bad, just underwhelming. A bit boring, even. There are some good bits in there, but the whole product does not impress me as much as it would like to impress.

Classic hardcore punk! For my money, though, one of their compilations would be a better pick because it'll feature stuff from their self-titled and "In My Eyes" as well. All three releases are short enough that the compilations make for a better-suited experience overall, but I can't complain too much. Anyway, it does everything about punk so well. It's got attitude, edge, energy, and not stick around for more than 30 minutes. What's more punk than that? Also, Cashing In is an all-timer closer. Great record.

there only needs to be one Jane's Addiction album on the list and it should be this one. Better songwriting (marginally), better structure, and more dogs barking. That's all you need, really. Still not a huge fan of Jane's Addiction, but I can appreciate this album a lot more than their debut, which did not impress me nearly as much.

Side project of Eric Clapton after Cream disbanded, Derek & The Dominos never did any other albums. And perhaps this is a damn shame, because this high points on this album are amazingly high. Bell Bottom Blues is a prime example of an amazing hard-hitting chorus that I wish never ended. Everyone is in their prime on this record, and it shows. Songs flow naturally from one to the next, making for a well-paced album that explores different moods. The overall strengths lie in the absolute beast that is Eric Clapton rocking his guitar, keeping a strong pace with the rest of the band as he carries a rocking momentum into the solo. It's a must-listen for any classic rock fans, because it rocks so hard. Great record, even if it is a little long.

Very unique album with regards to it's style: it's got sophistication, quirk, and playfulness. It's the kinda of style that would be later adopted by Vulfpeck with their more funky stylings. Regardless, there's a lot to like about the album but there are some off choices, such as the hiphop song. It might be the most eclectic album I've heard on the list so far, for better or for worse. It's really side B that leans heavy into it's right turns, so be ready for that. Pretty good otherwise.

The first album on Swan Song Records, Led Zeppelin's very-own label after their contract with Atlantic Records was up. Atlantic was ultimately still the distributor for Swan Song, of course, but that's neither here nor there! New label, new beginnings for the Led Zepp. What would they put out first? Physical Graffiti is a sprawling double album, with a very strong first LP and a slightly less strong second LP. They maintain their blues rock roots with a hard rock sound that defined rock must for...the rest of time? Hard not to understate Led Zeppelin's influence, they really set the bar; Physical Graffiti is no exception. This album also has the Arabic-inspired epic Kashmir that elevates the whole product, really. A classic through and through.

I am the proud owner of this original release on vinyl, including the functioning zipper. As you would expect, the record itself is practically unplayable, but it's a cool piece of history to own. As for the album itself, this is definitely the Rolling Stones' best showing. That being I am not much of a Stones fan, I'm not all that captured by them even at their best.

Another album to cement CCR as the gold standard for swamp rock.

When Bowie passed away on January 10 2016, he left behind a legacy: a discography of truly great albums, an impact on the music industry only few have claimed, and a pretty large quality gap in his career. Some would argue that he hadn't put out a good album since the 80's. Others would affirm that, it didn't matter what he point out at this point, because his name now speaks for itself. Regardless, David Bowie was not the musical workhorse that he was in the 70's, and most of the world had pretty well made it up it's mind about Bowie. Not much else to be said. Turns out, though, that he left behind one other thing. A mere two days before his death, Bowie released Blackstar, impactful in it's cover art alone. This album...is something else. It's almost prophetic, let he knew he was dying and had one last great album in him. He reached deep, and pulled out the most introspective and dark album he could ever pull out of his soul. It's deep as hell. It's a lot. Musically, he's going above and beyond with these compositions. Songs play naturally through the movements and sour when they need to, adding an extra gut punch of what this album is really about: death. Everyone here is on their A-game, working to elevate the songs and work towards a great crescendo on Bowie's last album. Wow. This is David Bowie's last album, huh? God, what a thing. I think, for Bowie's swan song, this is exactly what it needs to be. I don't absolutely love it, but I don't have to. It speaks for itself. ★

Mariah Carey, pop darling, is known for her silky smooth voice which has graced 17 albums thus far. This her 5th album. Do you want to know something I didn't know? Carey is credited as the PRODUCER for this album! He made these songs!! All this time I thought she was a pretty face with a voice being used by other producers in the game, but no! She's the songwriter, producer, did her own background vocals too. That's hilarious. Anyway, this album marks a turning point in her discography (from what I read). She pivoted from a more watered-down adult contemporary pop sound to a more hip-hop + R&B sound. This is evident in Honey, the album's opening track. Unfortunately, Honey is also the strongest track as the rest of the album falls back into slow jams that are just okay. It's a bit disappointing because it feels like I listened to the same song in 10 or 11 different ways, just not very engaging. Mariah Carey is a wonderful voice that is delegated to the same shtick over and over and over again. This is also a divorce album, so maybe it's warranted. Marvin Gaye did it better, in my opinion.

More of a unique success story than a musical masterpiece, White Ladder is known for being David Gray's self-financed album that managed to stay in the UK top 100 for almost three years straight. Big seller in Ireland too, hitting 20x platinum in it's first week. How does it hold up? It's nice singer/songwriter stuff from the 90's. Soft, sweet, and an easy listen. Some interesting production choices including electronic-geared drums. Good voice, good songs, good album.

Kraftwerk are the great pioneers of electronic music, weaving their synthesizers, vocoders, and electric drums to make the sounds of the future, and this album demonstrates that in spades. Intrinsically unique is the group's background, growing up in a unique musical vacuum post-WWII. This pushed Kraftwerk to innovate and developed the gran new genre of Electronic music, embracing the cold, calculated sounds of synthesizers. I love the little ambient arpeggiated synth line in "Spiegelsaal" especially, so cool. There's also Iggy Pop and David Bowie influence on this album, but it's a lot more subtle than other contemporaries of the 70's.

This is it! The original punk rockers. Attitude, riffs, a driving drum groove, that's all you need. Catchy as hell too, great for a fun time. I will say, though, that punk has been greatly expanded on (dare I say, improved?) in the years since this album and it almost makes me wished they pushed the envelop even more! Either way, I can get behind this sort of sound.

The second album in Cash's "prison albums". This concert may be slightly overshadowed by the great "At Folsom Prison", but it's still great nonetheless. Cash is such a natural performer, his rapport with the audience makes you feel like he was a prisoner himself. Oh, wait, he was! They don't call it "outlaw country" for nothing, eh? He puts on a damn good show. You'll hear mention of Cash speaking of the cameras from the UK telling him what to do. Those very cameras would capture the famous image of Cash giving us the middle finger. You can tell, in that little bit of trivia, that Cash is a performer of the people. He doesn't care about the cameras, he cares about the people in front of him. It's a great measure of showmanship. There are natural highlights on the album: I Walk The Line and A Boy Name Sue are some of his best performances of all time. Even the lowlights are worth hearing too, especially the audience banter. This leads him to play the song "San Quentin" twice in a row, which is awesome. Yeah, this is an all-timer.

Nico, perhaps best known for her collaboration with the Velvet Underground and Andy Warhol, went on to make some very sweet-sounding folk with a symphonic edge. Things take a left turn on It Was A Pleasure Then, with feedback from an electric guitar being used. Truthfully, the album never quite hits the same level of quality after the first two songs, but the overall product is a generally enjoyable listen.

Apple's excellent debut. She is a unique songwriter for the end of the 20th century, giving her haunting production a jazzy edgy as she plays along on her piano. Apple's on the stage at the back of a smokey club, but she's no background singer. An aside, I love the drummers on this album. Matt Chamberlain and Danny Frankel are so tight, yet so smooth. Great job by Fiona Apple

Really nice folk rock songs. Buffalo Springfield will always go down in the books for their contributions during the 60's (and the members' later fame), but on it's own the album still hits a sweet spot.

The first britpop album from Blur, though not their debut album. By the time Leisure came out in 1990, Blur was already late to the niche and dwindling "Baggy" or "Madchester" scene (see: The Stone Roses). As such, Blur's debut did poorly, along with live shows and touring. Down, out, and discouraged, the band regrouped for a new sound and image inspired by the success of Suede. This would be the band's first of many contributions to the brand new genre of britpop. It is explicitly riff-driven pop. Pretty good songs but only the opening track is worth opining about for the most part.

Nice Big Band arrangements, though my interest wanes as it goes on, relegating Basie to background music (a fate worse than death). Not a bad listen, but there are better big band albums out there.

This Little Simz album from 2019 was added as part of the newest update to 1001 albums (circa 2021). While not the newest album on the list, it is still fresh enough that it's quite bold to put it down in the list of 1001 Albums You Must Hear Before You Die. Regardless, Little Simz is a rapper I'm already familiar with, having released the fantastic Sometimes I Might Be Introvert in 2021 (which could very well be album of the year for me). Truly, I have few qualms about this being added to the list. Simz hits hard with her rhymes, switching up her flow and vocal styling to keep you engaged. Simz is accompanied by production from Inflo, who brings beats and structure to the songs that are unlike anything else right now. Genuinely incredible. Compared to her follow-up, I think I still prefer SIMBI for the satisfying framing and continued pushing of boundaries, but this is still a great album through and through.

Indie pop outfit out of the UK featuring dreamy guitars and a falsetto that can either fit the song or drain you. Two Dancers (i) and (ii) are especially nice listens given the sequencing, the the rest of the album just sort of washes over me. It's nice, but not groundbreaking to me.

Brian Warner owes his entire musical credibility to Trent Reznor. The aggressive, hard-hitting industrial sound is not just an influence, no, Reznor is literally producing a good chunk of this album, including the best moments. The Beautiful People? Reznor. Tourniquet? Also Reznor. The Reflecting God? Fuckin' Nine Inch Nails, baby! You can argue that Warner has his on imprint on the album, but the gaps where Reznor isn't producing are also gaps of quality. Compared to Downward Spiral or Pretty Hate Machine, Antichrist Superstar is a cheap imitation. As ambitious as it is, though, the pacing is well-done! The concept album breaks chunks of tracks into "cycles", giving some credence to the runtime. Concept albums clocking in at over an hour long are prone to making my eyes roll, but at least execution here isn't bad. Warner touches on capitalism and satirizes fascism while inverting religious conservatism on it's head with the whole horror antichrist aesthetic. It's clever way to shock your way into the mainstream, like the Sex Pistols or Elvis Presley. For all the great bits in the album, there's a lot that ends up dragging things down. The middle "cycle" of the album is really what bores me the most. Beyond that, the Begotten aesthetic doesn't really phase or impress me. There's potential in here, but it's too cluttered, too commercial for it to be great.

Essential 90's hip hop starts and ends with A Tribe Called Quest. Q-Tip and Phife Dawg (RIP) expertly spit bars over fantastic jazz beats. The opening moments of the album with the bass of Excursions is neigh-unforgettable, setting up expectations for the rest of the album's runtime. The Tribe has the stage: now is the time to listen. The vibes on this album are perfection. It's so incredibly mellow, like hanging out with your friends, chillin'.

Icelandic post-rock weirdness. As the cover art would suggest (and the translated title, "A good beginning"), this album is a lot like floating around in the womb. It's dreamy, mellow, nice. Instrumentation helps achieve this goal with a lot of reverb, some strings, and dainty keys. While the arrangements are something to behold, this is largely held back, I feel, by the vocals. I can look past unconventional vocal stylings most times, though when it detracts from the music I can't help but notice. Additionally, I feel that "Olsen Olsen" was a perfectly good closer, and the two tracks that come after it are superfluous. Otherwise, it's a very nice listen.

ZZ Top, before the beards and sunglasses, were strong players in the blues rock genre. It's very blues. Blues to a T. So much so that ZZ Top rarely does anything subversive or innovative to do much interesting with their sound. The obvious exception to this is La Grange, a more southern-geared rock piece that showcases ZZ Tops strengths: tighter playing styles and bringing the drums to the forefront. Instead of playing metronome for the 12-bear blues, La Grange has drummer Rube Beard as an active participant in the band for once. Ultimately, La Grange serves to show that the band has potential to be great, but decidedly muddles around in mediocrity throughout the album's runtime.

Black Sabbath release six great albums at the start of their career between 1970 and 1975; can you guess which number this one is? Yeah, it's a classic. Just guaranteed heavy metal from the early 70's. Also features the compelling piano ballad "Changes" One of the great things about these early Sabbath albums isn't just that they were writing great songs, but that they were willing to experiment and push the envelop with things to keep the albums fresh. Even if you didn't like the ambient "FX", I'm glad it's there. Outside of that, ending side A on Supernaut and opening side B with Snowblind is a powermove; I can only imagine what it was like to hear it for the first time when it originally came out. Fucking excellent.

Probably the best songwriters around in the mid 60's, with a natural highlight being their harmonized vocals. Their instrumentation is compelling too, with varied and complex playstyles across all instruments. Even if I wasn't 100% in love with the full album, I can't not respect how good these guys are.

What a helluva album. A lot of fun, a fully realized concept, interweaving serious themes, and captivating me the whole time; That's a success! Rarely, I think, does an album get me so excited while listening but fuck, The Kinks did it here.

Bookends comes in near the end of Simon & Garfunkel's career. Throughout the 60's, they would put out classics such as "Homeward Bound", "Scarborough Fair", and "The Sounds of Silence" (the last of which you can hear in "Save the Life of My Child"). Truly, Simon & Garfunkel had left their fingerprint in the folk world of music and beyond by this point. Being a concept album that explores a life from beginning to end, you would think that "Bookends" would also bookend their career as a duo, but as we would find out two years later, it's not quite so. Regardless, they would once again knock it out of the park with this record. Putting the odd "Voices of Old People" aside, this is a wonderful folk listen. Simon & Garfunkel harmonize so beautifully, so naturally, you'd think they were born to do it. Here, they are accompanied by occasional strings and brass, subtle in their ways that it enhances the song, instead of detracts. This album is deceptively short though, not even a full 30 minutes of songs on here. That can be forgiven though, given how nice the songs are. And how could I forget the bouncy Mrs. Robinson? Great song. I liked the album enough, but never get too excited or invested in it apart from Mrs. Robinson. Not bad at all, just not my cup of tea.

Take a time machine back to 1957, sit in a smokey jazz club in Chicago and hear the live musical act of Sarah Vaughn and her Trio (Jones on Piano, Davis on Bass, Haynes on Drums). Natural stage banter, a smooth backing band, and Vaughan's wonderful voice is a treat to listen to. I'm listening to the LP version here, which is significantly shorter than the CD version but gives the full idea, I think. She even shouts out Ella Fitzgerald at the end and scats for a bit, it's great.

Time Out is widely revered in the jazz world. It is essential cool jazz, but known for pushing jazz in new directions, such as it's use of odd time signatures. This was inspired by Brubeck's time overseas, where he would hear the locals play in time signatures different from the 4/4 that became the norm in western jazz. Moving on, the highlight of this album is easily Take Five, which features a bombastic drum solo from Morello while Brubeck plays the same hypnotizing bar over and over again. It's a display of jazz musicianship unlike any other.

David Bowie, great in his own right, released his last album in life "Blackstar", and passed away mere days later. As if he also knew his time was up, great Canadian folk artist Leonard Cohen followed suit in the same year. You Want It Darker, Cohen's last album in his life time, came out October 21, 2016. 17 days later, he died. There's not much left of Cohen's voice on You Want It Darker. What he has, though, he leans into. The titular song and opening track is, in fact, dark. Cohen sings about death in a very religious way. Similar to Balckstar, it's as if Cohen knows his time is up. Unlike Blackstar, Cohen prefers to keep things simple with his last album. This subdued sound is nice, but can lose steam after a few songs on account of sounding samey. Cohen is really dwelling in this sombre, grizzled mood the whole time, so you'll really need to be in the mood for that.

After doing his famous outlaw country stint in the early 70's, Willie Nelson says "fuck it" and does a bunch of standards. He does a Duke Ellington song on here! How novel! Songs here are peaceful and sweat. I love that Nelson went in a slightly country pop direction with the added strings to give the songs extra depth. Just really soothing listens from Ol' Willie here. It's especially warm and cozy with the guitar on this record. Simply wonderful.

Before Outkast came onto the scene to popularize southern hip-hop, there was Arrested Development. They formed in 1988, with "Speech" MCing and "Headliner" on turntables, and did performances in hopes to get signed. This took a little over 3 years. 3 years, 5 months, and 2 days to be exact.... This album is worth passing. Even with it's southern hip hop roots and high energy, the album bored me. Most everything on here feels flat and uninteresting.

The titular song is so beautiful. The soft picking of the guitar, the melody of ooo's backing up Paul Simon, the lovely rise and fall of the song's dynamics, it's everything. The rest of the album, I'm afraid, never quite reaches that same level. The songs are still good, but never as great. Standouts include "Train in the Distance" and "Rene and Georgette Magritte With Their Dog After the War". In fact, if "Hearts and Bones" and "Cars Are Cars" swapped places on the album, Side B would easily outweigh Side A. Seems like Simon had a few superb songs and then wrote a handful of filler to make the album.

At the forefront of psychedelic rock in the 60's was, of course, Jefferson Airplane. Their hits, "Somebody to Love" and "White Rabbit", are bonafide classics. The rest are fine.

Post-punk has never been so weird. The thing to note about early post-punk is that the only unifying trait is the will to experiment on the punk genre. This leads to a wide range of different artist, with some experimenting more than others. The Birthday Party, in this case, leads more into the experimental side. Junkyard sounds like a junkyard. It's rusty, malformed, and a little dangerous. If punk rock were a Ford Model T, post-punk would be a T-Bucket. The Birthday Party wants you to feel kinda gross listening to this, like punk blues that's been dragged through the mud. this is accentuated by Nick Cave's wild personality; he's like a rabid dog throughout. This wild energy makes the abrasive guitars all the more interesting, as you can imagine the band tearing up a live performance with their hypnotic sounds. It's definitely not for everyone, but I think it's awesome.

What are the odds? (The website probably did this on purpose) Phil Spector, notable producer and murderer, had designed the "wall of sound", where Spector pushed the limitations of audio recording technology by having a large an ensemble as possible. This would result in a much fuller sound unique to the 50's and 60's. This "wall of sound" was subsequently used by Spector when he gathered a few artists on his label to do a selection of (mostly) secular Christmas songs. I do not like the wall of sound. I think it obscures the arrangement and is a poor use of dynamics. Which is a shame because I like some of the songs on where with their arrangement choices! If they were just a bit more stripped back and sonically legible, I could enjoy it more. Perhaps for the time, the wall of sound was even helpful, but here I find it more annoying than anything. Everything else about this is great though!

Live albums that end with "At Newport" are guaranteed to be an artist's best. Duke Ellington, Dizzy Gillespie, and now Muddy Waters. Waters is obviously a mainstay of blues, and I'd say there isn't nearly enough blues on this list, but I'm glad they chose this one. Blues is a pretty simple genre, so you need to bring as much personality in order to make it shine. Waters had personality in spades. He has full command over the audience, with his naturally compelling voice and excellent guitar skills. The whole set is great, but "Got My Mojo Working" is the clear highlight, followed by part 2 and then the excellent closer "Goodbye Newport Blues". This one is a bonafide classic.

Great swing record, but easily remembered for Prima's vocal chops and energy more than anything else. Are there good solos on here? Sure. But there's also Prima's crazy scatting and that's the guy on the cover, so who are you really here for?

Nice smooth soul that is otherwise ruined by cheesy 80's production. These synths are doing more harm than good.

At the end of 2020, I found that I hadn't listened to much new music that was being released. So I made a resolution to myself to listen to one new 2021 album each week during the year. So trust me when I say I purposefully skipped this one to listen to the new ERRA instead. I don't like Lana Del Rey. This album is no exception. I find her voice grating and uninteresting. Sure, Jack Antonoff does good production and arrangement work. I think a lot of Del Rey's charm is in her lyrical work, painting these scenes with a certain feeling or aesthetic in mind. It's a shame those words are accompanied by her voice, which I dislike so much. Any other singer would've done this album good justice. For example, Nikki Lane features on the song "Breaking Up Slowly" and does a wonderful job. That's ultimately where I stand on Del Rey albums.

Nice and easy vocal jazz for your mornings. Ray Charles always sits well.

Cohen tackles synths. This is a lateral move for the singer/songwriter that works oddly well. Features the hauntingly beautiful "Everybody Knows", which stuck with me more than anything else on the album. I enjoy synth Cohen, but not as much as his old stuff which resonated so much more. The exception is the chaotic and perhaps rushed "Jazz Police". What a song.

Ice Cube's early discography is inherently important due to it's political significance. The interludes (or "inserts") shine a lot of light on the issue, but here's another: this album came out mere months after the 1992 Los Angeles uprising. Ice Cube is no stranger to racial tensions in Los Angeles, so this album is all the more potent. As far as the music, it's still the hard-hitting gangster rap you could expect from early Ice Cube. There's a few rotating producers on here but the emphasis on the snare gives the album a certain punchy-ness that lends well to Ice Cube's swagger in his flow. Also features the classic "It Was A Good Day", which takes a break from the hyperviolence of Ice Cube's regular lyrics in a way that actually inverts the theme of violence to say that "nobody I know got killed in south-central LA. Today was a good day." Even weaker songs like "Gangsta's Fairytale 2" makes great use of samples. This is a consistently quality album through and through. More great hiphop for your ears.

one of the better british folk rock albums from this time. A Sailor's Life is particularly well performed, with subtlety and the songs length being used to build appropriately. There's a great balance here between the traditional folk elements and the more progressive rock qualities, taking the best from each for an album worth praising.

From what I understand, this is an important album from the genre of Drum and Bass. Drum and Bass is a pretty niche genre, so your mileage will vary with how much you like the genre. For my money, I thought it was enjoyable enough. I like the atmospheric elements and how it enhanced the Drum and Bass (reminded me of Parkour Fortress. If you know you know). The obvious drawback is that it's an overly long double album. 105 minutes is a lot for any genre.

Production on this is stellar. Maybe the gold standard for modern r&b/neo-soul.

Wilco is usually praised for their fourth studio album, Yankee Hotel Foxtrot, but this seems like a better introduction to the catalogue. A nice mix of alt-country and roots rock that services the 90's production that doesn't necessarily date the album. The thing that really makes Being There is Jeff Tweedy's songwriting, which he is so damn good at. I didn't even realize when I went from disc 1 to disc 2 of this double album, the songs just carried me away. Superb in all the best ways.

Political hip hop very similar to Public Enemy in terms of both production and MCing. The problem with this particular album is that the political messaging takes precedence over the music, making the lyrics as dense as possible that it sacrifices any excitement found in Public Enemy's music. Production is also a snoozefest, though it's hard to top Terminator X.

Plunderphonics is a unique genre for it's methodologies. By strictly using pre-existing music, artists will mix, match, and employ unconventional methods to create a whole new piece of art. Songs will be sliced and looped beyond recognition. It's an undertaking that requires insane production skills, as production becomes the songwriting in a way. If any album has mastered this art, it's Since I Left You. There are around 900 samples in this album. It is a feat. The Avalanches themselves said that they were crazy, and they wouldn't ever get that ambitious on future releases. That ambition is what makes Since I Left You so incredible though, as the samples envelop and keep you on a constant adventure of The Avalanche's perfectly-crafted sonic landscape. Loops ground each song and get built upon with more and more samples. They come from every which way, there's no use in following each thread as it's best to just ride the wave. The album art is a perfect representation of this feeling, I think. Thematically, The Avalanches leans into adventure through use of varying songs. As they all seamlessly transition from one to another, it's like crossing borders or biomes on your adventure. Track titles are indicative of this, with "Flight Tonight", "Pablo's Cruise", and "Little Journey". Worth nothing they had to re-record their big hit "Frontier Psychiatrist" because of samples not clearing (I'd imagine other songs got the same treatment). I encourage you to seek out the song on YouTube because it's a classic. Anyway. This is an amazing album. I can't stress enough how much I adore the thing. Just so consistently well-made throughout the runtime and brimming with good times.

Blur and Oasis are certainly the most popular acts in britpop, but Pulp is the most britpop act in britpop. They're also VERY horny, which I don't like. Otherwise, the songs are alright and serve the genre pretty well.

It's disco! Light, easy fun in a tight 40-minute package.

Frank Zappa is weird! But he pulls together some pretty great jazz rock that really pushed the genre. A lot on instrumental craziness that ultimately the reason why this album is on here. Fully worth the price of admission.

Pretty unique and compelling R&B from the 80's! I'm not a huge fan of it but it's pretty good for what it's worth.

Unique pop music from Brasil! It's lush with instrumentation, rhythmically groovy, sensationally beautiful vocals. Even during the slower parts, the warm acoustic strumming accompanies Portuguese lyrics that float around the air. Occasionally taking elements of psychedelic music, we hear phased guitars add another layer to the already vast landscape of music being produced here. Excellence.

A different spin from 1001, this gives us some Afro-Cuban jams that a very much rhythmically-focused. As the name suggests, prepare for the congas. It's a nice slice from another part of the world, though the vocals leave little to be desired. It's best to consider them as part of the rhythm, with their call-and-response style that grounds the music. Overall, it's pretty simple, so it's not much to be impressed by. Sometimes a nice little album showcasing music from outside of the usual countries is all that's needed.

One of the earliest pop-punk records, and it goes hard! The hooks are catchy with lots of energy, while still staying true to it's punk roots. Much less far removed than later pop-punk records, but all music evolves in some way. With all the songs on here, some of them don't stand too well, but the general tone of the record supports the lesser songs by keeping things moving.

After the advent of disco rap (and hip-hop in general), it had become stagnant by the early 80's. Enter Run-DMC, specifically with producer Larry Smith who innovated the genre with hard-hitting drums and bombastic, in-your-face MCing. Run DMC also switched up the style of hip-hop, dropping the disco glam of the 70's for cool leather jackets and street sneakers (see: My Adidas). If that's not enough to convince you of this album's importance, I don't know what is. As for the music itself, it's certainly dated by out current standards of hip-hop. Flow is a bit rigid and simple, production is completely 80's with their drum machine sounds and synths, and lyrics are....interesting. For something so ground-breaking and innovative, Run-DMC's debut is well-made, though not a great album by any means. Run-D.M.C. gets a C for effort.

Turn off the lights. Prepare a candle. We're about to get a little more....goth. Following the innovations to post-punk by Bauhaus and Siouxsie and The Banshees in 1979, Sisters Of Mercy would follow shortly after. Though not coming out with a first album until 1980, they would fit nicely in with the likes of The Cure and other gothic rock contemporaries. This brings us to Floodland, which is a perfectly reverb-drenched, rhythm-heavy album that's so dark, the vampires love it. If you're not big on gothic rock, there's no way you're going to like this record, as this is a prime example for the genre. There's a huge focus on atmosphere more than anything else, which may not be everyone's jam, but I think it's great.

The Beatles' White Album is an oft-discussed contender for greatest double album of all time, and has a runtime of roughly the same length as a feature film. This will test my patience. White Album has a strong first half, that much is for certain. Back in the USSR kicks things off with great energy, Dear Prudence is one of the best songs ever done by The Beatles, I actually enjoy Ob-La-Di for it's simple fun, the list goes on. Though there are weak spots along the way (looking at you, Wild Honey Pie), the eccentricity gives the album a sort of carefree fun quality. This serves a stark contrast from the album cover, which is nothing. Somewhere after Blackbird, I feel as though we've lost the plot. Sure, they're well-made songs, but they're songs that sort of just wash over me. One of the pitfalls of making so many great songs is that the good songs sound just okay. This is also a pitfall of double albums, in that it becomes difficult to maintain consistent quality the longer the tracklist gets. Sure, there are plenty of great songs to talk about on White Album, but there are an equal amount of songs that get lost in the mix. Piggies, I Will, Mother Nature's Son, and many others are perfectly fine songs that lose momentum due to the other tracks that are miles better. White Album is a lesson in Beatles songwriting. It showcases how they are both good musicians and fantastic songwriters. I mean, gosh, Helter Skelter did heavy metal a full year before Black Sabbath. And props to Revolution 9 for scaring the folks at home

Queen is notable for being a singles band. The singles, Killer Queen, Brighton Rock, and the album's namesake are fantastic spectacles of songwriting that stand on their own for years to come. For the rest of the album, it's pretty good! Not nearly as great but I enjoyed the listen for the most part. It's a fun, hard-rockin' album that's simply here for a good time.

A lot of great songs on here: Come Together, I Want You (She's So Heavy), You Never Give Me Your Money, and so on. But the real crown jewel of this album is the medley, which carries on from You Never Give Me Your Money. Each song has a distinctive flavor while also flowing seamlessly, creating a great run of jams all the way to The End (haha, do you see what I did there?). I cannot stress how much I feel the medley elevates the album. I'm not a huge Beatles guy to begin with, but it's really neat to see that sort of thing played out. One of my favorite albums of all time took inspiration from this medley, so hats off to The Beatles!

Side A has pretty good soul that takes the extra step with embellished arrangements to make the songs sound a bit better. Regardless, it never really stuck with me much. Side B gets adventurous with jazz and a particularly interesting electric organ solo over a programmed beat. This was more compelling that side A, I feel, but the whole record would need to grow on me.

"Ride" the wave of sound! It's awesome. Actually enjoyed this sort of shoegaze more than Loveless. It's got a very british edge to it, which I could take or leave, but the soundscape in combination with the band's style of songwriting is a wonderful listen. I just wish some of it stuck with me more, but repeat listens can help with this.

Smooth soul is very marketable and it kinda loses it's edge as a result. Bobby Womack has enough personality to make up for this, but it ends up being just alright soul. Maybe if it wasn't so watered down, it would be better!

1001 calls him the "king of Rai", Rai being a genre coming out of Algeria. Distinctly melodic with Arabic influence, Khaled shines when he doesn't sound so goddamn poppy. This is made distinctly worse by a cornball-cover of John Lennon's Imagine, though it'll be hard to top that one cover done by all the celebrities at the start of the pandemic. I do appreciate Khaled's Algerian background, I really do, but this is too commercial, too pop to retain many good qualities. The opening track, Aâlach Tloumouni, is the obvious standout here for being the closest to standard Rai music, but the rest is watered down. It's also a half-hour too long.

This album has a French version and an English version. For the sake of brevity, I'm only listening to the French version. Nice and sleek synthpop, very much calling from the sort of 80's aesthetic revival we've been having (see: Stranger Things, amongst other things). I don't often hear much out of France, so this is a good change. I can't say I feel it deserves much of a spot on the list, though, as it sort of comes across as "just good". How has this resonated since 2018? Not sure if it has. Critics seem to love this though. Good for them.

Here, amongst the explosion of post-punk record in the late 70s and early 80s, we see the beginnings of dance-punk, which had the tone and energy of punk/post-punk alongside danceable rhythms similar to funk and disco. Entertainment! is easily the best of these early dance-punk records. Politically-charged and stilted with jagged guitar riffs, Gang of Four sounds unlike any other band from this time. Drummer Hugo Burnham holds it down so well, with steady beats driving the rhythms for the entire album. Dave Allen, on bass, keeps up with solid bass grooves not often found in punk. These two make up the "dance" side of things, while Jon King brings punk vocal attitudes over the energized guitar of Andy Gill. I love this record. It's so odd with the guitar choices and the occasional melodica, but that only adds to the charm for me. As far as post-punk is concerned, these guys made the definitive album. I find it endlessly endearing.

Led Zeppelin II, famous for being Lez Zeppelin's second album, is the followup to Led Zeppelin's first album, Led Zeppelin. Here, the band still sits firmly in the blues rock/hard rock crossroads, with these sorta jam sections to bring the dynamics down a little bit the old-fashioned way: Bonham and Jones keep it steady while Plant and Page sorta noodle before going back into the song. Not saying if it's good or bad but it definitely follows a pattern. Led Zeppelin is really good at what they do. Even the songs that don't stand out as much fit right in with the best songs. My favorite is easily Moby Dick, wherein Bonham has free reign to go crazy on the drums. I am, however starting to come to terms with the fact that I am not a huge Led Zeppelin fan. Nothing wrong with them specifically, I just don't find they do much for me. Either way, pretty good album!

Ryan Adams, not to be confused with Canadian menace Bryan Adams, broke out onto the scene as an alt-country singer/songwriter with something to prove. Recorded in only 14 days, Adams took his relationship woes and put them into wonderful, tender songs. It's true, Adams is a spectacular songwriter. He's also a terrible person. How do we approach such a personal album from someone who has done terrible things? I don't know. I know that I like the music, and I don't like Adams, so how could I possibly rate this fairly? Whatever, it's great. Of course it's great. Fuck Ryan Adams but this album has so much to offer.

The Velvet Underground are usually remembered fondly for their innovations to the rock music canon as a whole. Grunge, no wave, post-punk, punk rock, krautrock, prog rock, alternative rock, they all trace back to White Light / White Heat in some way. People smarter and more dedicated than myself have written about it better than I ever could, but I can at least share those same sentiments. Even Sister Ray alone, the 17-minute marathon track that dominates side B, could take credit for the ways that it pushed rock music. Most "experimental" rock music could be boiled down to just a few people with instruments fucking around, but to say that about The Velvet Underground would be underselling it's historical significance. As for me, it's certainly not an album I thoroughly enjoy, but there's no denying that this record is the root of many of my favorite albums. One small step for The Velvet Underground, one giant leap for rock music.

THE pop-punk of the 2000s. Green Day sold old? Sure, but they made a helluva album in doing so. It's an entire generation's first political album, despite the political messaging being pretty shallow. Not to mention that Green Day is actually pretty damn good at pulling together these songs. Not every songs nails it but there's a few pop-punk classics here that make this album worth mentioning. American Idiot is particularly notable for it's rock opera passages, which features Abby Road-esque medleys on Jesus of Suburbia and Homecoming, though the whole album has a good flow to it. Some songs could definitely be cut to improve the overall album, and the Homecoming medley isn't nearly as good as the Jesus of Suburbia medley, but it's still a great pop-punk album and certainly worth of making the list.

Symphonic performance of Metallica songs, accompanied by Metallica. Clunky at best. If it were the orchestra on it's own, it would've made more sense because they can take creative liberties with how it would performed. Instead, you get Metallica playing their usual songs live being back by an entire orchestra, creating a sound that is so cluttered that it's hard to justify. It's like the orchestra is window dressing for the band instead of the focal point, ultimately serving as an ego boost for the biggest metal band on the planet. It's also over two hours long, though split by two CDs. I think this can be forgiven since it's meant to be a grand live performance that seizes a lot of opportunity to utilize the orchestra, but it's still quite a bit overly long for me. Ultimately, I think this set up works well for Metallica's more thematic songs. The heavier picks like Fuel and Nothing Else Matters kinda get the wind sucked out of them by the orchestra, whereas songs like One and The Call of the Ktulu are natural fits for this sort of synergy.

One Dexys Midnight Runners album is enough (the one with Come On Eileen), but this one is pretty good too. Lots of personality, energy, horns. God, there's so much brass.

Famously composed by drummer Robert Wyatt in hospital after falling out a 3rd-story window. He's been in a wheelchair ever since. Instrumentation is pretty jazz-rock with a psychedelic edge, which I don't mind too much, but Wyatt on vocals is a non-starter for me. His soft, shitty little voice does nothing for me. This is what makes Little Red Riding Hood Hit the Road easily the best song on the album for me: a nice jazz-fusion instrumental track that leans heavily into the atmospheric elements. I was hoping to get more out of this album than I did. Just seems like Wyatt had a lot of half-baked ideas where a few worked but most didn't. Combine that with poor vocal execution and you've got Rock Bottom.

Father of Jeff Buckley, Tim shows exactly how good songwriting runs in the family. Happy Sad bathes in this warm atmosphere, built out of vibraphone and acoustic guitar, along with a few others to round out the sound. It gets a little weird at times but that gives it more flavor than anything. Anyway this is great. More Buckley, please

Green Onions (the song) is a bonafide classic. The smooth, walking bass paired with the bright electric organ makes it an easy song to enjoy. Unfortunately, few other songs on the album stack up. Worth noting that it's all instrumental and basically just jam sessions. Mo' Onions, for example, is a rehash of Green Onion with more guitar. Not that I'm complaining, but there's a distinct lack of structure or purpose here other than "we recorded a few jams that we liked". I don't know, I feel like there are maybe two or three good ideas in here and the rest is just cobbling together what they can. Not bad by any means but super underwhelming. I wish they just put a bit more time and effort in pulling together these songs.

For this album, we have New Order to thank. Not only did the Stone Roses get their start in New Order's club The Haçienda, but they would be heavily inspired by New Order's alternative dance innovations. Mixing this together with neo-psychadelic sounds and some jangle pop from the 60's, and we have the Stone Roses' debut album. With this new sound in their hands, The Stone Roses, alongside Happy Mondays, would be at the forefront of the Madchester genre, a precursor to britpop which would flourish later in the 90's. In the meantime, The Stone Roses would be releasing music that is rhythmically non-stop and upbeat while pulling from sound textures from the 60's and 70's. It's uniquely British, but still pretty good! Not quite for me I think but I can still appreciate quality music when I hear. Also of note, the official release didn't have Fools Gold which is fantastic song, but streaming services will include it at the end so I'm considering that version to be the official one.

East Coast royalty. When Biggie wants to go hard, it's hardcore as hell. When he wants to reel it back, it's incredibly smooth. Biggie is, without exaggeration, a master of his craft. Side note: My gf loves the song Juicy. She thinks it's so sweet hearing Biggie's rags-to-riches story. Easily the best song for radioplay, but also the best song on here for the sample flip and pacing. As frontloaded as this album is, the whole thing is a great piece of work. This is THE Notorious B.I.G. coming in hot with the debut, already at the top of his game. He rightfully deserves a lot of credit for being a legend.

Sufjan Stevens, known for his tender-yet-playful voice and eclectic songwriting, was once slated to put out an album for every U.S. state. He stopped after two. This is the second of the two! This is also widely held as his best album, and for good reason! His songwriting combined with his arrangements are unlike any other musical artist I know. His use of strings and brass help give the song more emphasis on the bigger moments. Even when it's stripped down to just Stevens' voice and guitar or banjo, he endears me to no end. The highlight for me has to be Chicago, which avid Netflix viewers may recognize from The Candidate. Dammit, my computer crash in the middle me writing this and now I've lost my train of thought. The point is that Sufjan Stevens is a national treasure and he should

Kendrick Lamar raps about life growing up in Compton, around gang life and all sorts of terrible things. This was the breakout record for Lamar, before following up with the incredible To Pimp A Butterfly 3 years later. Compared to other hip hip about gang life, Lamar paints it as a horror story rather than a hardcore bragging effort. This is impactful for suburban guys like myself who already scared of inner-city violence like this, and I'd imagine it hits hard for many others as well. Yeah, it's a great hiphop album. The 12-minute epic "Sing About Me, I'm Dying of Thirst" is an easy highlight, but a few songs could but cut to give it more gravitas.

Another disco classic. Everyone knows that disco is at it's best when it's fun, light, and easy. For that reason, I can't really care for the slower ballads because they end up losing the momentum of the album. Nile Rodgers is an obvious name to shoutout given his track record, but listen for Bernard Edwards on bass as well. He lays down the best grooves and has a track record that is just as storied as Rodgers'. Anyway, pretty good! This is the sorta stuff that would inspire all-time great such as Daft Punk so I'll pay my respects.

Landmark album of the post-punk revival in the 2000s. Alongside the likes of Interpol, Bloc Party, and the National, Franz Ferdinand laid down danceable drum beats with staccato guitar riffs to make for an energetic sound that drew heavily from the rise of indie rock at the time. The end product is okay. Take Me Out is a clear winner and The Dark of the Matinée is pretty good, but the rest isn't even reaching the same levels of quality. Coming back to this one after a while, I think it's better than what I remember but still not great by any means.

I have only ever recognized this album from it's cover. I do not know the band, album title, nor any songs on it, but I'll never forget that album art. Some pretty good dance music! Very much leans into some UK psychedelic stuff from around this time. As is the case with most dance music, it leans into repetition, and repetition legitimizes. And because repetition legitimizes, it gives the music a sturdy and reliable foundation for people to dance to. The beat is important! And while I might not get a whole lot out of this band's dance music, I can still appreciate the songs for their approach to alternative dance. Album could've stopped at Damaged though, I feel like that was a good way to cap it off.

The titular song is a classic, no doubt, but Dolly Parton does simple country songs so well. It's an incredibly breezy and simple album that's worth replaying. I love Dolly's voice and her approach to songwriting, I think that's worth being on the list alone. Given how big of a star she is, though, I think there's plenty reasons why we see this album here.

Adele shook top 40 radio pop to it's core when she got hit after hit from her album 21. While her debut 19 was a strong start, this would be the album that people look back on fondly. Distinctly different from the carefree electro pop of the day, Adele was backed by piano, strings, and acoustic drums while belting her tear-stained breakup songs. I like this era of Adele. Songs like Rolling In The Deep and He Won't Go have a certain punch to them that I enjoy. 21 is notably front loaded with the exception of Someone Like You closing out the album. Otherwise, this album is a welcome change from the type of pop being made in the late 2000s/early 2010s.

John Coltrane, already well-establish as a one of jazz's greats, wanted to go in a different direction after his last album. Leaning more into avant-garde jazz, Coltrane blended elements of faith and religion to create what is effectively a new subgenre of jazz: Spiritual Jazz. More spiritual in form than in substance, A Love Supreme is a piece that honor's Coltrane's relationship with God. It is reflective, passionate, and amazing in it's music. Not only that, but this record would mark a move into free jazz, for both Coltrane and Impulse! Records. Context aside, this is a beautiful jazz record. It's a little weird, but makes up for it in spades with expert use of dynamics and improvisation that only seasoned jazz musicians could follow through on. Excellence had never sounded so good. God bless.

In the early 90s, when hiphop was exploding in seemingly all sorts of directions, Massive Attack was at the forefront of a new subgenre that incorporated hiphop beats with downtempo atmosphere. This would come to be known as Trip Hop, and Blue Line was one of the first to embody this sound. Massive Attack grounds the music in Soul vibes, pulling from different vocalists to sing and/or rap over their unique beats. A lot of Blue Line feels very smokey, mellow, and cool. This sort of hazy sound lends itself well to the R&B vocal styles, which really rounds out the songs to make them sound more complete. Massive Attack has created a really unique album here and I appreciate the successful blend of genres.

The explosion of prog rock in the late 60's and early 70's has lead to Yes doing quite well for themselves, especially after The Yes Album which came out just a few months prior to Fragile. So with a keyboardist Rick Wakeman added to the lineup, what would Yes produce? A great prog rock record, that's what. Opening with the iconic Roundabout, Fragile can easily be divided into four "big" songs with some interlude tracks to splice up the pacing. I don't think Yes needed every interlude track to be included, but I appreciate the effort to spread out the "big" tracks. Even then, some of the interludes server as a medley than anything else which is still nice. Yes are extremely good at writing music in the prog rock format. Ideas are fleshed out without dragging on for too long, and songs continue to feel fresh throughout the runtimes. I mostly enjoy the bookend tracks though.

One of the rock & roll giants of the 50's, Buddy Holly mostly sings lovey-dovey songs for teenagers who want nothing more than music with the electric guitar. While seemingly mundane today, these songs were the cutting edge of American popular music as we know it today. Short 'n sweet: that's this album. It ain't bad, but it's got little depth to it. At least, not to kind of depth we're used to. Standout out track is Rock ME My Baby, which features great use of dynamics and guitar work. The slower ballads wash over me, but the final product is by no means bad. Definitely worthy of making the list.

An aggressive take on new wave, attempting to take back the sound while dropping anything that would make it too commercial. This record is successful in standing out from the other new wave sounds of the time. Excellently weird.

Billy Joel's most successful album, by the metric that you'll hear a good chunk of these on the radio. Billy Joel is clean, playful, polished enough for the masses, making his songs a shoe-in for radio. He's also an extremely good songwriter. Sure it's piano pop rock, but it's really that good. Obvious standout is "Scenes From an Italian Restaurant", which is a sentimental song that tells a bittersweet story through a few "movements", if you will. Fantastic. Great closer to side 1. The rest of it is practically that good. I don't know what else to say.

One of the most iconic metal albums. It's fast, aggressive, and here to make an impact. "Battery" opens with soft classical acoustic guitar before bursting into energy that carries all the way through the album.

Cheap-sounding short songs that might be your thing, if you like the scrappy-ness of bands like Pavement and Sonic Youth. I'd imagine opinions on this range from "sounds bad" to "sounds good because it's subversive" to "sounds boring despite being subversive" - I'm somewhere between the second and the third I think.

This is it. This is the album praised as the pinnacle of pop. Kate Bush, through her passionate songwriting and dreamy production, has gifted us the Hounds of Love in 1985. As far as anyone is concerned, Kate Bush is in her own league with this album. To just call it a "pop album" would be underselling how truly unique, how damn great it is. Some of it is cheesy, sure, but I think it's easily backed up by the incredible high moments of the album. I will say I find side B noticeably weaker than side A, making me lose interest. Incredible songs otherwise.

Solid roots rock out of Canada. Kinda folksy, but all-around a nice listen.

90's grunge with a woman singing! Need more of that. Occasionally comes across as Nirvana lite, but I still like it nonetheless. Solid stuff.

Similar to how her previous album sweeped Grammy awards, 25 walked away with two awards and the leading single, "Hello", earned 3. Obviously, the industry views Adele as a powerhouse. I do not share that sentiment. They're not bad songs, but they're not the most fantastic or memorable songs either. Adele does little to push her pop songs in new and interesting directions. Great for casual listening audiences that tune into the radio and not much more, but not so much for me. Has Adele earned a rightful spot in the annals of pop history? Sure. Has she earned a spot on any of my playlists? Probably not.

Johnny Cash plays a few country songs for a bunch of convicts. He's charismatic, devilish, and killing it. Classic album.

The second half of the 80's marked a turn for hip hop. Though Run DMC was the first touchstone group for hardcore hip hop, it would be groups like N.W.A. and Public Enemy that would get especially aggressive in their delivery, effectively popularizing the subgenre. It Takes A Nation Of Millions To Hold Us Back is an undeniable radical energy, with MC Chuck D giving hard-hitting lyrics with a tough-as-nails delivery, alongside hypeman Flavor Flav who elevates the music. While rapping is certainly good on here, it occasionally comes across as a dated and even a bit corny. Rapping has evolved a lot since 1988 and I'll be hones tin saying I'm not a huge fan of Flav's presence. The real shining star is the timeless production. Hank Shocklee, who would go on to be a member of The Bomb Squad producing Ice Cube's solo effort AmeriKKKa's Most Wanted (also a great record). We also have the legendary Rick Rubin credited as an executive producer, though to what extent he's involved in the album, I don't know. Either way, the sampling and beats on this album are superb. Overall great album. Holds up well and it's almost all bangers.

Noisy post-punk songs that reveal in the dark moodiness. What makes this album distinctly unique is the sort of proto-shoegaze sound that would influence the greats like My Bloody Valentine. The large, swooping sounds from The Jesus and Mary Chain are undeniable, using reverb and distortion to wield bizarre songs of lust, adrenaline, and a myriad of other fleeting feelings. Fantastic, in a word.

I'm going to get this out of the way now: AOR kinda fuckin sucks. While new wave and synthpop were flourishing in the late 70's and early 80's, hard rock music decided to develop shorter songs and sing-along choruses which made it a particularly appealing genre for radioplay. This would eventually go on to become what we now consider "classic rock", which is a term only useful in radio marketing. The truth is that most of it isn't great, largely due to commercial interests plaguing the genre with low-effort releases as a way to spin more records more often, directly into radio-listening ears. Boston is at the forefront of this genre, and they are one of the exceptions. With this being their debut album and having much to prove, this would prove to be an exceptional record with a great recording story to boot. Tom Scholz, who played almost every instrument you hear on the album save for drums and vocals, recorded the whole thing in his personal basement studio. Not only that, but the demos were effectively a passion project of his that can be seen in many of the songs. Few people could conjure the dramatic and impressive opening to Foreplay / Long Time. The truth about Boston's Boston (1976) is that it's pretty good. It doesn't suck, and that's what matters. The big songs are on side 1, the lighter songs are on side 2, and the whole thing is tied up in a nice little bow.

Beatles early stuff ain't bad. Very pop-y, but generally uninteresting. They're fine.

I lost all my notes. It's a good album.

90's french hip hop with crossover appeal into Africa. Super cool and smooth beats with an MC who can do them justice. Even if I don't understand the lyrics, I can appreciate the personality that MC Solaar brings to the table. I wish it were a bit shorter though.

George Clinton and his band of funk masters are...weird. Undeniably so. They embrace the psychedelic while maintaining the black excellence of the funk genre. This culminates in a lot of songs that are certainly funky but also strange, not dissimilar to Frank Zappa's work. This leads to a varying level of quality where the bizarre approach holds back the better aspects of the music, but other times instills a memorable quality while the music is still able to speak for itself. Obvious highlight is Maggot Brain, which carries the whole album imo. This was their breakthrough album but I much prefer some of the earlier stuff. Not bad though.

The Who Takes The Piss. Sounds more like they were trying to write a comedy album that pokes fun at consumerism, and then wrote the music after the fact. Most songs are flat and dull, marred by poor production. The only saving grace is the song I Can See For Miles, an oasis in a desert of mediocre music. Not worth much.

Just a lot of hard rock fun. Queen's theatrics and wicked riffs make for a good time all around. Sometimes it doesn't have to be that deep.

about a year after the tremendous In Rainbows from Radiohead, we see the impact with beautiful dynamics and subtle guitars shifting the landscape of indie and alt rock as we know it. It's sounds like these that move me, leave me yearning for more. This album, however, represents an important aspect to that sound: structure. Where Radiohead expertly crafts an album of highs and lows in it's tracklisting on In Rainbows, The Seldom Seen Kid loses me pretty early on before grabbing me again on the final track. I think this is a good album with the potential to be a great one, it would just need some reworking to get it really right.

Admittedly I do not know much about the space rock revival, but this album bodes well for the genre. With sounds that are floaty, fun, and comforting, Spiritualized brings a great soundscape to the table that would surely be appreciated by the likes of Godspeed You! Black Emperor, Sigur Ros, and maybe even My Bloody Valentine. Great record for the likes of 1992.

Great punk rock classic. It's got great energy, great noise, and a lot of attitude to go with it. Punk rock hit a real stride in 1978, and this is the embodiment of that. Worth checking out the deluxe edition that has the excellent tune "What Do I Get?".

Really great folk stuff here from Mr. Morrison. I think the thing that sets apart a lot of big folk names from one another is their unique vocal timbre and exquisite songwriting. Worth a listen for sure.

Simply great heavy metal. Signature falsetto vocals and killer riffs makes almost every song a banger.

An interesting middle ground between alt and pop rock with an undeniable bitterness surging through it's songwriting. Alanis Morissette's votes will grate but I can look past it for the better songs.

Slick and smooth country from country great k.d. lang. With a voice like that and classic country tunes that call back to the great crooners of old, you can't lose. Charming is the word I'm looking for.

Dusty has a natural voice for these old tunes. Some good songs, some not so good. This is perfectly fine.

Genuinely really interesting latin music. The album flows beautifully from one track to the next exploring a variety of worldly sounds not often heard by guys like myself. Unique production notes include the use of field recordings from this guy's laptop in 1998! Perhaps commonplace now, but a total novelty back then. Excellent music from outside the usual US/UK stream.

It is worth noting that, while recorded in 1963, this album did NOT get a release until 1985. According to wikipedia, Cooke's label RCA Victor "viewed the album as too gritty and raw and possibly damaging to his pop image", which is why they didn't put it out at the time. Which is absurd, if you ask me. Sam Cooke is such a natural performer, his charisma and personality oozes out of this record. Him and his band keep the good times rolling through the entire runtime, an incredible feat. The essence of this record is that Cooke is playing so much to his audience, who plays an important part by matching Cooke's energy. This is what really makes the album so great, having the audience and Cooke playing off one another in a vibrant live show that feels so real when listening to it. It is a shame that, almost two years after this performance, Sam Cooke's life would be cut short in a frankly puzzling altercation. This album is a relic, one of Cooke in his prime doing what he did best. Incredible.

Soft and sweet singer/songwriter James Taylor serenades for all of a half-hour. It's nice enough.

The ultimate grunge album. The grunge album to end all grunge albums. Wow, that baby's penis is really blown on up my computer screen. Hold on, I need to block it. The hooks are infectious and dirty, like an open wound. Cobain's personality shines through every song with his raw vocals. The bass and drums hit like a ton of bricks; it's the sound of a decade and yet it's timeless. The songs I've heard a thousand times before are still great, and the songs I've barely heard at all are refreshing and just as good. It's the perfect noise.

Grime is a uniquely British genre intersecting hip hop and EDM, utilizing syncopated breakbeat samples to create an aggressive, energetic beat for rapping over. Boy In Da Corner is one of the foundational albums of the grime genre, winning the 2003 Mercury Music Prize and thus earning the new sound some legitimacy. Stylistically, this raw production style and MCing reminds me of the east-coast Definitive Jux production on the other side of the pond, though Dizzee Rascal is certainly a lot less abstract in his lyrics. I'll be honest, I have a certain bias against UK hip hop. I find the accent to be more irritating than anything, which leaves a lot to be desires when that's the majority of the album. I like the production otherwise though, it's unique enough to stand out.

Surprised to any form of Celtic music on here. Pulling from Irish folk music specifically, The Pogues put a heavier, modern spin on the old sounds of folk music (tin whistles, accordion, and bodhrán accompanied by electric bass and rock drums) while also punching up a few traditional songs. They also do the classic Christmas tune Fairytale of New York, though I could do without the unnecessary use of the slur FAGGOT. It also feels out of place, given the rest of the album's tone. I admittedly have a soft spot for these tunes because I heard a bunch of these (or songs like these) growing up. It's fun to hear the full collection like this, and I feel the traditional Irish folk influence is refreshing. My grievances with the album fall with Shane MacGowan's strained vocals, but it's made up for the chorus when they come in to back him up. A fantastic bunch of lads here, this album is a party.

#2 that I've encountered now in the Big Three of Big Beat, having heard Fatboy Slim prior and expecting The Prodigy to pop up at some point. I wasn't so impressed with Fatboy Slim's work, but I can get behind what The Chemical Brothers are doing with their debut. Layering psychadelic textures over groovy drum breaks, Exit Planet Dust exists in a perpetual party that is dense in soundscape. It's worth noting that Song To The Siren is the first-ever Big Beat song, being released as a single all the way back in 1992. This makes The Chemical Brothers he inventors of Big Beat, essentially, so their debut really cannot be understated. While not their best work, Exit Dust Planet is an important foray into the great club music of the 90's, especially in the UK. Also worth noting that this music is extremely repetitive. Take that as you will.

Rod Stewart, the man of many genres, had humble beginnings as a roots rock guy with a tinge of soul. It's not very good. It's like, he's definitely performing rock music, but it has no oomf to it. It's hard to describe but I find the whole sound so mundane and unoriginal. He does barely anything interesting with the music he's writing. There's a few good songs on here, I'll give him that, but Rod Stewart does not inspire much in the rock field.

This is the Beatles' masterpiece. When they decided to stop touring and become solely a studio band in 1966, they had a brilliant idea for their next record: let's bring the performance home to the record-buyers. Everything about Sgt. Pepper's Lonely Hearts Club Band is spectacle, from the album cover to the audience cheering at the opening tracks and then some. I love how this album plays with unique and fresh ideas that still sound like a fitting part of this technicolor album. Off the top of my head, Within You Without You, Lucy In The Sky With Diamonds, and a Day In The Life do drastically different things and they're all excellent without feeling out of place. More than anything, I would describe Sgt. Pepper's as a showcase of sorts. The Beatles want to convince you of all the cool new songwriting and production tricks they've learned, fully committing themselves to developing an album that is impressive on all accounts (and, subsequently, impossible to play live at the time). This the the Beatles with no restrictions whatsoever. Fully free to make the greatest possible album that they can, with a whopper of a closer to go with it. Goosebumps.

From Wikipedia: "James Delingpole in a January 1997 review in The Daily Telegraph wrote the band had produced a 'strange mix of Bowie-esque glam rock, school-of-Syd-Barrett psychedelia and DIY kitsch'". I could not have said it better. This band is so distinctly out of time for 1996, it's hard to praise it for doing anything particularly daring. For what it's worth, Fuzzy Logic is certainly a successful blend of these influences. I just feel they do little to expand on them in a way that matters. It's a good sound, but nothing to write home about. Is this the best 90's act that Wales has to offer? I hope not.

In 1977, the Talking Heads had a vague idea of their sound but nothing was really cemented. In 1978, the Talking Heads had Brian Eno. I can't overstate Eno's influence enough. A distinct focus on rhythm and leaning into David Byrne's distinct style as a frontman leads to More Songs About Buildings And Food being a more polished, focused sound for the band compared to their debut album. I think it's a great step up and the first true album that is the Talking Heads' signature sound. Iconic.

A production masterpiece that was also a nightmare to complete. This was effectively a swan song for the tumultuous three known as The Police. Egos at odds, but bright ideas brimming at the seems. Pressure truly can make a diamond (see: Fleetwood Mac's Rumours). Is this the Police's Rumours? It certainly feels that way.

Imagine a dark, inner-city street. Hear the keys enter the ignition and turn the car on. Now the car is rolling, making it's way to nowhere in particular. The radio comes to life, but it's all scattered voices and static. Follow the car for a little before stopping by a shady alleyway. There's a woman there, muttering strange things to herself. Who is she? Is she alright? Footsteps on the pavement, getting closer and closer as the woman's deranged words get more feverish. Tension builds until suddenly, a scream from the woman! She's been murdered! We have a case on our hands. Barry Adamson is determined to tell you a story. He takes the idea of a concept album and completely commits to a narrative focus. This is a soundtrack to a film that doesn't exist. Vibes are noir, dirty, and cold. I can't help but be reminded of Roman Polanski or David Lynch, as Adamson weaves familiar scenes into each song. To say this album is ambitious would be an understatement. Adamson is banking on listeners being open to the idea of an imaginary film in addition to experimental elements in the songwriting. The Swinging Detective is easily my favorite song on here, but the whole album is really something to behold. Certainly one of the most unique albums on the list, though it can suffer from being sort of boring and narratively vague (likely on purpose, though i still personally struggled with it. Worth listening to once for the novelty, then never again.

It takes a lot of guts to name your album after one of the great jazz albums in music history. The Boo Radleys' album is nothing like John Coltrane's album, but let's boil it down anyway. The Boo Radleys' pull from quite a few sounds of the 90's. One of the most prominent aspects of this record is the shoegaze, utilizing electric guitars to their fullest extent by going full reverb and volume. This is contrasted by the britpop songwriting style that keeps things light, particularly in the singing and guitar hooks. This gives Giant Steps some contrast in relation to the alternative, ethereal sound of shoegaze. Good songwriting and good sounds makes for a nice, unique blend overall. More than anything, though, this album is steeped in psychedelia. It's a fresh and fun take on the genre that always feels like it's been done to death. It also flows nicely, making for an enjoyable experience from top to bottom. My big gripe with Giant Steps is that is will feel generally unfocused as a cohesive unit. This reminds me of Radiohead's OK Computer in a few ways, which would be released a mere 4 years later. Coming close to being spectacular but falling just short, we will applaud The Boo Radleys nonetheless for this spectacular showing. Well done, lads.

After the incredible success of her prior album, Hounds of Love, Kate Bush effectively had total artistic freedom. She had proven herself as being a pop virtuoso, being skilled in songwriting, production, and performance. Kate Bush was untouchable, and could do whatever the hell she wanted. The Sensual World comes across as her most mature and subtle work to date. Instead of big bombastic vocal performances, Bush lets the instruments tell their story while blending in her voice which results in a more polished, appreciated product. Admittedly, I enjoy this a lot more than her previous works (though nothing will ever top the song Running Up That Hill). Really just a wonderful release from the pop queen. I expect nothing less.

I was largely unimpressed until the title track came on. What an incredible take on psych rock. As nice as the country parts were, I much preferred when Clark experimented with other sounds. Those memorable moments made for a great album though, so I can't fault it much. Much preferred this to White Light (which is listened to earlier on the list).

One of the cool things about the mid 2000's was this new genre called "new rave" that blended elements of dance punk with popular electronic genres at the time such as electro-house and electroclash. I personally pin the kickstart on LCD Soundsystem, though they are not actually new rave. Anyway, the Yeah Yeah Yeahs pivoted to this sound for their third album and it's solid as hell. Really big, exciting sound that encourages a punkish live instrumentation with dance beats and synthesizer. I feel it kinda loses momentum after the second track and never picks it up after that. A bit disappointing because i enjoyed those first two songs, and a full album of them would've been excellent. Not saying the rest is bad, just fine.

The Damned, one of the original punk bands at the inception of the genre, aims to go faster and louder with their third record. This sound has markings of the upcoming hardcore punk subgenre of the 80's, but for now we're in a sort of punk limbo. Most of this is really great. Just definitive punk all throughout, save for the strange "These Hands" at the end of side A. I'm a big fan of punk anyway so I was bound to like it anyway.

The Colour Of Spring is something of a bridge album for Talk Talk. The prior two albums would feature a distinct synthpop sound; not especially notable but still fitting for the 80's. It would be this album, their third, that would indicate a pivot in sound. We start to see more acoustic instrumentation and a concise focus on songwriting, utilizing these instruments to layer sounds in such a way that it feels like a moving collage (imagine the album cover, but animated). In doing go, Talk Talk creates more delicate, refined sonic textures that are well-crafted. Just superb. These new songwriting skills would carry over into their following two album, in which we would see the beginnings of post-rock as a genre. As such, we should regard The Colour Of Spring as an important stepping stone for Talk Talk as they explore more sonic pallets.

Frank Grillo "Machito" was one of the first guys to bring afro-cuban rhythms into jazz. This was a distinct style point that brought new life into the genre by focusing on the excellent percussion from Cuba (congas, bongo, timbales) while also utilizing the 2-3 son and 3-2 son clave rhythms with the horns and melodies of big band jazz. Kenya is a prime example of this work, as best shown in the song Frenzy, which is aptly named. I love the energy and blend of styles on display here, it's a real treat. It's not the most varied or excellent show of jazz in general, but based on the stylistic premise I can still enjoy this album and what it has to offer. I do wish, however, that an album called "Kenya" featured more music styling from East Africa, such as Taarab.

The success story of Back to Black is twofold. The first and most obvious is Amy Winehouse, who was the new soul voice in pop that had something to prove. While her debut album, Frank, was generally well-received, Winehouse was still only young. She held a lot of promise for her next album, which would be one drenched in many emotions as she struggled with her relationship with Blake Fielder-Civil. This would be an excellent followup to her debut, proving to be more mature, vulnerable, and refined sound for the still-young Winehouse. Our second star here is Mark Ronson, who is producing most tracks on this album such as "Back to Black", "You Know I'm No Good", and of course the iconic single "Rehab". Ronson had done more than a few producing jobs before this, but none had gained him as much industry recognition as this album. Ronson would net his first Grammy nomination and win thanks to this album, so he owes quite a bit to Ms. Winehouse. His production would hone in on Winehouse's old-soul vocal styles and call back to sounds similar to 1960's girl groups while polishing them up for a contemporary audience. This sort of production work inspires a sort of new nostalgia that audiences almost certainly appreciated. Back to Black would be mutually-beneficial relationship for Winehouse and Ronson as they bring the best out of each other. Sadly, this would be Winehouse's final studio album before her untimely passing in 2011. Perhaps the writing was on the wall, but her struggles with drugs, alcohol, and mental illness would culminate in a tragic end to her life. I like to think that she will be remembered fondly thanks to Back to Black, as a shining star with a golden voice. Ronson would go on to find even more success, particularly with a certain Bruno Mars, but Ronson will always have Back to Black to credit for his breakthrough as a producer. A clear classic for the 2000's.

A very ugly, vibrant album. It's like you're being serenaded by an old sailor with only one eye, recounting tales of curious oddities and spooky characters. Waits is a one-of-a-kind songwriter who knows his voice and his capabilities when crafting music like this. He paints a picture of the city in a way that can only be described as "eerily accurate". It's fantastic. There's no one else like Tom Waits. I treasure these songs.

I consider Station to Station to be Bowie's prologue to his famed Berlin trilogy. For those unaware, the Berlin trilogy consists of the three album that came out right after Station to Station, that being Low, Heroes, and Lodger, all written during Bowie's time in Berlin. This period during 1976 to 1977 was pivotal, as Bowie would work with such great names as Iggy Pop, Brian Eno, Lou Reed, and a few others. While punk rock was developing, Bowie would be in Berlin effectively crafting the beginnings of post-punk with Iggy Pop. It's hard not to understate the important of his Berlin albums. So why was he in Berlin? Well, Bowie was dealing with a cocaine addiction around the time of Station to Station, and was dealing with a great bit of backlash from the fascist elements of his "thin white duke" character. It's clear that Station to Station comes from a darker place of his psyche, but wielded in such a way that the music speaks for itself. Bowie transforms himself several times over his career, and this is probably the most striking one for me. Each song carries so much weight, there's not a second wasted on this record. Bowie would go on to claim that he does not remember making Station to Station. He would realize his cocaine use had spiraled out of control and decided to move to Europe to kick the habit. I think this album carries a big weight in Bowie's career, showing both the excellence and problems with his music and performance. I appreciate it deeply for being a standout art rock album. Absolutely worthy of praise.

That's the Way of the World is a 1975 film about the struggles of the music industry as record execs rule with an iron fist. It's alright. That's the Way of the World is also a 1975 album that soundtracks the film. This would be during Earth, Wind & Fire's (EWF) fourth lineup, and arguably the most successful one. This was still before Let's Groove, Boogie Wonderland, or their undeniable hit September, but you could tell they were bonafide masters of the groove at this point. I'm not so keen on the ballads here, but I was never a ballad guy anyway. Just good vibes all-around. Worth noting that the success from this album is what allowed EWF to add on the Phenix Horns, a brass section that would be famous for their contributions to EWF from here on out. This album is a great starting point for EWF's discography, as the early stuff can be a lot to sort through, and you get a real sense of evolution with this group from here on out.

First of all, this is an EP, so write that down. Second, I would actually recommend the compilation Superfuzz Bigmuff Plus Early Singles, which is pretty self-explanatory. Early singles such as Touch Me I'm Sick and Hate The Police are essentials, so you'd be missing out if you didn't give it a listen. Okay, onto Superfuzz Bigmuff proper. This is one of the original great grunge bands, along with the C/Z Records crowd at the time. They had an awesome vibe very similar to Sonic Youth, with loud guitars and in-your-face attitude that signaled the beginning of the 90's. I do think that the songwriting isn't quite as good as what they were making with the likes of Touch Me I'm Sick, but it's still an important source of inspiration with Kurt Cobain citing it on his 50 favorite albums.

This is my favorite album of all time. Hands down. In a time when the music industry was constantly scrambling over digital music piracy and how to get a handle on things, Radiohead self-released an album on their website with a pay-what-you-want format. The price tag basically said "free". It was huge, considering this isn't some up-and-coming indie band. This is Radiohead, for god's sake. And it was a damn good album. In Rainbows gives you two tracks to set the tone: 15 Step to move through smooth syncopated beats while the rest of the band rides a sonic wave of grooves. Then, blasting onto the scene is Bodysnatchers, a fast-paced distortion-filled barn-burner that is worth the price of admission alone. But it plays a bigger part in the tracklist of In Rainbows as we move from this crazy beast of a song to the rest of the album. From here, the album begins to slow down and appreciate it's own beauty, showcasing the sonic depth and maturity of Radiohead's songwriting and production. Everything sounds lush and purposeful. Not a second is wasted on this runtime. I tend to lump the middle of this album together mentally as Nude through to House of Cards all have a similar atmosphere. Normally I would consider this a bad thing, but each song is still able to deliver a distinct personality that it doesn't feel too same-y. Consistency without boredom. This brings us into the last two tracks, where things start to pick up again. Jigsaw Falling Into Place is an energetic song that that builds spectacularly. This is tied for my favorite song on the album with Weird Fishes/Arpeggi, which is a beautifully sweeping track in it's own right. Our closing song is Videotape, which is a solemn song that utilizes the odd timing and loops to disorient the listener. It's an incredibly powerful end to an album that still manages to wow me to this day. While most people did not bother to pay for the download, Radiohead still made excellent money off of this album. It was proof that people will still want to buy music if the product is worth it's salt (and if you have enough dedicated fans). When the album hit retail shelves, it debuted at #1 on the UK albums chart. Truly, In Rainbows is a testament to excellent craftsmanship and defying industry standards. What a record.

Very uninteresting jazz. This is the sort of thing you hear in an abandoned mall, perpetually out of time. About as close as you get to muzak without actually being muzak. This is background music.

EDM album out of the UK Garage scene. Beats are uniquely jittery and almost erratic, creating an interesting foundation for the smooth padded synths and jazzy samples. This is all layered over some lovely vocals, many of which are lent by Elizabeth Troy. I am not a fan of the UK Garage scene. I find it to be clunky and somewhat abrasive in how it handles the beats, which is usually the crux of the genre.

On record for one of the longest single-disc LP's at nearly an hour long, Todd Rundgren's A Wizard, a True Star is a sprawling piece of art pop that takes you on a musical journey like no other. Songs feel more like vignettes for a larger piece of work as we chug along from one scene to the next, occasionally sticking around a little longer to ground the listener. The album cover accurately captures the kind of experience that this album is. It is certainly strange and sort of loses the plot halfway through side A only pick things up again near the end of side A. Side B slows things down with ballads and a particularly smooth medley. Rundgren's experimentation with psychedelic drugs is on full display with how this record flows, it's an excellent listen throughout. It helps that Rundgren was already an established producer/engineer by this point, so he really brings his own vision to life here. Definitely worth the price of admission.

Another important piece in the post-hardcore puzzle. Drive Like Jehu leans heavy into making more noise than their contemporaries and doing it in a way that feels like calculated chaos. Guitars drive and clash against each other like cars of a demolition derby, occasionally playing in sync playing in a satisfyingly fast way to deliver the hook. It's a vicious and biting record that accomplishes it's sound in spades.

It's fine. I should say more and maybe mention that these guys were integral to the third wave power pop sound of the 90's, but I found this album too boring to find motivation for writing.

After the post-punk stepping stone that is The Idiot, Iggy Pop returns mere months later with another album that comes raging in, best exemplified by the excellent title-track opener. I love the drums on this more than anything, what can I say. Compared to The Idiot though, this album significantly tones it down and brings things to cruising speed. This especially evident on side B, which is fine. I like Iggy Pop, for what it's worth, but the slow stuff doesn't do much for me. This album, though, is still an important part of Bowie's Berlin saga, as the producing of this album helped inspired Bowie for "Heroes". The great thing about Lust For Life is that it brings out the best in two great musicians and friends (even if I don't jive with it completely), and that's awesome.

The 60's were a wild time to be a part of the jazz scene. Bebop, established in the 40's out of necessity to contrast the big band boys, had grown into hard bop in the 50's with an influence of blues melodies. Then the 60's came around and we can see the need to break down the walls of conventional jazz rules, a way to start reinventing the genre; Charles Mingus has always been at the forefront of this. Mingus plays by his own definitions of jazz along with Ornette Coleman (not featured on this list) to bring a new experience to listeners. The Black Saint And The Sinner Lady is a crowning achievement of Mingus and Avant-garde jazz as a whole. It's theatrical, progressive, and beautiful all in one package. Truth be told, this is an album that should be wholly experienced, with art and liner notes. Additional, this is a successful blend of jazz and classical that is never boring or excessive. I don't know how else to talk about it other than encouraging you to really listen, with more than just your ears, and visualize this album to the best of your ability.

I am immediately skeptical of funk music made by white guys (especially ENGLISH white guys), and frontman Jay Kay has an, uh, interesting appreciation for indigenous cultures. I'll say this much: it's clearly evident how much this sound influenced pop music to come. Production is tight and lively, providing stark contrast from the plastic-y production of the 80's. Jay Kay is also a talented enough songwriter that the songs are fun and listenable. That's all the good things I have to say about it. I simply find this out-of-time funk to be too watered down to be good. It's a poor mimic of the funk of the 60's and 70's. The acid jazz is particularly frustrating, which is used more as a prop for the music rather than actually appreciating jazz for it's deep and complex history in music. I feel a deep resentment towards this music for being so vapid, so vain. Whenever read the lyrics I want to strangle Jay Kay. Despite being so competently made, it comes close to having a net negative value on music as a whole.

The Undertones, notable for being part of the first wave of pop punk, are back with their second album. Very similar to their debut album, but a lot more funny and snarky. Good energy, good hooks, worth a listen for pop punk history.

Lost my notes again. In short, frontman is a great songwriter and the band can keep up. Also, not country music.

Steely Dan, particularly in the year 2022. has cemented themselves as the pop-jazz-rock masters. Donald Fagen and Walter Becker are the obvious rocks for this band, but I must also give a well-deserved credit to producer Gary Katz, who serves as an unofficial member of the band in a way. It is especially impressive that these singles have stood the test of time, having heard Do It Again, Reelin' In the Years, and Dirty Work prior. Really every song on here is a solid piece of work. Whole album is tight: 5 great songs on side A, 5 more on side B, clocking in 40 minutes total. Perfect blend of jazz and rock to make it pop without watering down anything. They're just damn fine songs; a pinnacle of quality.

The Arctic Monkeys entered the garage rock revival of the 2000's right around the peak, so they had a lot to gain from their debut album with a honed attack of tight drums, jittery guitar, and a driving bassline to hold it all down. Most notable of the Arctic Monkey's sound is vocalist Alex Turner's accent, which makes Whatever People Say I Am, That's What I'm Not feel like a natural sequel to the britpop of the 90's (the band has cited Oasis as an influence; quelle suprise). One of the impressive things about this record is how danceable it is. Not only is it filled with energy and fun grooves, but it explicitly makes references to dance. "Dancing to electro-pop like a robot from 1984", "Get on your dancing shoes", references to clubs and drinking. This is an album for a night out on the town. You can even see it on the album cover, with the glazed over eyes, enjoying a drunk cigarette. Between the blaring dance tracks are the occasional slow, tender songs that break things up. Ultimately this album plays out like a Saturday night, ending as the sun rises on a Sunday morning and the boys stumble home having worn themselves out. Well-paced, but still maintains the fun factor throughout. This is a widely successful by many metrics. It moved units, was praised by critics, and landed several awards including a grammy (but the grammys are a sham anyway). Whatever People Say I Am, That's What I'm Not is worth your time. Take a glimpse into english nightlife in the 2000's.

I checked to see if X's much more notable debut album Los Angeles is in the list and it is not, so do yourself a favor and good listen to that right now. X makes generally good punk. By 1981 we would start to see hardcore punk take over so for X to stick to what they know is a safe call. X's style of punk is more rooted rockabilly sound, which allows them to standout. They excel most when the songs are fast and driving, full of energy. Wild Gift is a good showing from X but I find it more underwhelming than not.

Selling England By The Pound is Gensis' magnum opus. Well, really it's frontman Peter Gabriel's magnum opus. Prior to his departure from the band in 1975, Peter Gabriel with Genesis was making some of the finest prog rock around. This band could play with the best of 'em: King Crimson, Pink Floyd, Yes, etc. Selling England By The Pound is a tight hour of songs builds in an epic way. Prog music always liked it's big moments, well you'll find plenty here. Truth be told, my favorite points are the simpler, quieter lulls of the album such as More Fool Me, which I feel is more indicative of the pop that Gabriel would go on to make. Your mileage will vary. If you've heard the prog rock from this time period, you will already know how you'll feel about this album. I'm pretty lukewarm on prog rock, but this is done well-enough that I walk away more impressed than not.

Wu-Tang is for the kids! This album is lightning in a bottle, never captured before or since. While other hip-hop groups have brought their A-game (Sugarhill Gang, N.W.A., Brockhampton, etc.), only the Wu-Tang Clan have delivered an album so hardcore, so tight, and so impressive. Not a second is wasted with every member giving their all, from RZA's beats to every MC featured. Also worth noting that this album would launch successful solo careers for several members, including GZA, Ghostface Killah, and of course Ol' Dirty Bastard who passed too soon. There's not a bad song on here. People who bought this cassette back in the 90's got 100% of their money's worth this one. I can't say enough thing about Wu-Tang's untouchable debut. Enter the 36 chambers....

Dark and moody, Portishead utilized subtlety to bring us an excellent trip hop album that loves it's jazz influences. Their excellence is twofold: the first being Adrian Utley's production that sets the mood for Dummy along with some of the best sampling at that time. Geoff Barrow is also worth crediting for introducing Utely to sampling and production work, while Barrow does the programming and a few other things on Dummy. The second great element of Portishead is Beth Gibbons and her smooth vocals. Her ambiance is unmatched and is a perfect fit for the smokey instrumentals. Dummy is purposeful, methodical, and impressive in it's execution. It's like a long cigarette break on the graveyard shift.

Eric Clapton was a notable guitarist who did great work with the Yardbirds, Cream, Derek and The Dominos, and a few others. He then went on to be an underwhelming solo artist. Now he is a washed up old racist man. Who cares? This album is dead boring, which is an unforgivable sin in music. If you bought this album instead of literally anything else in the record store then you wasted your money. There are maybe two songs on here worth listening to (not the Bob Marley cover). Don't bother with this one.

Jimmy Smith is a notable soul jazz artist. Soul jazz came about around the time of cool jazz and bebop, incorporating melodies and rhythms from Gospel and R&B. This allowed for the genre to grow, influencing the soon-to-be genre of hard bop which would also take inspiration from gospel and R&B. Jimmy Smith's play in all of this was his fantastic organ skills, which almost certainly pulls from Booker T's "Green Onions" here. Smith also gives Stanley Turrentine time to shine on alto sax, smooth as ever. Turrentine is can also be found playing with Abbey Lincoln, Duke Jordan, and Kenny Burrell on some fantastic jazz records. Speaking of, Burrell is the man on guitar for this record, doing a fantastic job of keeping things held down. Lastly we have Donald Bailey rounding out the quartet on drums. He's a steady swing while also adding personality to the track. He compliments the boys very well while also keeping time. Overall this is a short but sweet collection of jazz tunes that are done excellently.

These songs are fine. I think that Beth Orton is a competent songwriter. Stolen Car is pretty good. The rest I found to be passably boring.

Songhoy Blues has a fascinating story about cultural roots and geopolitical issues. Make no mistake, this is not just "world music" or even "African music". It's in the name; Songhoy Blues makes music that is a blend of Songhai music and blues rock. Hailing from Timbuktu, the group takes inspiration from Ali Farka Touré (also from Mali) and his style of Songhai music mixed with blues. Honoring the Songhai traditions while exploring other sounds makes for a wholly unique listen. These guys know what they're doing and they're making damn good music. I'll mention now that this album got some exposure thanks to production from Nick Zinner, best known from the Yeah Yeah Yeahs. I don't know how much he adds in terms of production but I can safely say that this album is not about him. Songhoy Boys are a great band, with or without a fancy American producer.

Badly Drawn Boy is just one guy: Damon Gough. Gough plays guitar, piano, harmonica, percussion, harp, etc. Obviously very talented, Gough is filled to the brim with ideas for his very first album. After a string of EPs, you could tell that Gough was eager to put together something bigger and more impactful. This is a helluva record. Incredibly wistful and complex, it's obvious that Gough put a lot of heart and soul into this record. Some flavors of folk, pop, and indie weirdness in there too. In some ways it reminds me of OK Computer with how it utilizes strings and moments of peaks and valleys to create an overall ambitious record.

According to wikipedia, this record was saved from a studio fire by it's producer, Suba, who subsequently died due to smoke inhalation. What a story! What a blissful sound. Bebel Gilberto's take on bossa nova is uniquely hers, incorporating atmospheric elements to create the ultimate calming record. Every song is a pleasant listen, though the most notable one is the Summer Samba cover. Perhaps the songs could be more memorable, but I enjoyed it nonetheless.

New Wave megalith XTC takes a left turn after their last album, taking inspiration from late 60's psychedelic pop. This sound is a perfect fit the songwriting talents of Andy Partridge, who expertly weaves various different sounds in and out of each song. Listening to Skylarking feels like listening to something special, like what the Beach Boys' Smile was meant to be. It genuinely feels like there are no low points in this album. Excellence.

Here's what I imagine a dating profile for the everly brothers would look like: We are: Two caucasian, gentle brothers who sing about love and girls. You are: A teen girl. Any teen girl, really. Our label says you're our core demographic so you'll probably like our songs, right? We like: Long walks on the beach, serenading pretty girls, and self-pity. We are incredibly lonely and sad. Please date us. Our talents: We can harmonize incredibly well. Despite this, our songs are shallow and we use our harmonizing talents exclusively to sell records to girls like you. Come see us live too! Where we see ourselves in ten years: We'll have a pretty good country-rock album, but we ultimately have solo ambitions. Phil (the younger brother) will smash his guitar during a live performance and walk off, thus cementing our solo split. More notable than our solo efforts, however, will be our impact on pop music, influencing the likes of The Beatles, The Rolling Stones, and Simon & Garfunkel. That's gotta count for something, right?

After the release of his autumn album Harvest in 1972, it makes sense that he would follow it up with his....summer album. Okay, admittedly this isn't a summer album, it just looks like one with the beach and all. This is just more really good stuff from Neil Young. He's an all-timer songwriter, what more could you want? I actually prefer this one way more compared to Harvest, partially because there are no duds on this album. Obvious standout is the slow-yet-impactful title track that kicks off side B.

ABBA has always been a singles band. I'm sorry, it's just the truth. While their other songs are fine, I've never considered any of their albums to be worthy of much appraisal (save for ABBA's Gold). Arrival is notable for ABBA's biggest hit Dancing Queen, which is backed up by Knowing Me, Knowing You, and Money, Money, Money. That's it! There's really not much reason at all to listen to the rest of the songs. They're not bad, just forgettable and not really worth your time.

It feels wrong to get this album before Power, Corruption & Lies, but my thoughts on that album will be saved for another day. New Order's contributions to synthpop cannot be understated. Taking the styles and compositions of Joy Division and expanding on them through the synths and dance rhythms established by Kraftwerk in the prior decade. Admittedly, I am not a huge fan of New Order. This comes from carryover grievances with Joy Division in which I find them the overall product to be somewhat lackluster, but still worth talking about. I like New Order more as a concept in music history than the actual songs, but that doesn't extinguish their recognized quality on this album.

A potently rhythmic style of new wave, with TWO drummers to emphasize the Burundi beat that drives the album. Some songs are really great, as they lean into a gritty form of new wave. Other songs end up being duds, but it's certainly not a waste of anyone's time.

History Lesson! When the Sex Pistols imploded in 1978, John Lydon (fka Johnny Rotten, a fuckhead regardless) formed Public Image Ltd. with guitarist Keith Levene and bassist Jah Wobble. After getting his feet wet in post-punk, Wobble would go on to do solo work, most notably in the Dub genre. Indeed, Wobble had gotten ahold of Jamaica's shiniest new genre export. What is Dub? Flashback to early 70's in Jamaica: producers would take instrumental reggae records and "dub" over them with various production techniques, mainly reverb. Focusing on the rhythms of the original instrumental reggae track, Dub allowed for musicians to experiment with and add new elements of music. Given this, it's easy to see why post-punk musicians would be so interested in Dub. Bringing us back to Jah Wobble, the man had dabbled in various genres throughout the 80's, but had a clear preference for Dub. By the 90's, he had formed his own band (Invaders Of The Heart) and was fully committed to the genre. As far as dub goes, Rising Above Bedlam is a pretty groovy record. Wobble is obviously quite experienced on the bass, so he'll play around with a lot of fun basslines to keep the experience fresh. Pulling from a multitude of different sounds and styles, Rising Above Bedlam moves from Latin grooves to Arabic ghazals. It's an impressively fleshed-out record that does some pretty cool things, but your mileage will vary based on how tolerant you are with Jah Wobble's worldly experiments.

The Byrds are one of the original rock bands, so to speak. While the songs definitely resemble rock music, it's not all that memorable to me. They're fine songs.

The perfect breakup album. Blood on the Tracks comes with Dylan's greatest song to boot, opening the album with the incredible Tangled Up In Blue. It's a masterwork comparable to Van Gogh's best paintings. It's also Bob Dylan's most....Dylan album? I do not like Idiot Wind, nor Lily, Rosemary and the Jack of Hearts. Really kind of a mixed bag of stuff that is encapsulated by his best work. Shelter From the Storm is also excellent but buried under all the other tracks that I don't care for. I cannot properly articulate why I am so split on Dylan's work, but it's hard to deny the greatest in Blood on the Tracks.

Innervisions was a wildly successful album for Wonder, regaled with widespread critical acclaim and and an Album of the Year award from the Grammy's. Listening, it's easy to understand why: Wonder is a master of soul and composition. He weaves beautiful songs of life and love and the complex landscape of America. Moreover, he's a fantastic multi-instrumentalist, which helps bring his vision to full fruition on his own terms. I only wish the production allowed Wonder's songs to have a bit more punch to them, as many come across as flat, which doesn't do the songs justice.

I have to give credit to my brother for championing Tapestry before I had even heard of Carol King. It's easy to see (or hear) that Carol King is a fantastic singer/songwriter. Simple, tender songs with beautiful piano and a soft-yet-soulful voice brings this album together. A wonderful, easy listen.

R. D. Burman is a behemoth of a workhorse within the Bollywood industry. Between his start in 1966 to his final film in 1987 (a mere 7 years before his death), Burman would have release 331 film scores. Shalimar is just one piece of his long legacy. Almost coming full circle, the characteristics of South Asian music that influenced psychedelic music are now giving a psychedelic edge to this soundtrack. Shalimar was apparently slated for crossover appeal to America, allowing Bollywood to break out and garner worldwide success. Too bad it was anything but. Given the 70's track record of soundtracks tinged with psychedelia (see: Shaft in 1971, Superfly in 1972), it makes sense for this soundtrack to follow relatively close behind. As far as soundtracks go, this one is fine. I don't know much about Bollywood nor do I find it particularly captivating, so the appeal of this soundtrack is sadly limiting.

I want to start by saying: Fuck Morrissey The Smiths are the centerpiece of jangle pop. They obviously did something special in the 80's, taking driving, gated drums of post-punk and combining it with some of the old-school 50's and 60's styles of pop/rock songwriting. The result is a sound that is equally nostalgic as it is innovative. The Smiths wrapped up this sound in their frankly fantastic songwriting to provide some of the best sounds of the 80's. The signature Smiths' sound is steeped in a sort of longing sadness. It's something I'm not a personal fan of, but it's hard to deny it's potency as excellent songwriting. The whole album is fine-tuned for a cohesive sound that delivers in spades.

Dead Kennedys honed the hardcore punk sound unlike any other band at the time. While other big bands like Black Flag, Bad Brains, and Minor Threat got really good at playing loud and fast, Dead Kennedys did that while also wielding razor-sharp lyrics to give hardcore a pointedly political edge to it's attitude. Let's Lynch the Landlord, California über alles, and Chemical Warfare are not just for moshing in the pit! Stylistically, the boys pull from a few other sources for inspiration. Surf punk, notably used by the B-52's, gives Fresh Fruit for Rotting Vegetables plenty of personality. This is combined with vocalist Jello Biafra, whose iconic voice and energy gives Dead Kennedys a lot of prominence. Further setting themselves apart from the other hardcore punks bands at the time, Dead Kennedys utilize varied songwriting to keep things fresh. Holiday in Cambodia, for example, uses dynamic changes in the intro and breakdown to great effect. When it comes to the simple high-energy riffs though, they still know how to bring the house down. East Bay Ray's noisy guitar and Ted's tight drums deliver killer punk sounds in spades. I would be remiss not to mention Klaus Flouride on bass, who expertly keeps up with the band while holding down a perfectly solid bass groove. This is obviously hardcore punk perfection. What more could you want from a band who calls out snide college leftists who think they know how great state communism is? Pol. Pot.

These are some truly incredible songs, and Laura Nyro is a wonderful singer to boot. Not only is her voice sweet, but she's full of personality that brings each song to life. Is it perhaps a little long and over-indulgent? Sure, but it can be forgiven for the level of quality on display here. Nyro can really play with the best of them, easily at the same level as Sgt. Pepper's or Pet Sounds. These are not simple singer/songwriter songs, no sir.

It seems as though about once a decade, Neil Young brings Crazy Horse back around to do some excellent full-band stuff. Well, the year is 1990 and the boys haven't done anything since Re·ac·tor in 1981, so let's get the band back together! Young and the Horse make deceptively simple hard rock here. They're all playing together in the studio, tight as can be, jamming away. They would practice and record their sets, go through the playback and choose the best take for each song to go on the album. It's the perfect "dudes rock" album, in that it rocks and doesn't do more than it needs to. Although I preferred the live energy and pacing of Rust Never Sleeps, this album, I feel, is on par in terms of sonic quality. Neil Young can really rock with the rest of them.

Traffic is another one of the 70's british prog rock bands to come out of the 60's psychedelic scene, like Pink Floyd. Unlike Pink Floyd, Traffic feels like they pull from jazz way more, akin to the sounds of Steely Dan. After an extended instrumental intro from Glad, we finally get Steve Winwood's vocals on Freedom Rider. It is worth noting that Traffic is mostly Steve Winwood. He is accompanied by Chris Wood on saxophone and flute, plus Jim Capaldi to back them up on drums, but Winwood is very busy on this record wearing many hats. Good for him. Songs here sound competent. The songs on side 1 flow into each other, same as side 2. It's very Jethro Tull but without a lot of that signature Ian Anderson personality. I feel like a lot of little things make this album just short of being great. A distinct charm is missing, or some sort of cool differentiating factor. The boys do a good job here, don't get me wrong. I mostly feel underwhelmed by the music.

Lost my notes! I thought it was beautiful and definitely worth your time. Inventive, intricate folk songs.

Right before the swell of bright britpop that would be the UK's conscious reaction to America's dingy grunge, England's PJ Harvey had accepted the raw and noisy textures associated with grunge for her debut album. This style of alternative rock would be a hit for Harvey, working well with her prose that invites listeners into scenes from tired relationships. Truth be told, I have a soft spot for cool 90's alt rock like this. Sonic Youth, Pixies, Smashing Pumpkins, etc. All of it cool. Even if I don't love it, I still hold it in high regard for some reason.

Nanci Griffith is one of the first contemporary country artists, following the likes of George Strait as they modernized the production of country music while still sticking to their county roots. Griffith's songs are mighty good, while also tender and loving. My main hangups are with the production, which is a little too polished for my liking. One of the great aspects of older country songs was that they had a lot of personality in the rocky production, giving it a sort of gritty edge. This record, to contrast, is all smoothed out. Too round.

Minutemen came up around the same time as Black Flag. In fact, their debut EP Paranoid Time (pure excellence, please check that one out) is the very second release on SST, Greg Gin's label. The difference between Minutemen and Black Flag was that Minutemen's sound was way more playful and intricate. Instead of blasting out pure hardcore riffs, the three-piece played almost jazzy licks and took inspiration from Creedence Clearwater Revival. It's actually really cool. But audiences hated it. They didn't know it at the time but Minutemen were playing music of the future. These San Pedro boys gave us the first post-hardcore sounds, and it was so cool. But Black Flag crowds didn't want post-hardcore, they wanted just hardcore. So it took Minutemen a few years to get traction on shows. That being said, shows were their life. Minutemen had an interesting approach to the financial side of being a band: they would "jam econo", making their records for as cheap as possible by minimizing studio time, recording the tracks in the order they wanted to avoiding editing costs, and tracking on recycled tape reels. These guys were the definition of frugal and the embodiment of DIY. They would then take a somewhat backwards approach to touring, stating that they sold records to support touring instead of the usual touring to sell records. Obviously they knew something that we didn't because this worked pretty well for them, and they were able to put out some banger albums throughout the 80's, all while making money on the road instead of being in the red. Also worth noting that Minutemen releases are notoriously short. No, their name doesn't reference how they play their songs in about a minute. Minutemen comes from a local right-wing group of the same name, which they wanted to steal in order to make them lose momentum. The band is very left-wing working-class with their lyrics, something that is refreshing imo. Anyway, with their past three albums and four EPs all being quite short, they were gearing up for another standard Minutemen album that clocked in at about 30 minutes in 1984. And then Husker Du came out with their double album Zen Arcade. A punk double album. Fucking unheard of. Minutemen had to head back to the studio to make their next album a double too, and thus Double Nickels on the Dime was born. A few notes about DNotD: 1. There are four sides: one for each of the three band members and a "chaff" side that had all the leftovers. The boys would alternate between picking songs for their side in a sort of draft after they drew straws. This gives each side a sort of unique personality, in my opinion, and helps pace the album for me. 2. "Double Nickels of the Dime" refers to going 55 mph (double nickels) on the interstate 10 (the dime). This was a sort of reaction to Sammy Hagar's "I Can't Drive 55" which was just Hagar bitching about federally-imposed highway speed limits at the time. Minutemen, being jokesters, decided it would be funny for a punk record to go the speed limit. Hence the album cover, which has Mike Watt flashing a cheesy grin while he goes exactly 55 mph on the interstate 10, heading towards their hometown of San Pedro. This is a perfect album cover and title. 3. The boys consider this to be their "artsy record", and I'd say that's a correct assessment. Earlier Minutemen stuff was way more straightforward hardcore and post-hardcore, whereas DNotD experiments more with things like classical guitar, Tejano, contemporary folk, and a few other things scattered across different songs. It's all executed so skillfully with D. Boon's dexterity on guitar, Mike Watt perfectly keeping up on bass, and George Hurley giving it his all on drums to round it out. You could not ask for a better band to pull this off. 4. This would be Minutemen's penultimate album before D. Boon's untimely death, which would eventually lead to the end of Minutemen. DNotD is also their most fondly-remembered album, probably because of it's length and execution. The band had not made anything like it before or since. For a project so ambitious, and a band so full of genuine heart and soul, I can't not love Double Nickels on the Dime. Three great musicians having a fun time, pulling together songs that have no right being this good. This band could be your life. This band is my life. Also the theme song for Jackass is on here, if that means anything to you.

Early Beatles are simply good pop rock. Not much beyond that, but I commend their consistency in quality.

There's no surprise that Elliott Smith is a fantastic singer/songwriter. His soft-yet-impactful culmination of sound with a band backing him packs a real punch, I think it's great. Really doesn't feel like there's a bad song on here. It's just a lot of songs, I found it a bit hard to digest. Will need to reslisten because it was wonderful otherwise.

The Band does a pretty good job playing these little folk rock songs, but nothing beats The Weight. Chest Fever is another great one, making use of that dirty electric organ that I like so much.

Pulling from the likes of Neu!, Tortoise is content with having a strong rhythmic foundation to build upon. This makes for some nice exploration of sound, as different instruments and melodies drop in and out of the space. Then, before you know it, there's a switch. Going from acoustic instrumentation to almost glitchy electronic beats. It feels almost unsettling, moving from one phase to another, existing within stark contrast of each other. All of this is contained within Djeb, the behemoth first track on the album. Then the rest of the album plays out. It's very similar to Djeb but not as long. A lot of it does tend to come across as aimless jams, but the instrumentation choices make up for this I think. To me, Tortoise are like underwater explorers, swimming along different currents and getting acquainted with different wildlife. This is the music they make, and it's worth checking out.

In the same vein of Durand Duran and Japan, ABC's debut album is a clear 80's artifact of new wave and synthpop while pulling glam inspiration from the likes of Bowie and Roxy Music. That's right, it's the UK's New Romantic scene. It's a particularly glossy and groovy record, with it's smoothed out production and danceable rhythms. ABC desperately wants to be the music for your dancefloor. I tend to take issue with 80's production because of how much is lacks personality, but ABC makes up for this with Martin Fry's passionate delivery on vocals and Brad Lang's funky basslines. It's a pointedly dramatic album that tried really hard to be the most important album of it's time. Too bad it's not. At the same time as this album, you had The Cure doing the same drama with more mood and skill on Pornography. Meanwhile, Prince was the dominating force of 80's funk with 1999, and Michael Jackson would put out the best-selling pop album of all time: Thriller. ABC might've been good, but they were in a time and place where you needed to be GREAT. I don't think The Lexicon of Love is a bad record, but it's buried under so much absurdly better music that it barely stands a chance outside of the fleeting New Romantic scene it's found itself in. An artifact, it shall remain.

Swiss band with an industrial rock album done entirely in French that dabbles in cabaret themes. Music drenched in horror, it approaches the likes of early Swans without ever getting as good. The riffs occasionally come through, and when they do they're pretty good, but a lot of this album is held back by the weak dark cabaret parts. I'm all for pushing boundaries and atmospheric music experiences, but this feels like a flop. Too cheesy to be scary, too theatrical to rock, too bad to be on this list.

Yes's breakout album. Their first two albums still clung to psychadelic rock sounds, whereas The Yes Album explored new territory that would set them apart from other prog rock bands at the time. This could largely be attributed to the addition of Steve Howe, who provided new perspective and influence for the record. This can be seen, for example, on The Clap, which is a wonderful acoustic folk song that pulls from the likes of country and blues. Worry not, progheads, there is many prog to be found here. This rocks very hard and it's a great showing from Yes. Fun songs performed with incredible skill, it's a good time all around. Starship Trooper is a clear winner of a song for me, but the whole album can play ball. Great stuff. That is, until the part in Perpetual Change when they panned the organs completely in the left channel and I had to listen to it solo, unaccompanied. That sucks. I hate it when bands pan stupid shit like that. Never do that.

Having been a britpop powerhouse for the past few years, Pulp was ready to move on to more ambitious music. Different Class was a big album for Pulp, examining the modern English culture on a backdrop of catchy rock tunes for the masses. The truth is that Pulp loves to reflect everyday people and their everyday lives. Party Hard, for example, would show us English nightlife a whole decade before Arctic Monkeys could put pen to paper for their debut album, and do it way better. There's a certain Bowie influence in the sophisticated vocals, and sexual undertones. Goddamn is Pulp sexual. I've yet to see a band so committed to being horny. It's not erotic or good either, it's aesthetically creepy. But the overall product is so well executed, it's hard not to enjoy this monolith of an art rock piece.

I feel the need to specify that Big Star's third album (aptly named Third), has had a few different releases with different tracklists over the years. Looking iy up in the book, 1001 specifically calls on the 1992 release which has 19 tracks total. This version, sadly, is not available on Spotify. I'll be listening to a copy of the 1992 release that I've found myself. This is a very strange album for Big Star. Recording was marred with issues as the band fell apart. The original 1978 release was completely macgyvered from the tapes acquired by PVC. Listening to the 1992 version, it still feels like a mess. Some parts of the albums have lots of strings which, while adding a certain dramatic flair, do little to enhance the songs. Other songs feel somewhat incomplete or lack a proper ending. Normally I would chalk this up to creative decisions, but given the history surrounding this album I would be hesitant to do so. It's a shame because these songs are still good. Alex Chilton is an amazing song writer, we know this from Big Star's previous two albums. While I can recommend those wholeheartedly, I'm not sure I can say the same for Third. Third should be left as a sort of black sheep for fans who are already familiar with Big Star. I tend to take issue with albums that are messy like this, so I'll be giving it a harsh rating, but don't let it deter you from enjoying it.

Drum and Bass doesn't do much for me. I understand the appreciation for fast, danceable rhythms but I'm not really that kind of guy. A lot of this album feels very samey and not all that interesting outside of the sort of jazz influence. This reminds me a lot of the music I'd hear in Parkour Fortress servers that I would play on when I was younger, which was a fun soundtrack for running around to. I'm going to go play that now.

CeeLo Green has an interesting career. Many may know him from his 2010 pop soul hit Fuck You (perhaps better remembered for the radio-friendly version Forget You), or his 2006 neosoul hit Crazy under the name Gnarls Barkley, a project he had with DJ Danger Mouse. Either way, Green has established himself pretty well since this release. Soul Machine, however, I knew very little about. Green started out in Atlanta's southern hip hop scene as a member of Goodie Mob and the Dungeon Family. He could also be found on a few early Outkast songs, so needless to say he was on ground floor of an important hip hop scene. This naturally led to him going solo after the success of their album Soul Food, but Green would still stick to his southern hip hop sound for his first solo effort. This eventually brings us to his followup album, which is where we're at right now. Green's songs here are produced by Timbaland during his late 90's, 2000's reign of terror. He had finished Jay-Z's Black Album the year prior and would work with Justin Timberlake and Nelly Furtado on their big establishing albums. Timbaland also has a claim to the southern hip hop scene, having come up in Miami, but his credits can be found across the map from 2pac to Missy Elliot to Nas. Either way, he brings interesting beats and samples to this album that only sometimes land for me. It's a shame that there are no clear hits on this album, even with all the star-studded features from Ludacris, Pharrell Williams, and Timbaland. While Soul Machine is still distinctly southern hip hop with soul influences, it feels like it doesn't have much edge to it at all (Scrap Metal is exception to this). It's also too long for seemingly no reason. Did we need to pack 16 songs in this thing with an intro and outro to boot? The CD was a mistake.

Come one, come all. It's time to learn the story of Rick Rubin. Rubin started making music in the early 1980's primarily in the punk scene. During this time he started Def Jam, which would go on to be a force within the music industry. But for now, it's a means to get his own stuff out there. His punk band had broken up by 1984, but he had already found a new love: hip hop. Rubin had learned hip hop production techniques and started working with other guys in the east-coast scene. I cannot stress enough how excellent of a producer Rick Rubin is. He's mastered simplicity and knows how to wield dynamic range for harder-hitting moments (save for his atrocities in the loudness war). So, in 1986, he'd be credited for his standout production work on on Run-D.M.C.'s album Raising Hell, their best yet. He was also a producer on Slayer's Reign In Blood that same year. I'm sure I'll get to talk about that album later though. For now, I will say that Rubin's hard-hitting production on Raising Hell has given Run-DMC the edge they needed to stand out. They were already fantastic rappers to begin with, I just think this album cements their hardcore style thanks to big, booming drums and complimentary sample hits on the first beat. Some things on this album don't work nearly as well, such as uncomfortable beatboxing on Hit It Run or the overly-long collaborative remix of Aerosmith's Walk This Way. Other songs easily make up for this though, as It's Tricky, My Adidas, and Raising Hell all earned their spot in the pages of hip hop history. Classic.

Motown put out a lot of stars. The Temptations had a great group of singing voices that brought so much style and personality to these soul tracks. The most notable, of course, being Papa Was a Rollin' Stone, which the full album version deserves more credit. So much wonderful subtly in these songs, it's a great listen throughout.

Ready to get weird? Freak Out! in 1966, The Velvet Underground & Nico in 1967, and now The United States Of America in 1968. The psychedelic wave of rock also brought along incentive to try strange new ways of making music. Layering sounds from Gregorian chants to circus marches to sound collages, The United States Of America is determined to try as many different thing within the psych rock framework. Some of it works well, some of it doesn't. Stranded in Time, for instance, is a catchy baroque pop piece that very well could've inspired The Beatles' A Day In The Life. Other songs, like The American Metaphysical Circus, are messy and purposefully chaotic. The whirlwind of sounds is perhaps a signature for the band. They never did anything else after the release of this album. Disagreements over the direction of the band led to the break up of The United States Of America, so their debut was also their finale. It's influence cannot be understated though, as others would cite The United States Of America as an influence. That's got to count for something.

Fisherman's Blues marked a change of The Waterboys, as the started pulling from their cultural roots to make more Celtic music than standard arena rock. In a way, though, it still sounds like the same brand of arena rock that U2 was producing. It's a shame because I don't care for arena rock at all. Arena rock has a way of feeling disconnected and empty for my liking. Relying too much on reverb and deferring to boring songwriting makes for boring music, no matter how much Celtic inspiration you sprinkle in. Some of the few bright spots on this album are Jimmy Hickey's Waltz and When Will We Be Married?, which are whimsical Celtic folk tunes that I genuinely enjoyed despite it seeming out of place in between the arena rock. Truthfully, most of the songs on the b-side are worth your time, more than side a anyway. Perhaps overly long and marred by the arena rock that they're so familiar with, but Fisherman's Blues isn't all bad. I am, perhaps, biased towards the Celtic folk given my own heritage. Regardless, I don't see myself going back to the Waterboys anytime soon.

Good trio. While the band plays very well, nothing in particular stood out to me about this album. Much more interesting things were happening in the jazz world by this time, so I don't think I remember this album much.

Who are The Last Shadow Puppets ? After Arctic Monkeys touring Favourite Worst Nightmare, lead singer Alex Turner took a brief hiatus to work on a side project with two other guys from bands I don't know. While it still retains quite a bit of Arctic Monkeys' personality vis-à-vis Turner, the dramatic strings and Spaghetti Western flair gives The Age Of The Understatement a unique sound that can't be compared to it's contemporaries. Honestly, this whole album is spectacular. My core problem is that there are too many songs that are too short to be fully absorbed. I think The Age Of The Understatement had the potential to be a real hard-hitting classic of the aughts if they decided to do fewer songs that were longer in length, creating more memorable moments from track to track. I don't know why but pop music song structures has held this one back from it's full potential. Still worth a listen.

god bless you Joni Mitchell for following your morals and pulling your stuff from spotify but I'm sorry I had to pirate your album. I hope you'll understand. It's no surprise that this album is on the list. Not only is Mitchell a folk music legend, but Blue perfectly captures what makes her sound so great: beautiful, tender, and captivating. Not only is Mitchell a musician, but also a poet and a storyteller. She knows the space that her music occupies and let's it breathe. Not too little, not too much. What more can be said about an album that has been loved so thoroughly already? I can only give my personal vouch, which means very little in the grand scheme of things. Blue is for everybody.

L.A. Woman is the last good Doors album. I could attribute this to the death of Jim Morrison, who played a pivotal role as the band's frontman. Bluesy through and through. There's definitely highlights and lowlights here. The title track is a great one, but the slow tension of Riders on the Storm really gets me. Songs like L'America and Car Hiss By My Window, on the other hand, are too plain and meandering to warrant discussion. It's good but it's definitely not the Doors at their best.

Good ol' soul. Burke has a voice that could bring the house down, and he damn well knows how to use it. That's passion, folks. Raw, unbridled passion is what makes these simple souls songs so great in Burke's voice.

What an incredibly raw emotional album. The noise from the band backs up Harvey's confrontational vocals. Great use of dynamics to make the loud parts hit harder. Such a starkly unique album in the way of alt rock, really goes against the grain by building on the wave of grunge in the states.

Bitter Sweet Symphony holds a special place in my mind palace, with fond memories of my childhood and it's memorable chamber repeating through the airwaves. I didn't know anything else about the verve beyond that, nor did I care to. The Verve comes from the wave of britpop in the 90's, but separates itself from the pack with a neo-psych edge. The result is pretty cool rock music that is overly long. I can't stand these 70-minute albums man they just lose my interest. Instead of me enjoying the songs it just kinda became a blur as it went on. It's pretty good but I would not listen to this in full again.

Perhaps the most iconic album from Bowie's Berlin Trilogy. It's great!

Amy Winehouse has a great voice, no doubt. Having heard her legendary followup, Back in Black, listening to Frank is an odd experience. It's a lot less focused, less polished, and less consistent. What old-school soul Winehouse wielded on Back in Black is simply not here. Instead, she opts for neo-soul that flirts with trip hop. These sounds, while well done, are simply not in Winehouse's wheelhouse. It occasionally feels like she is fighting over the instrumentals, losing her dominance that I know her better for. Everything about Frank feels like a solid first attempt. For an artist still finding her sound, I would not hold that against Winehouse. Good work otherwise.

Funk is an interesting direction for Tim Buckley. I think highly of Buckley as a songwriter, but Greetings From L.A. is not a winner in my eyes. Performances are still stellar but the funk sound is not a good fit. As a result, Hong Kong Bar is a standout track for me, as the simple folk side of the album stands much taller than his whole funk rock thing.

I've heard lots about FKA twigs but never took the dive. Boy am I glad I did here today. What a uniquely stimulating album. The textures in the beats, synths, and basslines elevate FKA's vocals, giving the music a certain "wow" factor. This can be partly attributed to producer and artist Arca, who had also done production work for Kanye West on Yeezus and Björk on Vulnicura. The sonic space being explored here is sublime. This album stands heads and shoulders above other pop/r&b albums for 2014. It stands for the natural progression of music: innovative and bold.

This Lizzy was a tour de force in the 70's. Whisky in the Jar followed by The Boys Are Back in Town spelled great success for the Irish lads. So, naturally, their 1978 live album serves as a testament to their success. Their best songs, a killer crowd, and the last Thin Lizzy release with guitarist Brian Robertson makes this an especially special live album. It's good! They mix their best stuff with their lesser-known stuff and make you work for The Boys Are Back in Town (on the second CD). I do think their less popular songs are like that for a reason, as they left very little impression on me. It especially loses me in the back half after The Boys Are Back in Town, which cements how overly long this live album this. Still worth a listen, but requires more of your time and attention.

I have listened to every QotSA studio album EXCEPT for this one. I can't tell you why, it just never grabbed me like the others. QotSA arose after frontman Josh Homme's previous band, Kyuss, hit the bricks. Kyuss came about in the early-mid 90's during the rise of stoner rock and stoner metal. With genres defined by slower, heavier riffs and raw, crunchy tones, Homme had fine-tuned his guitar for his new band's debut album. QotSA has a knack for catchy hooks that gel well with a heavy riffs, but I find this album to be a little rough around the edges. Perhaps being more concerned with the distorted tone than writing good songs have held Homme back from a truly excellent debut. I am being a bit harsh though, as some songs land way better than others, leading to a mixed bag of songs. Future QotSA releases would see them cleaning up the sound a bit to lean more into alt rock while retaining that crunchy stoner rock core that differentiated them from other mainstream rock bands going into the 2000's (mainly reeling in the post-grunge scene and being generally disappointing). While I'm biased towards many of QotSA's other albums, I'm genuinely shocked that Songs for the Deaf did not make the list, as that would be their most popular record while also clearly defining their sound. While I can at least understand why their self-titled debut made the list, it pales in comparison to Songs for the Deaf.

How fancy! Scott has a knack for compositions that showcase how much more pop music can be. Great voice for it too.

This album is an affront to the list. I have no problem with Ella Fitzgerald recording hours worth of music for a comprehensive album to serve as a sort of reference guide or encyclopedia. To that extent, Fitzgerald had left behind a lot of work for us the appreciate, with an amazing soothing voice and top-tier performances from her backing band to boot. I have no problem with this. My problem is that amongst all the other albums on this list that average, say, 50 minutes, this is 3 hours. No one is listening to this in one sitting, that's absurd. This is a clear outlier amongst the rest of the albums here, so I can't imagine actually listening to the whole thing for sanity's sake. Well I'm going to listen to the whole thing anyway. Not in one sitting, of course, but I'm tackling it disc by disc per the spotify tracklist. Splitting it up like this makes it a lot more digestible. I'm going to do it all in one day, and I'm off work so I have the leisure time to dedicate to this effort. DISC 1 (early morning) - A lot of lovely gallivanting love songs. The strings soar quite nicely. It does include a rhumba near the end but it's pretty consistent throughout. DISC 2 (morning) - More longing on this side, but includes a ragtime tribute which is a treat. It picks up near the back half for some more fun songs, with a bit of swing in the beat. Nice and steady. DISC 3 (noon) - Bit of a mixed bag in terms of theming. Goes to show how disorganized the tracklist is. Great songs performed perfectly, though. DISC 4 (late evening) - Things start to slow down here, which tracks with my drink of gin and tonic. Treat Me Rough shows a change of pace here and is a standout for the album (she has a lot of fun, you can tell). DISC 5 (early night) - Songs have started to blur into each other. I cannot remember much other than it was a pleasant listen. The end is in sight. DISC 6 (night) - These are just cheeky little instrumentals from George Gershwin. Very cute. OVERALL THOUGHTS - As a collection of songs, this album is splendid. Ella Fitzgerald is a fantastic singer, we all knew that already, and the Gershwin compositions are excellent. As a contemporary album for listening to in one sitting, it's horrid. The tracklist is distinctly disorganized, the runtime is much too long, and the product makes it clear that it has no place amongst the other albums on this list. For shame, authors of 1001.

I don't know Julian Cope. I think this album is ambitious and has a certain creative vision to it, but i wasn't impressed. Like most double albums, it felt overly long and not all that memorable. I am grateful that Cope was nice enough to slice the album up into four even parts in the age of the CD, but it did not feel distinct enough to justify calling them "phases". A few weird ideas on here, with some working better than others. I'm open to different stuff but this didn't vibe with me.

Cohen is a true bard. He writes poetry, sings them tender, and leaves you longing for more. He does so much with his acoustic guitar, I'm often in awe at how precise each song is. This may be Canada's greatest offering to the world.

Q-Tip had been out of the game for a few years when The Renaissance dropped. 1998 would mark A Tribe Called Quest's final album before their return in 2016, and Q-Tip had tested the waters with a solo album in 1999. As such, his return would be highly anticipated. It's pretty good. Production is very contemporary for 2008, that being clean and tight. Q-Tip's style, however, is still very much influenced by his jazz rap 90's roots. There is some influence from Common à la his rapping, but it still feels like the same Q-Tip from Midnight Marauders. The only difference is that I feel like Midnight Marauders had infinitely more appeal in it's personality. The Renaissance is still a good album, but I would hesitate to say if it's reflective of any hip-hop trends of the 2000's.

2Pac bears all. This turns out to be a deeply vulnerable album without 2Pac coming across as weak. He speaks about personal struggles and the struggles of those around him. Incredibly deep album from a guy who was made to rap. He's a natural, no doubt.

I finally get around to the third of the big beat three. The UK dance scene in the 90's was exploding with fantastic new sounds, but The Prodigy had perhaps the edgiest and rawest sounds. Pulling from techno, breakbeat, and acid subgenres of electronic music, this album fed into the rising popularity of drum and bass, which would build on breakbeat and take the UK by storm for their fast rhythms and infectious grooves. Music for the Jilted Generation would be at the forefront of it all. Songs like "Their Law" are almost reminiscent of hardcore punk, layering distorted guitar and aggressive vocals ("fuck em and their law") give The Prodigy's sound a distinct edge. I'll also add that they sound incredibly cool, moreso than their big beat contemporaries. What can I say, I'm a sucker for genuinely great albums that also prove themselves to be landmark releases in music history.

In the seedy underbelly of England is debauchery, degeneracy, destitute characters who want terrible things. Beware, it's all the greatest sins to tempt man and woman alike: immoral sex, junky drugs, more innocuous sex, man there's just so much sex. Soft Cell invites you to dim the lights and feel skin on skin through synthpop sensibilities. It's what synthpop was made for, frankly. It's perfect 80's sleeve, with the intense Tainted Love showing off the album's strongest elements. Other songs are less serious and sort of take away from the potential power of this album (looking at you, Sex Dwarf). The overall product is pretty fun, but nothing quite compares to the first two tracks. At times, the album has good ideas that have amateurish execution.

It's time for me to face the facts: The Smiths are actually really good. There is an ethereal energy that they bring when combining the booming post-punk drums and the beautiful jangly guitars. Truly, the Smiths had honed they sound in such a way that they were clearly the best in their field. Songwriting has improved from Meat Is Murder! Longing love songs that are honestly perfection. It's poetry. The Smiths show a certain consistency in their songs without sounding boring or same-y. God it's so good.

It is difficult for me to think of reasons to dislike this album. It's so finely crafted, from the meticulous production work to the excellent songwriting. Fleetwood Mac was somehow able to come together in a maelstrom of interpersonal issues to make one of the greatest albums of all time. It's unforgettable. Even at the album's weakest, the songs are beautiful and delivered with such emotion that it's impossible for me not to love it genuinely. My favorite song is easily The Chain for it's dynamic structure and hard-hitting chorus of layered vocals that drive home the thematic gravity of "we must never break the chain". I'll always have a soft spot for Don't Stop though, as it is closely intertwined with the music of my formative years. There's no other way to say it: Rumours is a perfect album.

Strong contender for greatest album opener of all time. It also feels like Prince is remember more for his eccentric style rather than the fact that he can shred better than the best. Prince also has a knack for these passionate wails that sells the high points of the albums. Purple Rain is unmatched in dynamics; Prince really knows how to reign in back to make way for big killer moments. I also appreciate the natural flow of the songs, going from one track to the next while still feeling distinct. I'll be honest in saying that side 2 doesn't grab me as much as side 1, but the closer track goes crazy. He knew what he was doing with this one.

One of the more forgotten punk rock bands from the dawn of punk rock, The Adverts never seem to get the same respect as the Buzzcocks, the Damned, or the Clash. Which is a shame, because I think these guys do a great job of creating an energetic punk sound that is also seemingly unique from their contemporaries.

R&B that's so silky smooth. A lot of what this album has going for it is in the subtleties of it's production, letting the sounds build up and blend into a tasty neo-soul cocktail. My main gripe is that I don't find this sort of songwriting particularly interesting. For all the lovely things it has going for it, Maxwell is not for me.

Rich ambiance and groovy drum samples makes this a shoe-in for great trip hop albums. While I'm definitely more of a Portishead or Massive Attack fan, I can see how Tricky made the list with this impressive debut album.

Live recordings from August 1972 in Osaka and Tokyo, in which Deep Purple takes liberties with their soloing. Was there any doubt that Deep Purple is the greatest rock band of all time? I don't mean post-punk or goth rock or grunge or whatever else, I just mean just simple hard rock. They're damn good performers who play damn good songs. Of course their most notable hit "Smoke on the Water" is on here, but the other songs are equally worthy of praise. Openers "Highway Star" and "Child in Time" are particularly great. The real selling point of this album, though, is the intense soloing that shows the band flexing their improvisational skills. This tends to be a strength and a weakness on this record. The best parts of the solos is the captive audience, soaking in the raw skill and finesse of the boys as they jam out. They are competent at this. It's also just cool to hear the songs meet new heights through shredding guitars and blasting drums. The worst parts are in the length of the solos, as they begin to take away from the songs themselves after a while. Some parts are just needlessly noodling. "Lazy" is perhaps the worst contender; just play the damn song. Some people cite this as the greatest live rock album. I think there are better contenders, but this is still a great showing.

Before Janis Joplin hit is big with her solo career, she lent her voice to Big Brother & The Holding Company for some classic psych rock tracks. Big Brother came about around the same time as Quicksilver Messenger Service and Grateful Dead, so be ready for some jams. "Jams" is a neutral term in this context, as it would have lengthy improvisation parts that were usually instrumental. The band is good. Joplin is not. I've never liked Joplin; I've found her voice to be too scratchy for my liking. Aside from Joplin, I don't love the band. I think they have some good stuff going for them, but the overall product didn't grab me or leave much of an impression.

A different side of Madonna that I had not known until now. Pulling inspiration from the rise of downtempo and trip hop sounds over in the UK, Ray of Light is a definite departure from her usual dance-pop that got her famous in the first place. This is a bold and rewarding move for her, in my opinion, as she utilizes her voice in a way that compliments the new electronic production. Producer William Orbit is equally deserving of praise, as his work in Downtempo on Strange Cargo 2 and 3 helped paved the way for the sound on Ray of Light. For how well-executed this album is, it still feels marred by tracks that could have been cut. "Shanti / Ashtangi" showcases Madonna's passing interest in Hinduism at the time, pulling from Indian pop in a way that feels more like co-opting than honoring. "Candy Perfume Girl" feels like it could have been a cut from an earlier Madonna song that was touched up for the downtempo sound. It leads to things getting overly long. The overall product is stunning regardless. I am fascinated by this move from Madonna, and have a lot of respect for her as a result. Absolutely worth being on the list.

"You can only trust yourself and the first six Sabbath albums" - Henry Rollins Black Sabbath invented heavy metal. Sure, there were precursor examples of heavy metal, but Black Sabbath embraced the sound and made it what it is today. And while their debut album was a good start, it was always the follow-up Paranoid that cemented their legacy. Every track belongs. They're heavy, well-written, and flow nicely. Even with outlier Planet Caravan, it feels like a natural fit in between the noisier sections, giving a sort of dynamic shift to let the sound breathe. Every metal band pays tribute to this band and this album in some way. They have to, because it's the cornerstone and foundation for metal as a genre. There's no denying it.

Quintessential goth rock: perfect for the coming All Hallows' Eve. I have a lot of respect for drummer Budgie, who brings a lot of power to this album with intense beats that the rest of the band ride off of. That's not to discredit the other band members, as their contributions make the whole greater than the sum of it's parts. I particularly love John McGeoch's guitar tone on Monitor. And I would be remiss not to mention Siouxie Sioux's iconic vocals, which is the true core of the band's personality. Every aspect of this album is excellent. It's a wonderful post-punk sound mixed with horror aesthetics that bring Juju to life. Worth listening to every second.

Iconic voice singing some fantastic songs. Change Gonna Come, My Girl, and I've Been Loving You Too Long are all too important to be left off this list, hence it being here. Standout blues for the ages.

This is The Cure's ACTUAL debut album. The first one didn't count, obviously, because it didn't sound like a Cure album. It's incredible how early The Cure was able to find their sound. It's tonally rich, soaked in a clean chorus and tight drums that tied everything up. It's very concise without feeling dry or bland. The songwriting is noticeably weaker compared to future Cure releases, leaving a lot to be desired in Seventeen Seconds. Songs mostly passed me by with little impression. I love the sounds, but can't wrap my head around what I had just listened to. Which is a shame because I think highly of The Cure. While this may be a landmark goth rock album (one of the founding albums for the genre alongside In the Flat Field and Kaleidoscope), I can't bring myself to love it.

I need to come to terms with the fact that I simply do not like Elvis Costello. He could write some good songs, sure, but listening to them makes me want to listen to anything else. Also what's with that title on the cover? IbMePdErRoIoAmL. It's like they didn't have enough room to fit the title and forced themselves to get creative. Oh god, I'm talking about the cover art to avoid talking about the music. It's pretty pop rock, and Costello gets creative on occasion with harpsichord, brass, and other little flairs here and there. It's also overly long and never fully interesting to me. I can't say why, but I think Costello doesn't do it for me.

Every avid music listener must face this unavoidable fact some day: Rolling Stones will have a bunch of okay songs and one fantastic song. Aftermath has Under My Thumb, Let It Bleed has Gimmie Shelter, and Beggars Banquet has Sympathy for the Devil. That isn't to say that all Rolling Stones albums are created equal, but that there are distinct outliers on each that only make a few songs worth listening to. Let me tell you, that greatest hits album is stacked, but I would not say the same about the studio albums. Despite this, Beggars Banquet still establishes itself as being a damn fine Rolling Stones album. While the other songs live in the shadow of Sympathy for the Devil, they're good enough that I never felt a strong urge to turn it off. So, that's worth something.

Would you believe me if I said that The Smiths never made a bad album in their core discography of 5 albums? It's rare for a band or artist to so quickly and definitively find their sound and consistently produce quality records without it getting stale. Strangeways continues to present the Smiths in a sonically rich production. Songwriting is still good, but not quite as hard-hitting as the songs on the prior album, "The Queen Is Dead". This was seemingly a transitional album for the Smiths, though whether there were plans to transition into a new album instead of a wind-down into a breakup is unknown. It is clear that Marr (bless his heart) and Morrissey (fuck him) were at odds with one another at this point in the Smiths. Thus, we see the end to an incredible group.

Prince double album when he was in his prime. What do we think? Some of the finest synths of the time. Starting with his third album, Dirty Mind, Prince had pioneered a subgenre of funk known as the Minneapolis Sound which was very similar to much of the synth-focused funk at the time, but included a much glossier production that would come to define the sound of 80's pop. That's right, my biggest musical gripe could be attributed to none other than Prince. The boring, plastic production of the 80's has ruined many a record for me, but the same could not be said about 1999. To call this album boring would be a sin. Lots of great stuff on the first LP. I think Prince had a complete vision of a sort of comedown on the second LP but 80's ballads will never do anything for me, even if they're from Prince. Free, in particular, is the most skippable song on here. Lady Cab Driver helps save the momentum for the latter half, but for a double album I can't help but feel that 1999 is a great album that gets watered down. I am also extra critical of double albums anyway, so I was going to be hard on 1999 anyway.

very flowery french pop. I hesitate to call it pop thought because it feels like Gainsbourg scored for a movie in his mind (not a particularly interesting movie either). His spoken word or semi-singing takes away more than it adds to the experience. En Melody is probably the track i enjoyed the most, primarily because it was instrumental. I truly cannot stand Gainsbourg's vocals. I wish he'd stick to composing instead, because it's far more interesting. Actually no! Credit goes to Jean-Claude Vannier more a lot of these arrangements! He did a great job.

De La Soul consists of Posdnuos, Trugoy, and Maseo, though producer Prince Paul is also worth mentioning as he contributed to the first 3 albums, including this one which is the De La Soul debut. 3 Feet High came out at a time when hip-hop was dominated by the goofy Beastie Boys and the serious Public Enemy. Choosing the carve a new path for themselves, De La Soul decided to make hip-hop that was much more relaxed while also being conscious of the topics they rapped about. Production-wise, Prince Paul would take a psychadelic approach to the samples that would be incorporated into the beats, making for a fresh new sound that complimented the vibe of the 3 MC's. In addition, certain songs such as Buddy (which just so happen to have a Q-Tip feature) would pave the wave for Jazz Rap in the 90's, spearheaded by the excellent A Tribe Called Quest. There is also a sample from I Can't Go For That (No Can Do) by Daryl Hall and John Oates, which is their best song. I could take or leave the skits and some of the other filler songs on here (Can U Keep a Secret and Do As De La Does has a way of killing the album's momentum). De La Soul can also be credited for the first "sex skit" with De La Orgee, which is a musical crime if I've ever heard it. Otherwise, this is an album worthy of praise: stylistically unique and pioneering in the hip-hop genre. Enjoy what you can.

1966 would mark the beginnings of psychedelic rock as we know it. While still sticking to their more folk rock roots, The Byrds would lean heavy into raga rock influences with Eight Miles High. This single would be the song that many will refer back to when recalling the first psych rock song. It's a shame that the production work done here is so shoddy that guitar solos sound terrible. While pioneering a whole new subgenre, the Byrds happened to be in a tumultuous period where they were without songwriter Gene Clark and producer Terry Melcher. The band also moved away from Bob Dylan songs, which put more focus on their songwriting abilities as a band. They're okay at it. While no doubt a significant cultural album, some weaker songwriting and production makes it difficult for me to fully appreciate this album. Still worth checking out, regardless.

Is Beck cool? Does the pseudo-rap, slacker alt rock sound resonate with anyone? I think I'm being reductive, because it's hard to put Odelay into one box, or even two. Beck Hansen raps and employs drum samples, he strums his acoustic guitar, plays the slide guitar, and a whole lot of other stuff to bend genre to his whim. Odelay is a lot like the dog on the cover: messy, but still full of energy. I admire Beck's ambition and artistic vision. I also wish this album was more focused. The sonic whiplash from the harsh synths at the end of Novacane going into the mellow acoustic strumming of Jack-Ass is making me wish for something else. I'm seriously at a loss. There is no doubt that Beck is a competent songwriter, artist, and producer. The problem is that nothing comes together to form a coherent sound. I can't enjoy Odelay for more than a few minutes because it won't let me. The album is constantly at odds with the listener, as if to say "No, you're listening to it wrong. Start again with this song instead". I don't know if that makes it genius or debilitating or both. For now, I won't give Beck too much credit.

Heralded as the greatest pop album of all time by music nerds alike, The Beach Boys pushed the industry as a whole in terms of production and songwriting while still appealing to masses. Many will attribute this success to Brian Wilson, but I won't say anything with full certainty. The truth is that I think the Beach Boys are still a little corny, a little plain, a little passé. It does not stir any strong emotions in me other than "yes, this is nice". My favorite parts are the instrumentals, especially the title track Pet Sounds which plays around a lot for some interesting music.

The 60's moved fast on Elvis. Rock and roll had be commandeered by the British invasion, with the likes of the Beatles, the Rolling Stones, and the Who others eclipsing what Elvis had done in the 50's. As such, Elvis pivoted into an acting career for much of the 60's, though he would back these up with soundtracks. This stint in Hollywood was largely unremarkable. Aside from one gospel album in 1967 (that won him his first Grammy!), Presley was following a formulaic run of generic movies supported by generic soundtracks, year after year. By 1968 our dear Presley was in a slump. Moviegoers and the music charts were tired of him, so it was time for a comeback: Elvis is performing live again! The success from this live show would propel him back into the spotlight and give him the boost needed for his proper comeback album From Elvis In Memphis in 1969. This album is nothing like his back catalogue. Abandoning his pop rock, rock and roll, and gospel sounds and trading them in for SOUL. Presley moans and wails with so much emotion, these songs are worth their salt. If I saw Presley in a dozen movies over 8 years and then this was his comeback album, then you'd consider me a fan. Worth noting that this record is surrounded by psychedelic releases, with only Dusty Springfield being the other notable soul act of the day. Regardless, Elvis certainly stood out and it's warranted.

It would be misleading to say that David Bowie only did three albums while in Berlin. No, he was much busier than that. Look no further than Iggy Pop's debut album: The Idiot. Branching off from his proto-punk roots with The Stooges, Pop had always seemed to be ahead of the curve when it comes to defining (or defying) genres. Enter what might just be the very first post-punk album, not even a year after punk rock's beginnings. It's bold. It's dynamic. It's cool. You've gotta get it to get it, y'know? No squares allowed. You don't have to like it, you just have to listen to it. Get a feel for that dirty guitar and slinking drums. It doesn't sound like punk rock but it embodies the spirit in ways we couldn't imagine. It's Iggy's world now, and we're just guests. Look around.

Dipping my toe into a new genre, this will be my first foray into Electrotango. Combining tango rhythms with electronic beats, we hear La Revancha Del Tango breathe new life into old styles. How does it fare? It's alright. A lot of Gotan Project felt like background music to me, soundtracking my morning as I eat breakfast and get ready for work. Reminiscent of menu music for a video game, perhaps. There were some interesting parts but nothing really stood out all that much. Pleasant enough listen but not something I would revisit.

Depending on who you ask, this is Metallica's last great album. This also happens to be the first Metallica album without founding bassist Cliff Burton, after his untimely death in 1986. By all accounts, ...And Justice For All spells out Metallica's transition away from their thrash roots into simply heavy metal. Compared to their previous albums, I can certainly start to hear the band slip a bit in terms of quality. While still similar to Master of Puppets in terms of overall sound, the songwriting here just isn't as good. Where it's good, though, it's phenomenal. Blackened proves that they've still go an ear for good thrash. One is easily the standout track though, with a slow and tender start that leads into headbanger that kicks ass. Perhaps one of their best songs that demonstrates Metallica's ability for range while still playing into their strengths for speed and catchy riffs. I dread discussing the mix but it warrants some mention. After Burton's death, a new bassist was brought in to fill some big shoes. Jason Newsted took the mantle, and while his contributions are appreciated, he is barely heard in this mix. The lower end is mostly dominated by Hetfield's chunky riffs, which leaves little room for proper bass tones from an actual bass guitar. What was once a foundational part of Metallica's sound has been stripped away. The end result is a drier, flatter sound that persists throughout the entire album. While I believe in listening to original album mixes when available, I would also encourage listeners to seek out the bootleg fan remix ...And Justice for Jason. Make your own judgements about the bass mix, see what you think. Regardless, a mix cannot always make the songs better. ...And Justice For All is a great album that is marred by unmemorable songs, bringing the whole experience down for me as a result. Unfortunately this marks a decline in Metallica's discography, making it all the more disappointing as we lose the consistent level of quality found on the first three albums. Metal was never the same after that.

After making what might be the greatest album of all time, Fleetwood Mac followed up Rumours with a double album. This is, of course, God's way of saying he wants me to suffer or something. I'm kidding (mostly), Fleetwood Mac is still maintaining a certain level of quality that is carrying over from Rumours. Sara, the closer to side A, is particularly fantastic in it's tenderness from Stevie Nicks. Lindsay Buckingham's contributions, in contrast, are much more eclectic and eccentric. While Tusk lives in the shadow of it's much more acclaimed older brother, I find myself enjoying most, if not all, of Tusk's songs. This is not representative of Fleetwood Mac's best songwriting abilities, but listeners will not be disappointed.

A waste of time and space. Clear Latin music influences without doing anything interesting or worthwhile with it. Lyrics are corny and lack any sort of worthwhile message. Every genre influence it brings in does nothing to meaningfully expand on the core ideas, leading to cheap attempts of hip-hop, funk, rock, turntablism, and so forth. This drags on for nearly an hour without improvement. Skip this one.

This is a live piano-only performance by Keith Jarrett. It was released on the ECM label, which has since become known for publishing their unique style of jazz known as "ECM third stream" or simply "ECM style jazz". In this solo piano performance, you will hear a poppy approach to jazz similar to jazz fusion, while hearing a sound that is grounded in western classical music, thus creating a new approach to the third stream. The end result is beautiful piano music that is much more accessible through it's jazz fusion hooks. It is doubly impressive, perhaps, that this performance was done on a rehearsal baby grand piano that was in no shape for a proper performance: largely out of tune, with a weak lower register and pedals that didn't work. The compound on the issue, Jarrett was overtired from travel and had barely any time to eat a meal before the concert. By all accounts, this performance should have been a disaster. And yet, what we hear is fantastic. Not only was Jarrett able to work around the weaknesses of the faulty instrument, but his improvisational skills shined through to deliver a magnificent night of music. His approach to jazz is electric. I struggle to find faults in the music; it simply does not bore me. Pure artistic beauty was captured 24 January 1975 in Cologne. There was something in the air.

They're nice enough songs. I think this pompous theatrical style of pop is too stuffy for me. While everything here is competently done, the artistic expression on display feels like style over substance. Scott Walker's singing feels more like an act, making the whole album ring hallow. I would rather a sloppy album with personality than a well-crafted one that's bland.

Bob Dylan double album. This will test your tolerance for his voice. There was never any doubt that Dylan is a fantastic songwriter. It's incredible. They're so unique and memorable. The best part is I can stand his voice on this one. I wish I had more thoughtful things to say but I have a cold. This is good, check it out.

A follow-up to their 1991 debut album Blue Lines, Massive Attack makes a statement right from the cover of Protection. It shows "Flammable Gas" warning sign from the Blue Lines cover, now ripped apart to reveal the metal it contained within. Protection is about being more vulnerable while still keeping you guard up. Massive Attack is not going to let the quality slip just because they're getting slow and morose. Much like their debut, Massive Attack continues to build on the atmospheric genre of trip hop, which is still gaining popularity in the UK. There is also a dip into the genre of dub, which clearly demonstrates Jamaican reggae roots. This gives the album so well-needed variation as many of the songs stand in the shadow of Protection's self-titled opener. Tracey Thorn provides beautiful vocals to an excellent track that compliments her range perfectly. The rest feels like it's trying to play catchup, never fully landing the same way that Protection did. This is doubly true for the album closer Light My Fire, a lackluster live cover of the Doors song that wraps up Protection with a pathetic wimper. There is still a consistent level of quality being held with Protection. I don't think it's better or worse than their debut album, just different. Some choices certainly hinder the overall product though.

50 Cent and his debut album market a pivotal point for hip hop as a genre. For as long as it was a part of the public consciousness, hip hop was sequestered away from pop music, never shall the two mingle (perhaps with the exception of MC Hammer or The Fresh Prince). After the death of grunge in the 90's, an empty throne laid dormant for music, and it would be hip hop that would take over. As such, 50 Cent was primed to take over Billboard with gansta rap, a genre that was often ostracized for it's violent themes. Eminem and Dr. Dre would be backing this project, giving 50 Cent the much-needed boost to become an influential figure in both pop and hip hop. The mythos of 50 Cent would also be leveraged thanks to his tough-as-nails story wherein he was shot 9 times at close range. Combined with his look and 50 Cent was a guaranteed unit-mover. He was so good, in fact, that the album released one week ahead of schedule to capitalize before internet piracy killed his heat. As a result, Get Rich Or Die Tryin' debuted at number 1, backed by two singles that would also hit number 1. So how is the album? Good. Dre production continues to be worth it's salt, though none of the tracks quite top In Da Club. 50's MC skills are undeniable though. His presence is palpable on almost every track, proving that there's a good reason behind his fame. His rapping style blends the swagger of southern hip hop with the toughness of east coast hip hop to bring new life to the gasnta rap genre. I normally have grievances with albums that break 60 minutes, but I struggle to point out any songs here that I would consider to be "filler". Get Rich Or Die Tryin' holds significant importance on multiple levels, but the hard truth is that buyers were getting their money's worth when they bought this back in 2003. It might not be for you but it was for a lot of people, and that's a bigger deal than you think it is.

No one is allowed to say that Bjork never innovated or pushed boundaries during her career. While an entire acappella album is risky (especially given the standard of quality set by her first 4 albums up to this point), I think that her execution here warrants respect. Utilizing different vocal styles throughout (choral, Mongolian throat singing, katajjaq, etc.), Bjork accesses a wide range of ambience and sound textures in order to give each song new dynamics. This avoids the obvious trapping of the album getting boring, as one would imagine using only your voice as being limiting. An easy highlight is the song Who Is It, which has long sustained notes being sung underneath Bjork's primary vox and a beatbox that makes it feel like it could be a normal pop song. It's a stunning use of vocal layers that serves as a testament to Bjorks compositional abilities. I sympathize with this self-imposed limitation as a way to sprout creatively, Bjork could have very easily found herself in a slump after coming out with four of the most innovative pop albums of all time. I do, however, struggle to think that a whole album of mostly acappella songs were viable to up to a certain level of quality. That is, these songs can only be so good. I think Bjork hit the upper limit of how well a vocal-only album can be, and that limit floats around the word "impressive!". It's impressive. It's not something you'd listen to again because the novelty of it precedes the actual content. This is a trapping that Bjork simply could not break free of, and that kneecaps Medúlla. I appreciate it nonetheless.

I Never Asked to Be Your Mountain is a standout track. It shows how damn good Buckley's dramaticism can be if done well. Unfortunately, I feel like a lot of this album is held back by sub-par songs that don't play too well to Buckley's strengths. I'm often rolling my eyes are the cheesiness of compositions combined with Buckley's performances. This includes the album's namesake 8-minute song that is not all that good.

A pillar of grunge. Dirt is a fitting album name because even in it's cleanest moments, Alice In Chains carriers a certain aura of grittiness to them. I was already familiar with the excellent opener Them Bones, which has me singing along to the chorus every time. I am pleased to report that the rest of the album is just as good. The album carries a consistent dark and crunchy tone that embodies the dynamic range of grunge. If I were to describe it best, Nirvana is like grunge for punks while Alice in Chains is grunge for metalheads. Dirt is a fantastic show of Alice in Chains and absolutely deserving of a spot on the list.

After the success of The Who Sell Out, our favorite mod rock band go on to do a double-album rock opera. This is the album that set the bar for all future concept albums. Including both an overture and an underture! Not many rock albums will have an underture, I can tell you that right now. It unfortunately takes a while for the album to really kick in. Side B is when the songs start getting good enough to make note of, as the album flows from one song to the next without much distinction. In my youth I was more easily impressed by concept albums that pulled this stunt, but now I expect a bit more for the songs to be distinct and memorable. I can't help but feel this highlights a distinct blindspot in The Who's output: spotty songwriting. For every great song they'll have, there will be several songs that are not noteworthy at all. Not bad, but also not noteworthy. For reference, side C boasts the excellent song Pinball Wizard, but requires slogging through "Do You Think It's Alright?" and "Fiddle About" to get there first. It is a uniquely mediocre experience that best showcases my problem with The Who and double albums at the same time. Tommy isn't a bad album. It is competently written and performed. It is not something I would recommend on the basis that it is overlong and not all that great to warrant the runtime. I understand Quadrophenia is better?

After a false start in the 80's with the synthpop album "Y Kant Tori Read", Tori Amos releases her debut Little Earthquakes with a sound that is more her own. Amos wields the piano with a commanding presence, singing beautiful songs of personal strife adorned in poetry. She's very good at this. That's what I was thinking for a lot of this runtime. Just "wow, she's very good at this". It's the kind of singer/songwriter song that I don't ever want to listen to again. It's a sin to be boring in music but I also feel like it would be a sin to call Tori Amos' impressive debut album "boring". It's an album that passed me by. Impressive? Sure. Wish I could say more.

Extremely British album. With Bragg's thick accent and intricate guitar work, Talking With the Taxman About Poetry continues to fascinate me with every new song. Each track is like a new vignette narrated by Bragg, exploring new sounds such as the rhythmic chugging along to mimic a train on Train Train, or honkey-tonk piano on Honey I'm a Big Boy Now. I think this is generally good but it's so jammed with different ideas that nothing sticks with me for long before moving on to the next song with the next idea. Additionally, thick British accents tend to annoy me and this was no different. I think there's value in Talking With the Taxman About Poetry, but it's too unfocused for my liking.

This is an exceptional r&b album. Not only is Kelela a beautiful singer will a natural delivery, but the production backs her up effortlessly with swirling soundscapes and forward-thinking electronic beats. This is yet another album with production credits from Arca, who you can also hear on the FKA twigs album LP1 and Kanye West's Yeezus. All this to say, there is a clear trend of producer Arca working with talented artists to make superb musical works. But enough about Arca, let's focus back on Kelela. It's clear that Kelela has clear artistic vision that is both modern and timeless. Blending elements of contemporary r&b with art pop and electronic dance music makes Kelela's sound unlike anything else right now. The overall album flows nicely and has a mellow, sensual sound to it overall. Even if it does meander a little too long, the end product is stunning. Easily the most enjoyable album this week.

After the success of their double album rock opera Tommy in 1969, work had begun on another ambitious rock opera under the working title Lifehouse. Pete Townshed seemingly had a good idea of what rock music was in the new decade, and had ambitious ideas for what they could do for the medium. A lot of this involved interactions between the band and the audience, which didn't go as planned during proof-of-concept concerts. After much difficulty, Lifehouse was scrapped, though material from the project would be used for... Who's Next, recorded and released in 1971, marked a positive move for the band (in my opinion). What was once a band that wrote mediocre mod songs and spotty rock operas was now a band that could just take the best parts of a handful of songs and squeeze it into a juicy hard rock album. Not every song on here hits the same level of quality (there is a notable lull as side A goes on), but most of the songs warrant giving the full album a listen. Finally, The Who have an album that accurately matches their musical skills. Some people will say most of the album is filler but I beg to disagree. Sure songs like Bargain and Getting in Tune aren't as good as Baba O'Riley or Won't Get Fooled Again, but I contest that they deserve an equal spot on the album. Truth be told I was always pulling for The Who. Listening to their earlier stuff, I was hoping to finally hear what was so great about them in their albums. The truth is that they were always great, but you weren't able to see it through just their albums. You had to sidestep and see the real Who at their most concise, most concrete talent. Keith Moon's movement around the drums. Roger Daltrey's passionate vocals. Pete Townshend's forward-think ideas and songs. John Entwistle. Come vacation at a Teenage Wasteland today!

In 2001 Daft Punk released their song Face to Face off their sophomore album Discovery. Face to Face utilized a unique sampling technique developed by co-producer Todd Edwards which would take microsamples from vocals which would drastically transform the sampled songs to the point where many would be unrecognizable. Edwards claims him and Daft Punk used 70 samples, a feat of plunderphonics that could similarly be seen in The Avalanche's masterpiece album Since I Left You. Beyond being impressive, Face to Face is bouncy, fun, and almost futuristic in it's presentation. If any song were to stand under scrutiny in Daft Punk's catalogue, I nominate that Face to Face would fare the best. I only hope that it outlives myself. In 1966 The Kinks released their fourth album Face to Face. It's alright.

In my mind I tend to pair Born To Run and Born In The U.S.A. together, but this could not be further from the truth. Not only are they nearly a decade apart, but it's reflected in the sound too. Glossy synths line the melody of the opening title track, reflecting a more pop-focused album that's still grounded in Springsteen's signature heartland rock sound. This culminated as Springsteen's most commercially successful album, outselling Pink Floyd's The Wall or The Beatles' Sgt. Pepper's. But moneymaking does not make a good album. Looking at the other songs, Born In The U.S.A. is certainly good but not exactly great. Springsteen acknowledged the step down in quality, stating "The rest of the album contains a group of songs about which I've always had some ambivalence." Perhaps the better-written songs could be found on the sister-album Nebraska, but that doesn't change the sheer level of this album's success. Born In The U.S.A. brought heartland rock to the masses and resonated with Americans to their core. Seemingly overnight, Bruce Springsteen had become the everyman: the blue-collar worker getting laid off, the Vietnam veteran with no support system, the father struggling to make ends meet. If it wasn't you, it was somebody you knew. The United States was irreversibly changed under Ronald Reagan. Born In The U.S.A. is the snapshot of this time.

1996: ex-member of boy band Take That is seen partying with Oasis 1997: he releases Life Thru A Lens, a pop rock britpop album that sounds a lot like Oasis' hit album (What's the Story) Morning Glory? from just two years ago. I am not bold enough to claim that Robbie Williams ripped off Oasis, but it would be no coincidence that he was likely recording these songs as he was rubbing shoulders with the UK's biggest band after their biggest album broke records. If we are to include Robbie Williams in the britpop picture, he is an afterthought. Maybe there's something to be said about the single Angels, but I would hesitate to give him credit based off that song alone. For the record, I don't think Life Thru A Lens is a bad album. It's just so uninteresting and reminds me other music I would prefer to listen to. Robbie Williams is not a great songwriter. Producer Guy Chambers works with what he's given and does a pretty good job making them sound fit for general audiences. I don't think it deserves much more praise beyond that. That album art rules though.

Compared to Bad Brains, Black Flag, Dead Kennedys, and Minor Threat, Circle Jerks has been seemingly overlooked as pioneers of hardcore punk. Group Sex is incredibly brief, wasting no time. Get the idea out there and move on. It's incredible. If you know your punk history, you'll trace lead singer Keith Morris back to Black Flag's early days, specifically the fantastic EP Nervous Breakdown. For me, that early Black Flag energy was something to behold, so I thoroughly enjoyed Morris' energy on this album. Every song on here fucks. There's no doubt in my mind they just threw together songs that wee fast and raw and left it at that. Excellent. That's punk in it's purest form.

Lorde had changed the pop landscape in 2013 with Pure Heroine, believe it or not. The toned-down alt-pop sound had broken through ultra-party electropop of the Black Eyed Peas and LMFAO, forcing the pop genre to evolve with more subtly and ambience. Alt-pop had brought more distinct vocal personalities to the front. Now, the likes of Lana Del Rey, Halsey, and more recently Billie Eilish have become the predominate sound of top 40 pop. So, after 4 long years, it comes to reason that Lorde's sophomore album would be highly anticipated. Melodrama successfully builds on the groundwork laid by Lorde on Pure Heroine by giving more dimension to the production through exploring more genre conventions. Stripped-down singer-songwriter piano ballads, explosive dance-pop tracks, and thoughtful alternative r&b songs give Lorde's signature alt-pop sound new life. Songs like Green Light and Writer in the Dark showcase a strong new direction indicating Lorde's forward-thinking pop sensibilities in her songwriting. This is a distinctly introspective breakup album, if the title and cover art didn't allude to that already. I think this is a fresh and well-needed take on the breakup album, which centers alcohol and partying as a coping mechanism which shows the highs and (mostly) lows of her experiences. As such, the more dance-focused elements of the album are drenched in a sort of sweet sorrow as Lorde drinks her sadness away. This is then contrasted with the slower, more depressive songs that represent the hangover. It's effective, showing maturity in Lorde's growth as an artist while still holding on to what made her so excellent in the first place. I think Melodrama might be one of the best albums of the 2010's, making this a shoe-in for the list. It's a shame that she would then fumble her strong footing in the pop world with her disappointing summer album Solar Power in 2021.

Neil Young's first successful foray after Buffalo Springfield. The man proved that he could ROCK, while still staying in his folk rock pocket. Also worth noting that this is the first Crazy Horse album, a band that would regularly play backup for Neil Young throughout his career. The songs are great, but the longer songs have a distinctive "jam" quality about them. Crazy Horse backs up Young for X amount of measures and he just sort of noodles around in what could be described as a guitar solo. Down by the River especially lacks purpose during these parts, making it harder for me to enjoy. Cowgirl in the Sand is slightly better. I think a lot of the appeal of Neil Young for me is in his live stuff. Rust Never Sleeps was a bonafide classic for it's energy and excellent level of quality throughout. Everybody Knows This Is Nowhere doesn't come close for me.

Bjork's early efforts before going solo. This would be her first proper breakthrough, as The Sugarcubes gave their own Icelandic spin on post-punk. She proves herself to be a very powerful singer here, working well with with the full-band compositions. I already anjoy Bjork, and I enjoy post-punk too, so this should be a shoe-in, right? Mostly. I definitely like the sound and Bjork's signature contributions, but the songwriting was a bit too weak for it to be memorable, though this only seems to be a problem with the middle songs. I think Sugarcubes has enough Icelandic weirdness (along with a healthy does of Bjork) to make their post-punk notable enough for listeners. Cool album!

A staple of disco and probably the finest showing of Nile Rodgers on guitar and Bernard Edwards on bass. Songs are tight, groovy, and fun. Eagle-earned listeners will recognize the opening track Good Times as it was interpolated in the Sugarhill Gang's iconic Rapper's Delight. By all accounts, we can credit this song for the birth of hip-hop as we know it. Side A takes a chance on longer disco tracks, which I can appreciate seeing how the genre was conventionally used for spinning songs at dance clubs. This does, however, lead to some of Risque's most interesting parts. Bernard Edwards, for example, will use an instrumental break to bust out a small bass solo that blows me away each time. That man could work his way around the neck, it's incredible. This is probably the best of Disco, which is good! There are some tracks on here that hold the whole thing back (slow songs and disco are not a good match), but it's worthy of praise regardless for it's progressive, fun, and talented sound.

It is more likely that someone from my generation would know Santana from their 1999 hit Smooth with Rob Thomas. While that's not a bad song by any means, it is certainly not representative of Santana's greater contributions to popular music as a whole. Before moving forward, there is a certain distinction to be made between Carlos Santana the person and Santana the band. While Carlos Santana is a key figure in the band and certainly notable on his own for his fantastic guitar playing and tones, the band Santana is equally worthy of praise for their songwriting contributions and because, of course, music being a collaborative process by nature. So when I refer to Santana, I'm talking about the band. Santana is so fucking good. Not only are they incredibly tight with spicy grooves and smooth textures, but they layer on top each other so well that it's like the best-tasting smoothie you could think of in the form of music. The obvious point to make here is Black Magic Woman's fantastic move from a chilled-out psych rock jam to an intense latin rock banger with a legendary guitar solo to boot. Carlos Santana is not shy to show off his soloing chops on this album. In truth, every member of the band shines throughout with tasteful rhythms from the percussion section giving each song fantastic groundwork and personality. Perhaps the weakest part of the band here is Gregg Rolie. While his contributions on the keys are not at all bad, his two songwriting contributions (Mother's Daughter and Hope You're Feeling Better) leave less to be desired as the finer subtleties of Santana's latin rock approach have been drowned out by a more blunt hard rock approach. Not nearly as rewarding as the rest of the album. These shortcomings are easy to overlook when you have such a finely-crafted album like Abraxas. In addition to making the 1001 albums list, it was entered into the National Recording Registry by the Library of Congress, being deemed "culturally, historically, or artistically significant". Excellent choice.

You would be hard pressed to find a bad album in Steely Dan's discography during their initial run. From their debut in 1972 to their breakup in 1981, Steely Dan seemed to be constantly on their a-game. Pretzel Logic is no exception. Donald Fagen and Walter Becker have always had a knack for excellent songwriting. While the 70's saw many changes and evolutions to the modern rock genre, Fagan and Becker stuck to what they knew best: jazzy pop rock that soothed the soul. Sweet tones that aren't too sugary, jazzy chord progressions that don't obfuscate the pop hooks, and a variety of sounds without coming across as unfocused. There are obvious highlights on the album (side B has the excellent title track alongside songs that can only be described as b-sides), but no one song is bad or brings down the overall quality. Trust in Steely Dan.

When it comes to music discussion circles on the internet, this is the Wilco album I see getting praised the most. I had already developed an appreciation for Jeff Tweedy's songwriting on their sophomore album Being There, so expectations are already high. Already notable is the band's shift away from their alt-country sound into a more artsy-leaning indie rock. The opening track, I Am Trying to Break Your Heart, is intricately mixed and performed. While it comes across as disjointed and messy on the surface, the production of the song exhibits a certain purposefulness in how each instrument supports one another through the sound. Despite it sounding mostly unlike the other songs on the album, this sort of studio work combined with Tweedy's songwriting will set expectations for the rest of the runtime. It's unmatched. Little things are what makes Yankee Hotel Foxtrot so special. The soft drumming keeping time on Radio Cure, the tinny piano on Ashes of American Flags, the unidentifiable bass-sounding instrument about 3 minutes into Poor Places followed by the numbers radio broadcast repeating "Yankee. Hotel. Foxtrot. Yankee. Hotel. Foxtrot. Yankee. Hotel...." I cannot stress how good the production is on this album. This is Pet Sounds for the 21st century. Credit goes to Jim O'Rourke for his ability to bring Tweedy's songs and Wilco's performances to perfection. I should also credit Jay Bennett who is a songwriter for Wilco alongside Tweedy. Bennett would pass away in 2009 at the age of 45, so I feel this album is a fitting way to remember his legacy. Yankee Hotel Foxtrot is an achievement for western popular music, proving that attention to detail does not go unnoticed. It is a beautiful body of work that transcends genre. It speaks for itself. It's perfect.

New Jack swing is a genre that had a brief heyday in the late 80's and early 90's, arising partly from Prince's Minneapolis sound and increasing popularity of hip hop. Fusing these funk grooves and drum samples with r&b songwriting and sensibilities provided a new sound that can only be described as transitionary for African American music. While others would come before her, Janet Jackson would be the first big star to embrace this new genre. Rhythm Nation 1814 is bombastic. Drums are hard-hitting and synths are in your face. It's incredibly cool and also incredibly dated. Jackson is a great singer regardless, and I think she's a generally good fit, though she consistently needs backup vocals to help her stand out against the notably loud drums and synths. I can also do without the ballads. 80's ballads are especially bad, though this comes with the exception of the closing track Someday Is Tonight, which is a lush track that caps things off superbly. Writing is hit or miss. Livin' in a World (They Didn't Make) tried to appeal to youth culture and weaves in a news broadcast about children being shot, puts a real damper on the whole thing as we move into the next song that brings back the big drum samples. I don't think Jackson's socially-conscious lyrics are wholesale bad, just corny and not well-delivered. I think that Rhythm Nation 1814 is a well-developed album with some spotty moments. I appreciate it's purpose and it's place in the western popular music canon, but it's not a genre I see myself returning to anytime soon.

More Tom Waits weirdness. By all accounts, his gruff voice makes for a memorable performance, it just isn't for everyone. I think the bluesy tone of the album is a good fit. The long and short of it is that this is not quite for me. Waits would find a much better sound on Rain Dogs about 5 years later.

I have never heard of Mercury Rev before. This is a treat. I love how comforting the arrangements are. Opus 40 stands out to me with it's warm glow. Some experiments are taken on tracks like The Happy End, which kind of take me out of the groove that Mercury Rev had built up to that point, but for pacing purposes it helps break up the monotony. Overall, Deserter's Songs is a tender, thoughtful album. I enjoyed it all, including it's weirdness.

Getting into the late stage of his career, Johnny Cash has released American Recordings in 1994. This came about from the encouragement of famed producer Rick Rubin, who sought to revitalize Cash's career. This would be Cash's first true solo album, with no backing band. Additionally, Cash would do a mix of originals and cover songs, hence the name American Recordings. This would be Cash's tribute to his favorite songwriters: Leonard Cohen, Kris Kristofferson, Tom Waits. Cash and Rubin would return to studio for another album, Unchained, and release that in 1995. Similar to American Recordings, Unchained would be a mix of Cash originals and covers, though Cash would be accompanied by Tom Petty and The Heartbreakers. Following Unchained, we would get American III: Solitary Man in 2000, thus formalizing the American series of albums which has been a remarkably successful up to this point. American III, however, would mark a point in Cash's career of troubling health problems. Now 68, Cash's voice had become weakened, weary, and tired. American IV: The Man Comes Around is the last Johnny Cash album released before his death in 2003. It is a potent piece of work. It is perhaps best remembered for Cash's cover of Hurt, originally written by Trent Reznor of Nine Inch Nails. It is a cover so raw and simple that it lingers and stays with you even after it's over. This is also an occasional instance where the cover becomes better-known than the original, which becomes a fun little bit of music trivia to whip out at any given time when people start talking about Johnny Cash. Regardless, I feel this is a proven example of how excellent Cash is at performing these songs. By giving his own voice and tender acoustic accompaniment, Cash makes it practically an honor to have one's song covered in the American series. Other songs here include the classic ballad Danny Boy with pipe organ, a duet with Nick Cave on I'm So Lonesome I Could Cry, and an excellent original that opens the album: The Man Comes Around. This is truly an excellent display of talent so long into Cash's career. There is something to be said about an artist's final work before their death. Before Leonard Cohen's "You Want It Darker" and David Bowie's "Blackstar", we had Johnny Cash's "American IV: The Man Comes Around". Though his whole career is worth remarking, these final albums will be his legacy. The final song, We'll Meet Again, is sung with his son John Carter Cash and Laura Cash (no relation). It is a uplifting bookend to Cash's career, and to his life. Perhaps there is an afterlife, and we'll get to thank him again for his music. Thank you, Mr. Cash.

Following the groundwork laid by The Sonics in the 1960's, The Stooges would close out the 60's with their own raw sound that is no fondly remembered as "proto-punk". Key to this is singer Iggy Pop, who would go on to make his own mark in music history after The Stooges. His electric personality would set the bar for many punk singers to match that same energy in performance. I will also give credit to Ron Asheton and his knack for interpolating other bands' riffs for The Stooges songs. There are some bonafide classics on here that would go down in history as some of the greatest punk songs before punk even existed. Opening tracks 1969 and I Wanna Be Your Dog are powerful, noisy, and memorable. Side A is, however, grounded to a halt with the 10-minute slow psych jam We Will Fall, which does very few interesting things during it's runtime. Listeners at the time were either switching to side B pretty quick or were too stoned to bother. Either way, it's not very good. Side B straddles the proto-punk/psych rock line as The Stooges struggle to find their sound. While many of their songs are still good, the huge psych influence of the late 60's caused things to lose focus. Their followup in 1970, Fun House, would be more focused and refined in it's noisy sound. For now though, this is still a fine album and certain one worth listening to.

Willie Nelson's big break and one of the finest outlaw country albums. Aside from the occasional accompaniment, this is all him. I saw someone describe it as "a cowboy and his guitar singing campfire stories", and I'd reckon that makes for a damn fine album. It's a comforting feeling that gives you solace knowing you're in good company with Willie Nelson and his songs I think there's beauty in simplicity, but that doesn't make it easy. To be both simple and engaging takes a certain kind of skill. Nelson has it in spades. It's in his guitar's warm tone, his voice's slight twang, and his wonderful stories. Willie Nelson will be cherished for a long time, long after he's gone, and this is just one great reason why.

Corny rap from the late 80's with production that is distinctly electro synths and hip hop beats. Buffalo Stance is memorable for it's incredibly busy hooks and interesting production choices. The truth is that Neneh Cherry is remembered mainly for being one of the few women rapping during this period. This is especially notable because she was born Swedish, but moved to New York in the early 70's, and then again to London in the late 70's. It was there she remained, though the pop rap influence of New York would also cross the Atlantic into the 80's. This would serve as the basis for Raw Like Sushi, along with the typical 80's dance-pop production that was shifting and adopting various different elements from subgenre such as new jack swing, trip hop, and freestyle. This smorgasbord of production styles comes across as disjointed and poorly conceived. Oh, and dated. This album has aged like milk. It's a skip from me.

Radiohead, for as much praise as they get, are not perfect. That's not to say that Hail To the Thief is bad, it's just sandwiched between two fantastic sound-defining albums. Amnesiac, released just two years earlier, was a dark and atmospheric album that purposefully explored electronic and even ambient spaces. Hail To the Thief would be followed up by In Rainbows 4 years later, which was a lush, mellow rock experience that was more grounded in it's sound. Where does that leave Hail To the Thief? Our awkward middle child is anything but. It confidently wields synths against dissonant guitars. Drummer Philip Selway plays an instrumental part of the sound as he provides a strong foundation as the rest of the band explores strange new sounds. If Radiohead is to be remembered for anything, it's their willingness to experiment. While I am open to the band expanding their sonic pallet, this is one of the times where it has varying success. While other albums have a more consistent tone and theme to them, Hail To the Thief feels like it doesn't know quite where to hang it's hat. This is further exemplified by every song having two titles (unnecessary) and the cover art being a messy word collage that evokes no strong feelings. That's not to say that all of Hail To the Thief is bad. Some of Radiohead's best songs are on here (2 + 2 = 5 and There There come to mind). Radiohead's capacity towards great output is not diminished with this release, it just doesn't quite match the same level of excellence set by the albums before or after it. It's a perfectly serviceable album that I don't see myself returning to any time soon.

Everyone knows who Frank Sinatra is. Who is Antônio Carlos Jobim? For starters, he's the original songwriter of The Girl From Ipanema, which is a legendary bossa nova song that has since become one of the most recorded songs in history. Sinatra and Jobim do a joint English-Portuguese rendition on this album (can you tell who sings in which language?), and do a wonderful job. For my money, the Stan Getz version sung by Astrud Gilberto is the better performance, but Sinatra still does a wonderful job. Aside from The Girl From Ipanema, Jobim's greatest achievement would be his popularization of bossa nova outside of Brazil. It would be, in part, thanks to Getz that bossa nova would catch on in the States during the early/mid-60's. This almost certainly caught the attention of Sinatra or some Reprise executive, which lead to what we have here. The songs are so breezy and wonderful, and Sinatra's cool voice is a natural fit. Even if the songs were originally written for Portuguese tongue, the English translation rarely feels clunky or out of place. Arrangements are also excellent, with Claus Ogerman conducting the band for Jobim's songs. It's also worth mentioning that there are a few American Songbook songs on the album as well, done in the bossa nova style. If you asked me to identify them, I probably wouldn't be able to because they fit so well. In every way, Francis Albert Sinatra & Antonio Carlos Jobim is a match made in heaven. A beautiful album that is pleasing to the ears.

Lost my notes! The Message was great but the rest wasn't.

A story: It was around springtime of my first year of high school. My girlfriend of nearly two years had broken up with me. Being only young, this was pretty devastating. Coupled with the fact that we had a shared group of friends, things were a little too awkward for me to bear. Lunchtimes I would go for a walk outside, sit in solitude, and eat my lunch in peace. Was the melting of the snow, it was actually kind of nice. My main form of escapism was music, so I divulged. My best friend in these moments quickly became Pink Floyd's The Dark Side Of The Moon. The Dark Side Of The Moon was the first album to truly blow me away. It was in the details: the perfect simplicity of the album art, the seamless transitions the lead to it's excellent pacing, the layers that made up each song and sound. If there was ever an album to set the bar in my little still-forming brain, it was this one. In a lot of ways, Pink Floyd still set my expectations for what I consider a great album. Things like pacing, consistency, variation, and general production quality are all things I would consider when listening to any album. These are things that The Dark Side Of The Moon does so well in every capacity, I think I ought to owe it some more gratitude. Overrated? Not my place to say. It's just a personal favorite.

Thrash metal from Brazil! Inspired more by Slayer than Metallica, Sepultra intends to evoke evil, hellish imagery in their killer riffs and snarling vocals. And while the band's sound is firmly rooted in thrash metal, certain elements from other genres are incorporated for added variation, such as tribal drums and industrial ambience. Solid level of quality in terms of the album's output, consistent through and through. A common problem with a lot of albums like this is going to be pacing and lack of variation. I think Arise could've used more of the industrial parts to keep things fresh. Otherwise, great thrash metal is still appreciated.

Having only just hearing about Guided by Voices last week, I am interested to hear what they're all about. Alien Lanes is an album of small ideas. Only a few tracks break the 2-minute mark, which makes the 28-track album not as scary. In true slacker fashion, Guided by Voices embraces a lot of the DIY elements of punk with their lo-fi production and simple songwriting, but borrows from a much less aggressive power pop sound. I can't really say if it left much of an impression on me, but I definitely didn't think it was bad.

Miriam Makeba is a jazz singer from South Africa. Makeba is specifically singing Marabi, a form of jazz from Southern Africa that takes from the traditional music of the region. Makeba would make music in the United States after political tensions from the apartheid caused her passport to be cancelled. Unable to return to her home country, she would continue to make music in tandem with her political activism, as Makeba was fiercely against the apartheid. Thanks to her popularity from her music, she was able to raise awareness on the political issues in South Africa. This would be a cause that she would champion for years, all the way up to the 90's when Mandela was released from prison, negotiated the end of apartheid, and eventually became President of South Africa. Historically rich, but what of the music? It's incredible, for the most part. The more traditional-sounding songs, particularly the ones sung in Xhosa and Zulu, are endlessly interesting. The greatest thing this album as to offer, aside from Makeba's wonderful voice, is the unique showcase of culture. To learn and appreciate the music from another part of the world is exciting and enriching, and there's quit e a bit here to enjoy. However, perhaps to make it more appealing to a western audience, there are some English-language songs that aren't quite as interesting. The Naughty Little Flea and One More Dance don't quite fit, in my opinion. However, her rendition of House of the Rising Sun is incredible. A great album that is held back by weak points, I think that Miriam Makeba's album is a lovely experience nonetheless.

Essential jazz rap. Alongside A Tribe Called Quest , Gang Starr would popularize using more jazz samples in their production. This contrasted the much more hard-hitting production and rap styles of hardcore hip-hop and gangster rap, allowing for a much more mellow and laid-back sound.

While Exit Planet Dust might've been a fine debut album for big beat greats The Chemical Brothers, it would be Dig Your Own Hole that is most fondly remembered. Everything is turned up, more bombastic, more memorable. A heavy lean on phasers and flanger effects leads to some pretty intense moments. The dense sounds might get a little too abrasive for some, but this kind of energy from the hard-wired production can be highly stimulating and a lot of fun. The truth is that this is the most fun I've had listening to an EDM album. Even though these songs were made for the dancefloor, I was mentally invested in these songs. Things start to slow down with the last few tracks which made things lose a bit of momentum, but for pacing purposes I could see why they were there. Things pick back up near the end of Where Do I Begin before going into an explosive finale, the closing track The Private Psychedelic Reel. The Chemical Brothers proved to be a dynamic force in the beat big scene, and this album cements it. Improved in every way from their debut, and made something comparable to what Prodigy would put out just a few months later.

Hailing from somewhere between Virginia and North Carolina, Emmylou Harris had a false start in 1969 with the folk about Gliding Bird. Pieces Of The Sky would represent her true debut, marking a country sound that is almost all covers. Harris has a nice country voice, and it's my understanding that her sound would evolve over time, so this seems like an underwhelming starting point. Not bad by any means, but unremarkable. While listening to Coat of Many Colors, I was wondering why I wasn't listening to the Dolly Parton original recording instead. Much of the album is slow and melancholic, making the opening track stand out as a black sheep (a cooler, more fun black sheep). Not much else to say. There's been better, and there's been way worse.

The popularity of trip hop from acts like Massive Attack and Portishead naturally lead to innovations on the genre. Death In Vegas aims to explore a rock edge to the spacey beats of trip hop, giving it a darker and electrified sound. Sometimes it works well, other times it feels like a hammer when something more subtle could've been used. The opening song Dirge plays into this mix the best, while most other tracks feel like half-effective experiments. I don't want it to seem like I'm punishing this album, because I think the experimentation is cooler than not, I just feel like it doesn't need to be more than this album.

Some people have a soft spot for Rod Stewart, particularly his early rock years. He evokes a certain nostalgia with his sentimental lyrics and roots rock sound. Stewart's raspy vocals are instantly recognizable, making him an icon in his own right. It is no small wonder why he's on this list. I am not so fond of his work. In much the similar way that I recognize Janis Joplin's place in music history, I can see why Every Picture Tells A Story is that landmark rock album. I simply do not wish to listen to it again. As hard as it may rock and as well-written the songs may be, I cannot find it in me to like these songs. They irk me.

In the 80's, metal had split into two different paths. The first aimed to be heavier, faster, and more intense with chunky riffs and shredding solos. The second went pop with it's catchier riffs, sing-along choruses, and more polished production. While bands like Metallica and Slayer were innovating on the metal genre by developing thrash metal, you had bands like Mötley Crüe, Quiet Riot, and Def Leppard who were selling out. Pyromania certainly embodies the core characteristics of glam metal. It also has the benefit of being a huge commercial success: Pyromania would chart well, sell well, and it can be argued that it's because of Def Leppard gaining exposure on the hot new network MTV. Four whopping music videos would be made from this album, with Photograph being in heavy rotation on MTV. The production value showed off how cool the band was with their leather jackets and teased hair, all while a murder-mystery is interspliced with a very subtle allusion to Marilyn Monroe. It's no wonder why Def Leppard broke the mainstream with this album. Despite it's provocative album title and cover art, Pyromania is as shallow as they come. It's the same song 10 times with the same boring rhythm guitars riffs, same safe solos, same group vocal choruses. If you really like the first song, then you'll really like the rest of the album. I didn't.

Some of the earliest precursors to punk music can be linked to garage rock bands of the 60's. While The Sonics had an explosive debut in 1965 with their distorted guitars and wailing vocals, The Monks would follow closely a year later with Black Monk Time, their only album. Unlike The Sonics, The Monks had an organ and banjo backing up the songs, giving them a unique dimension to their music. Additionally, the lyrics are notably more aggressive and angry with an anti-war message. This sort of radical approach to music would certainly give punk rockers the blueprint for the sound nearly a decade later. Given that this is still rock from the mid-60's, quite a bit of the songwriting is still dated. The standard chord progressions, primitive drum patterns, and goofy organ embellishments. But for every dated moment, the Monks do something completely revolutionary for the time. It's a ripper and a half, and it's exciting stuff from the 60's. Praise be to the Monks and their forward-thinking fuzz.

French popular music in the 50's and 60's had an interesting element of songwriting to it: a keen focus on the lyrical content made for a much more poetic delivery. It's particularly dramatic, and Europeans loved it. I thought it was okay.

Dr. Dre production is often worth hearing, but the Slim Shady embodies a certain "edgy" attitude that feels more dated as time goes on. I've mentioned this before in my notes of The Marshall Mathers LP, but this isn't me trying to "cancel" Eminem or be "politically correct", it just comes across as trying to be so offensive that it's uninteresting. Aside Dre-produced songs, I will also say that 97' Bonnie & Clyde has the most interesting moments on the whole album, telling a chilling story in a compelling way. I wish the rest of the album was that creative. Too many mids and not enough highs to make this album worthwhile.

Not particularly a fan of mod or the mod revival, but this sort of post-punk edge gives it a proper shot in the arm. I liked it.

The quality of Megadeth mainly hinges on how much you can tolerate Dave Mustaine's vocals. While Megadeth's brand of thrash metal is technically impressive and tons of headbanging fun, Mustaine has a nasally, almost whiny inflection to his songs. This makes the instrumental parts of Rust In Peace my favorite, such as the solos and sweet riffs that come on in Hangar 18. I personally don't mind the vocals that much because it's not hard to look past when the production and instrumental songwriting is so strong. It's not even comparable to other thrash bands at the time, it's in it's own league of quality. Aside from lyrics, Mustaine always knew how to write a damn good song. In culmination, this is a damn good album.

One of the more popular east coast hip hop artists that I was never familiar with. Not that it's necessarily bad, Mama Said Knock You Out would be quickly overshadowed by other 90's hip hop. That being said, a few standout tracks make this more memorable, such as Murdergram and the album's title track. These hard-hitting beats combined with LL Cool J's boastful personality makes me wish the rest of the album was more like the title track. This is particularly true for the boring closer, which ends the album with more of a whimper than a bang.

Canadian indie rock darlings Arcade Fire have been praised for their early work, and for good reason. The level of compositional quality on display is more akin to an orchestra than a rock band, showcasing the songwriting chops of the band. By all accounts, Arcade Fire is a great band. And yet, there are little things that hold it back for me. Win Butler's voice, the overproduction, the goddamn length of the thing. Perhaps it is too ambitious, too grandiose for my own liking. It's an incredible piece of work that somehow doesn't fit too well in my mind. Maybe in another time, another place, another life, this would be my perfect album. Sadly, I cannot find that place right now.

Suede has seemingly been a step above every britpop band imaginable. It's electric. Suede's unique rock sound showcases their brilliant songwriting skills, able to pace the songs to great success. It's a dynamic ride and a wonderful piece of 90'a rock. It tends to temper out near the back half, though it picks up on the last two tracks. Fantastic album.

MUSIC P-P-POWER! Jurassic 5, being from the west coast hip hop scene, definitely did not fit in to the contemporary sound. West coast leaned much more into hardcore and gangster rap, whereas Jurassic 5 are more chilled out with jazz rap and boom bap influences. So how does it hold up? It's not bad. Tracks like What's Golden and A Day At The Races are incredible pieces of work, with impeccable production and every verse being standout. Other songs are less memorable, but by no means poor quality or boring. I enjoyed Cut Chemists stuff quite a bit, but the whole group is worthy of praise.

The debut from the guys who wrote "Losing My Religion". Their signature jangle pop sound rings clear with well-written songs. It's concise, nicely paced, and catchy! They're no Smiths, but who would want to mimic the Smiths? R.E.M.'s rock edge gives them a much more interesting sound to layer the jangle pop production onto.

James Brown, the hardest-working man in showbusiness, was a performer through and through. Backed up by The Fabulous Flames, Brown would finance this live record out of his own pocket. And while the record is dreadfully short, Brown's energy and the band's tightness are undeniably excellent. This sort of stage presence would be the benchmark for live performances going forward, impacting how bands and singers would present themselves. It's best exemplified in the 10-minute Lost Someone where Brown has the audience in the palm in his hand, especially right before breaking into Please, Please, Please, wherein the crowd goes wild.

There's a track that opens side B called "Intro" and it's just Rundgren talking about different production errors that can be heard, presumably in the middle of a self-induced psychotic break from producing the album for so long. It's funny and easily the most amusing part of the album.

Perhaps the first british "hip hop" record, showing a certain fascination with the music and culture without actually taking part in it. It's an outsider album if I ever heard one. It blends so many different genres and styles but it seems to firmly planted in a sampling-based music (not quite plunderphonics). Frankly, I'm more puzzled by this release. What is McLaren's point of bringing in African folk music and interspersing it with hip hop radio djs? And what about that closing song? God what a weird album.

As if it were destiny, Herbie Hancock would build on the great jazz-fusion foundations laid by Bitches Brew. Hancock leans more into the jazz-funk sound compared to Davis' avant-garde jazz, but the end result is excellent regardless. It's building on a groove until everything is in full-swing. Headhunters is undeniably a great piece of work and one of the finest jazz albums of the 70's. Looking back today, it possesses a certain retro-futuristic sound that would give it a unique charm that has not been heard since. Truly one-of-a-kind.

Thundercat has done very well for himself in a professional capacity. After a stint in famed punk band Suicidal Tendencies, he would go on to feature on a number of fantastic albums including To Pimp A Butterfly, You're Dead!, and Swimming. Working with other people's creative projects, Thundercat is a force to be reckoned with. His bass guitar chops are unlike anyone else in the business, and he's able to inject a neo-soul groove into any track he's on. It's unparalleled. His solo work is, perhaps, underwhelming. Coming from a guy who loves Thundercat, this album feels more like a series of short vignettes stemming from half-complete song ideas. That's why this album is 23 tracks long and only 52 minutes. Drunk has a certain levity and humor about it, making this more of a fun release for Thundercat's goofy musical ideas rather than a serious effort. I'll say now that there's nothing wrong with that, it just kneecaps how good the album can be artistically. The most fruitful song on the album is easily Them Changes, which Thundercat gave more room to breathe. I love Them Changes, and sometimes I wish this album had more songs like it. Thundercat would go on to win a Grammy for his subsequent album It Is What It Is. That album is more or less the same as Drunk, with one supremely good song (Dragonball Durag) and a bunch of half-baked ideas. I hate to say these things because I really do like Thundercat and his musical abilities, I just don't find myself listening to his solo stuff much at all.

Underwhelming. Maybe my mother would like it.

Nothing short of memorable, Joy Division's debut album is a dark and somber reflection of living in the modern age. Where will it end? Admittedly, I mainly adore the album's opener. Disorder is a sleek song with undeniable atmosphere. It embodies the finer production of Unknown Pleasures that receives much praise, and rightfully so. It's a beautiful masterclass in auditory space that puts the listener right in the room where the band is performing. Unknown Pleasures requires you pay close attention to the overall sounds, that which encompasses the music, rather than the music that encompasses the sound. Every time I revisit this album I appreciate more about it. Best heard with eyes closed and mind open.

People often forget that post-punk is not one specific sound. It's often equated with the chorus-reverb'd guitars and pulsing drums of Joy Division or The Cure. No sir, there's a whole world of post-punk to explore, from Mission of Burma to This Heat to The Fall. The Fall's first album, Live at the Witch Trials, didn't sit well with me. Too disjointed and poor production led to me not thinking much of The Fall. Getting to land on a later album in their discography lends some insights. It definitely feels like band has matured and evolved since their debut album, with This Nation’s Saving Grace being more straightforward in their songwriting. Having a more focused a honed sound, The Fall's style of post-punk pulls quite a bit from the tones and riffs of art punk. Some songs will build off a simple groove, such as the arpeggiated synth line on L.A. Notably, lead guitarist Brix Smith would step up for this album and take on more songwriting duties, and her contributions are more than welcome here. Hearing this style of post-punk is refreshing, though not everything here meets the same level of quality. Despite this, I have a lot of respect for the sound that The Fall brings to the table, and I'm glad I got to give them a second chance.

Bands everywhere wish they had a debut album like Black Sabbath. Historical significance aside, there are so many instant classics on here that the band was swooped up in success. Fantastic.

PJ Harvey's first two albums have left a legacy larger than herself at this point, but this is one I am less familiar with. Thom York makes an appearance, I thought that was nice. I don't think I can consider myself much of a PJ Harvy Fan. She is a talented songwriter and has maintained her forward-thinking style of music, though it doesn't click with me.

"they're like the evil B-52's" -some guy on the internet. The Cramps certainly invoke the surf-rock guitar tones and eccentric vocals of the B-52's, but it's their frankly bizarre songwriting that separates them (as if Rock Lobster wasn't weird enough). It's noisy and daring. Songs The Lord Taught Us is devilishly cool, in a way that only possessed freaks could love. It struts and strums to the beat in a way that few bands could. The production is flat and the pacing is disjointed, but that all adds to the ambience of this frankly cursed album.

3 years after her masterpiece Blue. She's exploring a bit but the quality is nowhere near the level that she reached prior. This goes doubly for the b-side, which is not that good.

A few years into his solo career, we get to inspect the all-important question: was Steven Patrick Morrissey the heart and soul of The Smiths? No. Well, not really. Morrissey's lyrics and mood were still an integral part of The Smiths, along with his ability to write hooks, but the production is definitively not as good. While Smiths records were beautiful and intriguing, Your Arsenal stands as a generic rock record that happens to have Morrissey's vocals atop. Perhaps the most interesting part is the sampling on I Know It's Gonna Happen Someday, which feeds the song a rich ambience even before Morrissey opens his dumb mouth. Man I can't stand Morrissey. He's such a moron. He wrote some of the best songs of the 20th century and now he's an old jerk of a man. I hope he retires and communes with nature so that he leaves us all alone. Goodbye!

The success of Oasis' (What's The Story) Morning Glory and the increasing tensions within the band led to Blur rethinking their musical direction. Blur (1997) borrows the alternative rock and slightly grungy sounds from across the pond to make something that's cooler and way more appealing to audiences outside of the UK. The result is a wildly successful Blur with a new international hit. It's not bad. I think if Blur did a full commit to songs like Chinese Bombs then we'd be having a different discussion, but most of the album feels like a half-committed attempt to pivot Blur's sound. It's also too long to keep my attention, sadly.

This is it. The album to define the new millennium. The Strokes signaled the new wave of rock bands and they were capital-C Cool. Julian Casablancas is to blame. His presentation and songwriting is seemingly effortless with his devil-may-care attitude, it's irresistible. Production that learns from the darker, grittier aspects of grunge while brightening up the sound a bit and spot cleaning for a distinct mix. The Strokes have effectively pulled us out of the 90's. For a long time, I never clicked with This Is It. For whatever reason, it wasn't flashy or interesting or impressive to me. Turns out, it didn't need to be any of those things: It's just damn good. It's the perfect tones and simple grooves. It doesn't need more than a good riff and Casablancas' million-dollar vocals. 11 great songs. None of them over 4 minutes. You've got a half hour of pure excellence. I am consistently impressed with how well-crafted this album is. This is it.

Some early post-punk in a similar vein as Television. There's a sort of prog-adjacent style to their songwriting which makes Magazine's sound pretty unique, but I don't think it entirely lands for me. There are some great songs on here but the whole thing was just fine. Not bad.

Reggae is a genre that only started to gain prominence in the late 60's, in part due to the spread of calypso in the Caribbean and mento in Jamaica. There's also influence from ska music, which precedes reggae by a good few years, but that's neither here nor there. It would be The Wailers who pioneered the reggae sound going into the 70's, and it would be Bob Marley's socially conscious lyrics that would define the movement of roots reggae. Natty Dread's strengths are in its subtleties, which finds the instrumentation casually riding along the signature reggae rhythms. It's a simple-yet-effective way to accent the groove and layer in the brass without having them overwhelm the songs. There's something special about that kind of spatial audio, something that goes under-appreciated for so long because (let's face it) reggae has been relegated to a novelty genre. Reggae is kind of one-note, no? You've heard one, you've heard them all. It's a shame, because it can be sonically rich and uniquely great at times. I just find it to be a bit stale after side A.

Perfectly fine folk music. British folk has a certain edge to the song where the accent comes through a bit more than I'd like, but the songs here a nice enough that I don't mind as much. Solid album.

Buena Vista Social Club (not from Buena Vista, but Cuba) is basically a who's who of Cuban musicians. Don't ask me for any of their names, because I don't know. You're basically getting some of the richest, most beautiful Cuban music ever released here. These musicians are masters of their craft. Intricate guitar, subtle percussion, and smooth vocals are the proof in the pudding. I'm consistently impressed and dazzled by the level of quality on this album. Despite my lack of experience with son cubano, I thoroughly enjoyed every minute of Buena Vista Social Club. There's isn't a bad song on here. I appreciate the mood that this music provides: warm, soothing comfort. Like a hug.

Good crowd, great performer. B.B. King is a bonafide singer, embodying the true spirit of soul. Classic.

Aside from Wonder's fantastic soul and funk songwriting, he's always had a fantastic ear for tones. The various synths, moogs, rhodes', and guitars all bring varying and wonderful textures to each song. Also appreciate the talents of Jeff Beck here, rest his soul. Another great album from Stevie Wonder. He had one of the best albums runs, it seems. '

A fine introductory album into the world of Hindustani classical music. That being said, this feels more like an album for musicians rather than a wider audience. Shankar provides a brief lesson at the start of each track, along with the opening track on side A to give insight into how this genre should be approached. This stands to make The Sounds Of India an invaluable educational album, but an underwhelming showcase of Hindustani music. It's worth noting the impact of Shankar's efforts to bring Hindustani music to the west. We would see it take root in psychedelic music in later years, validating Shankar's efforts on this album. Understanding the ragas and how they can be implemented into songs has helped expand the knowledge base for songwriters, and we've been better off because of it.

The first Specials album was fine. We really don't need another one on the list.

Definitive "summer of love" soundtrack. It has the sunny, sweet harmonies that are so cozy and simple. Also has the incredible California Dreamin', what a powerhouse. The rest is also good but man does nothing on here beat California Dreamin'. Solid stuff.

Iconic, if only for the hit opener which cemented synthpop as a relic of the 80's. Yeah, the rest of the album hits a consistent quality benchmark, but truth be told nothing will compare to the plucky melody line of Take On Me.

Neo-soul is a genre that would emerge in the 1990's. It would be a combination of the classic styles of soul with the modern production of contemporary r&b or the rhythm of hip hop. While many artists can be cited at the dawn of the genre, two women would be clear champions of neo-soul: Lauryn Hill and Erykah Badu. Mama's Gun is Badu's second album and a beautiful one at that. Songs are silky smooth, tight, and simply fantastic. While the opening track is an explosive, exciting burst of music to get things moving, the album quickly mellows out and finds it's pocket. This eventually peaks at the beautiful Orange Moon, which offers us a quiet reflection on a jazzy backdrop. This crescendos into the wonderful Green Eyes, a closer that knows how to put an album to bed. The whole thing is a treat, even if it is overly long. Absolutely worth the listen.

Orchestras typically employ the efforts of 70 or more musicians, but Penguin Cafe Orchestra is content with only having four. Typically when "chamber pop" is discussed, it is referring to pop songs that are backed up by a chamber ensemble. This feels like the opposite, wherein a chamber ensemble backed up by pop songs. At least, the first song anyway. Zopf seems content to explore avant-garde songs that test my patience. Truely this is a bizarre album that seems content to push the limits of any sort of genre. We're exploring as many ideas in as short amount of time as possible. We're taking the train to harpsichords; we're leaving the boat in the water. It's a lot all at once with no real patience to pace it properly. But then side B starts, and I'm whisked away again. Where was this after the opening song? How can two beautiful songs sandwich such a unneeded suite of experiments? The rest of the album carries on with these fantastic arrangements. I find it hard to put into words how much Zopf takes the wind out of Music From The Penguin Cafe. Strong start, strong finish, weak middle. Will have to revisit at some point.

Another piece of Clapton's resume. Here he's only written one song and sang on another, which is for the best I think. Clapton's guitar skills are clearly excellent as shown in Hideaway and Have You Heard. This sort of exciting blues rock sound is what innovated rock music as we know it. Led Zeppelin, Deep Purple, and even Black Sabbath have the Bluesbreakers to thank. We even get a drum solo on What'd I Say, which almost certainly would've made an imprint on a younger Bonham or Moon (that being said, Ginger Baker would be on Cream's debut album the same year as this). Also notable here is John McVie on bass, who would later go on to being a core member of Fleetwood Mac. The truth about the UK in the 60's is that there were a lot of movers and shakers in the music scene, and if you blinked you might've missed someone important doing something important. The Bluesbreakers were just once piece of the puzzle that would form the foundation of rock music. Is every song on here great? No, but the ones that are great make this record worth the listen.

The great prog rock summit. Therein lies King Krimson and their court, Genisis and their lamb on Broadway, and Yes who stands close to the edge. For all of England's great bands of the 70's, it only makes sense that there would be an answer from across the pond. Little did we know that it would come from the northern depths of....Canada. Rush were always a prog rock band, but their first three albums were merely a warmup for their true progressive debut. 2112 opened with a suite of songs for the album's namesake. It's a pretty simple story but it ebbs and flows nicely enough and I can't get enough of that riff they do near the end of Overture. This takes up all of side A, though it fully deserves this spot. It ends in a massive swell of chaos as Peart announces "Attention all Planets of the Solar Federation: We have assumed control". Wew. Side B fills out the rest of the album. They're fine songs, but you know why we're really here. Prog rock fans love a good thematically-connected 20-minute song. Lifeson said it himself when he said this was the first album that "really sounded like Rush". Well done.

SAULT, a music collective of unknown members, primarily focuses on issues surrounding race and blackness. It's potent work and you can tell they were trying to make something truly powerful with the lyrical content here and the way instrumentation gives vocals the spotlight. The downside is that it is considerably heavy-handed it is and how boring the instrumentation is. the fourth track "Don't Shoot Guns Down" will repeat "racist policeman" as if I didn't know what they were referring to already. Especially considering the contextual backdrop of policing around the time this came out (June of 2020), I don't care to be spoon-fed the issues. The exception to the lapse in quality is Eternal Life, which is a genuinely beautiful song. I wish more of the album was like Eternal Life, but I guess the creative vision was more focused on whatever else Untitled has going on. Idk this wasn't for me. Given the range of neo-soul out there, I think this might be some of the weakest. There's some tracks that are worth your time but the whole thing is not something I would listen to again. Felt more like a chore than anything.

The final Talking Heads album before The Big One. Truth be told, you can throw a dart at a board of the first five Talking Heads albums and land on a great one. That goes double for the Eno-produced ones. I love Live During Wartime, but the energy on the live version is undeniably better. The b-sides mostly sound like manic ramblings, which are actually captivating thanks to David Byrne's excellent delivery. Perhaps their most dissonant album. I like what it does and I've always liked how weird they are.

I once wrote that Nirvana embodied the punk side of grunge while Alice in Chains embodied the metal side of grunge. If we're to chop things up like this, then Pearl Jam is the hard rock side of grunge. I have a soft spot for Even Flow because of Guitar Hero 3 and rocking out to it as a kid, though I decisively do not have a soft spot for Alive despite playing it in Rock Band 2, probably because Alive meanders along and struggles to be captivating at any point before the solo. This embodies much of Pearl Jam's songwriting, particularly on the point that most of their songs are not interesting enough to warrant recording. Sure, they make some grungy noises and people like that, but if we were to strip it down to it's basics I think we would lose a lot of the appeal in Pearl Jam. This contrasts with Nirvana and their MTV Unplugged set, which proves that their songs were still incredible even without the distortion. I also don't like Eddie Vedder's voice. I think that's a sticking point for a lot of people who also don't like Pearl Jam. Vedder's voice is less of a non-starter for me here, but on song like Last Kiss it makes me wish the band had broken up shortly after Ten released. He sings with such confidence for a man with marbles in his mouth. Ten gets a lot less memorable after Jeremy. Nothing wrong with frontloading your album, but it goes to show how much of your album is truly worth people's time. Don't bother.

Perfectly serviceable contemporary r&b for the new decade. Doesn't feel like it's doing anything particularly new or innovative so I don't feel too strongly about it. The Other Side is easily the best part of the album, with beautiful and memorable production. I appreciate the spoken word interludes too, as they bring a new dimension to the album's message and theme.

Heralded as perhaps the finest live album of all time. It is particularly notable for the 15-minute version of My Generation, which is effectively an awesome jam session.

Despite rumbling around in the early 90's before this release, Aphex Twin can easily be credited for pioneering ambient techno and it's pretentious cousin IDM. In an attempt to move EDM away from simply dance tracks for the club, Aphex Twin's was grounded more in exploring unique sonic textures and soundscapes. It's a relaxing listen. If you don't mind that it's over an hour and slightly odd, it's a fantastic listen. The best parts of the album are when you can sit back and close your eyes while the music surrounds you. This is, of course, rudely interrupted by Green Calx and the noise that comes with it.

As the UK in the 90's explored electronic music and how it could be used, Downtempo would be developed in conjunction with trip hop, leading to quite a few albums that combined the sounds from the likes of Massive Attack and Portishead. Moby (actual name Richard), dabbled in techno, ambient, and even punk rock before landing on 1999's Play, which would be his debut in the world of downtemo. His use of samples combined with the cushy production makes for a sound that is well-rounded. Songs are chill when they need to be, but Play also amps up the energy on occasion without sounding out of place.

Fula music, traditional to the Fula people of western Africa, features an array of musical instruments not often heard in western popular music. Baaba Maal, having studied music in Dakar and Paris, has devoted his life to this traditional music and bringing it to a wider audience. Thus, we have Lam Toro. You can hear some concessions to make it more accessible to a western audience. While I appreciate continuing to sing in his native tongue, I would prefer if the album was fully reflective of traditional Fula music in order to get a better understanding. Regardless, Lam Toro provides a unique listening experience that is not often heard by westerners, making it an invaluable record.

From the weird side of new wave we have this gross album cover that disguises a synthpop bop. Despite not knowing much about The The (great name btw), I think the weirdness of it makes it special. In contrast to the zolo artists of new wave such as Oingo Boingo, The The has a certain earnestness to the music that makes me appreciate it even more. I think this is a adequate followup to Soul Mining

The album where ZZ Top reinvented themselves. Unfortunately, I am of the opinion that ZZ Top is not worth more than one album for this list, which dutifully goes to Tres Hombres. But let's not disregard how well Eliminator landed for ZZ Top. The sleek 80's production and hard rock edge made the band a natural fit for the likes of MTV. While they would retain their southern rock roots, I can't help but feel like the appeal of Eliminator is in the things that should make it fail. The textured synths, the high-energy drum machine, the catchier hooks, they all spell disaster for the band that did La Grange just a decade ago. But no, it's the embrace of the musical trends of the 80's that makes Eliminator so good. Suddenly the songs are more interesting, more energized, more fun. Despite getting massively overplayed on classic rock stations, these songs have an undeniable sheen to them. Not every song on here is a winner, but by god did they do a good job with this album. A surprise, but a welcome one.

One thing I had vastly underestimated was the sheer amount of britpop that could make the list. Sure, Oasis and Blur seemed like sure shots, but then there's Pulp and Suede which made sense given their respective legacies. By now, I've listened to The Verve, Supergrass, and even Shack. Shack, for god's sake. Over 500 albums in and we're still meandering around britpop. That's not to besmirch the good work of the Manic Street Preachers. They've done a fairly good job here with their symphonic rock dabbling. Everything Must Go has songs that feel larger than life, pretty fitting for the list in my opinion.

Heavy metal riffs with oddball songwriting and the personality of an unhinged Armenian makes for some pretty damn good music! Who knew? SoaD is unlike anything else really. It's an incredible burst of energy that hits hard and plays around with different ideas. Alternative metal, as a genre, would gain favor after the rise in popularity of grunge in the 90's, but even then, SoaD's style of alt metal will not take to everyone. It took to me though.

Here we are: the dream team. Sure, Crosby Stills & Nash had a great album as a trio, but it was the addition of Neil Young that would give us gold. Of course it's well-done folk rock. Impeccable songwriting goes a long way and the boys put on their best effort with this album.

Sheryl Crow is, of course, a treasure. She sings earnestly, with no frills in the instrumentation. She takes on the core of her songwriting with fun, vulnerability, and honesty. It's a thoughtful album that doesn't try to be too hard on itself. Is it kind of simple and safe? Sure, but sometimes that just works. It works really well here.

Their debut album, Psycho Candy, was a brilliant display of proto-shoegaze if it ever existed. The follow-up, Darklands, cleans up the sound a bit so it loses the shoegaze-y edge, but still writes catchy songs for the modern alternative man. I think I prefer Psycho Candy between the two, but this is still worth checking out if you liked Psycho Candy.

When Rod Stewart wasn't working on his solo career in the early 70's, he was with Faces. Stewart and guitarist Ron Wood has a good thing going after the Jeff Beck Group, forming their own band and keeping the good times rolling. They're perfectly serviceable songs. Fun, sure. Stay With Me is easily the best, but the instrumental bit in the middle of That's All You Need is also great. The rest is fine.

You wanna hear the Talking Heads' masterpiece? You wanna hear the crowning achievement of Brian Eno's production work combined with David Byrne's unbeatable songwriting? You wanna hear the new wave record that blew all other new wave records out of the water? You wanna hear a perfect album? There was no doubt that the Talking Heads had something special here. A solid run-up of the last three albums (last two with Eno), taking what is easily some of the most interesting songwriting at the time and applying a dynamic production style that defied the boring and plastic production that would go on to dominate the 80's. By all means, Remain in Light should have been a blueprint for the new wave of the 80's. Side A has the most energy, with the infectious afrobeat rhythms and repeated chanting "and the beat goes on, and the beat goes on...". It instantly grabs you and brings you into a groove. Every track brings it's own unique energy on side A, and every track excels in building on it's elements. I think it is nothing short of spiritual. We close on a guitar solo, blaring out into the distance as we fade out, leaving nothing but the static picked up by the needle...time to turn the record. Side B opens with the megahit Once in a Lifetime. I love this song. Even when the Talking Heads do a radio-friendly verse-chorus track, it doesn't waste a beat or ever get boring. We retain a certain amount of energy carried over from side A with this and Houses in Motion, but we start to slow down with Seen and Not Seen, as David Byrne calmly speaks poetry over a relaxing beat. It's a meditation that carries us through to the end. Remain In Light begins with an explosion and ends with the fallout. Catching your breath after dancing as much as you can. Finding yourself lighter than you were before. Remaining in light, despite how hard it can be.

The 2010's ushered a new era for rock bands. Aside from the radio-friendly post-grunge shlock, there was a desire to revisit garage rock and post-punk with brand new production techniques and music technology. Additionally, there was a rise in two-member bands that had the full body sound of a larger band. The White Stripes, Death From Above 1979, and even Lightening Bolt had developed unique and incredible sounds as simple duos. The Black Keys were also one of those bands, though their sound is much less interesting. Opting instead for a blues rock sound with modern production, Dan Auerbach and Patrick Carney are content with writing mostly safe, uninteresting songs. At one point I liked the Black Keys a fair bit, probably because they were one of the few honest-to-god rock bands in the 21st century. Turns out there are better rock bands out there writing better songs and putting out tighter albums. Just gotta look a bit harder.

With Mark Smith being the only truely consistent member of The Fall, you'll find they're never quite the same band that they were a few years prior. The Infotainment Scan, compared to Saving Grace or Witch Trials, is muhc more dance-focused while still maintaining the general personality through Smith. Unfortunately there have been better 90's dance albums made. This one felt like it came and went with no real impact upon hearing it. At least Light / Fireworks made for an interesting closer.

Throughout the late 60's there were a lot of psychedelic rock acts. Some were good and some were bad, but the popularity of the genre was undeniable. As such, I think it pertinent to carefully select which psychedelic rock albums will make the list. This is absolutely a correct choice. Alongside Jimi Hendrix, Cream's music would help sculpt the sound of hard rock for the 70's. While we would see more of that on their followup Wheels of Fire, Disraeli Gears' sound is still undeniable. Clapton's slick riffs, Baker's driving drums, and Bruce's vocal personality make for an iconic trio. I've been told the mono mix sounds better than the standard, though the stereo mix sounded just fine in my opinion. No matter the mix, you'll want to listen to this all the way through. Excellent closer track too.

The Next Day is immediately striking with it's album cover. Taking Bowie's most iconic album art from Heroes and blocking out his face with a white square for this album's title: The Next Day. It's provocative, and instantly memorable. This is doubly true when you consider that this is Bowie's first album in a decade. Following 2003's Reality and the supporting tour, Bowie was faced with health problems that led him to largely withdraw from the public. It was only until the early 2010's when he was ready to record again. During this time, recording was done in secret, with very few people knowing there was a record in production at all. What resulted was a collection of tight rock songs that happens to show Bowie's age. Compared to Blackstar which embraced Bowie's aging voice and artistic vision, The Next Day feels like an attempt to return to form. Results are fine though, just not amazing. As good as these upbeat rock songs are, I don't feel like any of them blew me away. It's as if the album is largely being tied down. Not to say that it's bad, just restrained. I hate to compare it to Blackstar but that album would largely overshadow this one. Being a more definitive statement on Bowie's life and career, Blackstar is easily the better late-career album of the two. That being said, You Feel So Lonely You Could Die and Heat are incredible closing tracks and shows just how much talent Bowie had at this time in his life.

I was going to complain about how this compilation is a poor choice for representing the Hives, a band I love dearly, but in context this compilation is actually quite important. The funny thing about the Hives is that they were early to the garage rock revival. Hailing from Sweden, they had honed their sound over their first two albums, released in 1997 and 2000 respectively. And while they had done well for themselves in Sweden, they hadn't caught on elsewhere. That is, until the explosion of garage rock revival in the summer of 2001. Between the Strokes' This Is It and the White Stripes' White Blood Cells, Americans wanted nothing more than that fuzzy high-energy rock music. In order to capitalize, their EU label Burning Heart, along with their UK label Poptones, put together this compilation of Hives songs from their first two albums, their a.k.a. I-D-I-O-T EP, and one track that I cannot seem to place. I think this compilation serves as a good primer to the Hives' early material. I'll say now that I think their songs from Veni Vidi Vicious are the better songs, but it's cool to hear Hives songs that don't normally get the same amount of recognition as Veni Vidi Vicious. Additionally, we get a version of Outsmarted that's different from the album version and it's way better here. Okay about the music proper: The Hives have always prided themselves on their fast, high-energy garage rock with simple riffs. It takes on a punk edge that works extremely well. While some songs are more polished than others here, it's still a testament to the sheer driving noise on the Hives' signature sound. It's incredible. If you liked this then Veni Vidi Vicious should be your next stop, followed by Tyrannosaurus Hives. Easily their best work and an incredible showing of the garage rock revival. If you need more proof of The Hives' excellence, seek out their live show Tussles in Brussels, which was recorded at their peak.

Two years after the politically-conscious What's Going On, Marvin Gaye strikes back with the sexually-charged Let's Get It On. While the former album is incredibly important, Let's Get It On is the smoothest of the smooth, the sexiest of the sexy. A passion-fueled record that takes no breaks. The music sits comfortably in the pocket while Gaye puts the magic on. It's incredible how much of a natural this guy is. There is a fine line to straddle between being charming and creepy and there is no creep to be found here.

A bit of electro house for you. It starts out as a mellow instrumental jam that starts to ramp up with the fourth track. This peaks with the title track, which has a rambling of "rock & roll" bands and artists, not unsimilar to Daft Punk's Teachers. Not every song is a winner but albums like this were meant for mixing in the DJ booth for the club, not really for a sit-down listen at home. In full honesty this album needs to be waited out for it to truly get good.

I have two copies of this on vinyl. Not sure how that happened. Of course the amazing songwriting abilities of Paul Simon would not be dragged down by the plastic production of the 80's. In fact, it is his warm and grounded in the various traditional folk music stylings from around the world (particularly South Africa). There is a lot of discussion surrounding Simon's use of this style of music and if it's appropriate or not but I'm simply not interested in going over that here. Of course it's exceptionally good. Simon clearly had an ear for the kind of songwriting that would gel with the cultural influences he was pulling from. While I don't love the album, it's still excellent.

The debut album of the Knopfler sound. It's got a hint of blues, but it's unlike anything else. Smooth, groovy, and intricate. There is an undeniable skill that's used to sweep listeners away into the warm tones of Dire Straits. Every song is as good as the next, with the except of Sultans of Swing which deserves every bit of praise it gets. What a song. What an album.

A haunting album. It's late nights alone when you're with your thoughts for a little too long. Bonnie "Prince" Billy's tortured voice is perfectly accompanied by the sombre guitars and pianos. I think i want to revisit this again sometime.

The Fall's debut is a messy one. I think there's some good ideas on display, but it's mostly bogged down by poor execution. It's got a lot of attitude consistent with classic post-punk (before it got soft). I admire the Fall's willingness to experiment with dissonance and different tones (the snare drum, the keys, etc.). Unfortunately, I don't feel like many of these elements work in favor of the songs. The last two tracks are easily the best parts, especially when the producer is shouting the recording times at the band, continuing their frenzy of sound.

Nick Cave takes time to tell his darkest stories. It feels a little bit steep in Tom Waits' style while still retaining a lot of Cave's original flair for the dramatic. The music itself takes a bit of a backseat in order to not overshadow Cave's storytelling. After all, these are ballads.

Madonna's response to herself. HOLD ON PRICE ON TRACK 3. Gotta give respect to the Prince. okay back to my main point. In the 80's Madonna had built this image of herself, being this ultimate pop star who does dance-pop hits and appeals to teens. Given the provocative Like a Virgin and her growth in maturity at the end of the 80's, it felt appropriate for Madonna to reflect on things and return with a Catholic lens. Hence, Like a Prayer. It's okay. A lot of Like a Prayer is cheesy and leans into adult contemporary, a genre doomed to be uninteresting and bland.

Praised as the finest progressive rock album of all time. At one point it's jazzy, frantic, and surreal. The next moment is reflective, taking a break from the unstable energy of the previous track. King Crimson took excellent care to pace their album, such that the flow from one track to the next without giving the listener whiplash. My issue with In The Court Of The Crimson King is that the core body if it mostly bores me. I think the opening track is exciting and deserves every bit of praise. Going from the excellent movement of 21st Century Schizoid Man to the run of I Talk to the Wind, Epitaph, and Moonchild brings the album down. If they had removed Moonchild (which is a fine track), then it would've had more room to work with. There is no doubt in my mind that In The Court Of The Crimson King is a well-written, well-composed, and well-performed album. I can easily see why it is heralded as the best of all time. My grief is that much of the momentum built up from the first track is lost and then never recovered.

In the first summer of the pandemic, Taylor Swift released Folklore. It was an album that no one was expecting, and seemingly a new direction for Swift. After a string of electropop albums that defined her since 2014, Folklore took a softer approach to songwriting and went, well, folk pop. It was a nice departure for Swift and showed that she could flex her songwriting skills in other styles. In the first December of the pandemic, Taylor Swift released Evermore. It was an album that no one was expecting, and seemingly a sister album to Folklore. Continuing her folksy songwriting, Swift brings a cooler tone to Evermore. More than anything, Evermore is the clearing out of cluttered thoughts. Putting down as much as possible and releasing it as a sort of offloading of folk songs. I say this because at 15 tracks and an hour long, it feels like we're committed to a lot. While not a double album, it's as though Swift has built up a lot of songs over the initial pandemic isolation, hence the sister album so soon after Folklore. I'll resist comparing the two and simply say that Evermore feels like a perfectly fine step in Swift's catalogue. She would go on to have more defining albums, though this certainly feels like a product of 2020. Most of Evermore floats along at the same quality, with nothing sticking out as being great, save for the guest features which make things a bit more interesting.

Suicide did something unlike anyone else. It was a concentrated effort to wield the synth for alternative means. It's minimalist and focused on building a desolate sound to build on. Combined with the dark and anxious vocals of Alan Vega, Suicide has a name that's aptly fitting. It's disturbing music. While the sound has certainly been honed to a fine point, the songwriting is admittedly lacking. Songs like Ghost Rider and Rocket U.S.A. are the clear standouts of side A, with the rest being sort of meandering. Side B, however, hosts the epic Frankie Teardrop. Between the thumping stripped-down rhythms, the alarm-like lead synth, and the outstanding story of the titular Frankie Teardrop, it's clear that Suicide has captured a song that no other artist can claim at it's release. It's incredible. More than anything, Suicide excels at horror. It's clear that they had some lightning in a bottle on their first album, though some of the songs could have used more time in the incubator. Stellar release otherwise.

Once again I've lost my notes. Brian Eno is a visionary and a genius. Great music

2 years before the shining, glistening glory of Born in the U.S.A., Bruce Springsteen released his somber folk masterpiece Nebraska. It's a cold and desolate reality, and Springsteen sings it. Without a band backing him, he's profoundly vulnerable. It's incredible.

While no doubt a pioneer for rock & roll, many of Fats Domino's songs are just fine. He plays it safe by playing a tried-and-true approach to songwriting, which is mostly inoffensive. Yeah, this is fine.

Gil Scott-Heron is one of the greatest to ever do it. His words are unlike anyone else, so radical and tender at the same time. Indeed, this album is a treat. I am swept away in seemingly-effortless piano compositions and vivid imagery. There are, however, some weak songs on here that don't do much for the rest of the album, but I feel the stronger songs cement the album's excellence. I also appreciate Scott-Heron's more focused poetry on H²Ogate Blues.

A sort of alternative to the big beat bands of the 90's, Primal Scream leaned into elements of rock music for their dance records. It's a particularly psychedelic dance record. It's as if Primal Scream wanted to elicit the seedy urban underbelly after a late night of dancing. The party rages on, but beware of what's out there.

Some excellent techno that only needed to be the first two tracks.

The third in an excellent run of Public Enemy albums. Hard-hitting as always, with incredible verses from Chuck D and hype from Flavor Flav. Sadly, this would be the penultimate release from the group to include the talented Terminator X, who's turntablism has left an impact on all of hip-hop. By the Time I Get to Arizona is also an all-timer song with a killer beat-switch.

If there anything that the Wu-Tang Clan were better at than music, it would have to be business. They recognized that individual success for each member would lead to increased success for the group as a whole. As such, members were free to pursue their own solo albums in between group albums. Easily one of the best of the solo albums is Liquid Swords. Hard-hitting, memorable production with peak 90's hardcore MC delivery. What this album excels in is subtly: GZA floats along RZA's beats in ways that compliment one another. Basically it's excellent.

What is Doves? In 1991, the Williams brothers and one Jimi Goodwin started a bank in the UK known as Sub Sub. They would make dance music. Then, in 1996, their studio burned down. LIKE A PHOENIX RISING FROM THE ASHES, DOVES. They're a rock band now. The Last Broadcast is their second album. Being an alt/indie rock band from the UK in the early 2000's, it certainly slots in with the post-britpop bands of the day. Coldplay, Snow Patrol, Travis, etc. It's fairly well-done and even ambitious at parts. I do think it can be over-indulgent at times but the overall product is one worth praise.

Perhaps best known for their single "Don't You (Forget About Me)" that tracks the end credits to coming-of-age film The Breakfast Club, Simple Minds have surprisingly made other music. Don't let the messy album title or cover art deter you! The music inside is worth a listen as you get some of the most instrumentally-rich synthpop/new wave of the 80's. It's a little more moody than some of it's contemporaries, but still more interesting as well. Nonetheless, it contains a lot of the theatrics found in the genre and revels in it. Such a dramatic, dynamic album.

One of the most lush, tight albums in modern r&b. There is no doubting how SZA broke through and connected with so many people. I cannot think of any filler on this, just excellent song after excellent song. SZA is dialed in and delivering on every song, every verse, every note.

Punk in the 90's looked a lot different from what it did in the 70's or even the 80's. If you weren't slotted into one of the many hardcore subgenres, you were probably leaning more pop punk. Along with the likes of Blink-182 and The Offspring, Green Day would find a fair amount of success with pop punk. It was different from the kind of pop punk formed in the 70's, as skate punk and melodic hardcore would influence the genre, leading to the cultivated sound that Green Day has on Dookie. More than being a defining pop punk record, it's a defining gen x album: it's sarcastic, lazy, and rebellious in the most surface way possible. Not only is it a fun pop punk record, but it's also sort of progressive? More specifically, it's like they put more thought into the songwriting than the average punk band had put into any song. It's tight.

Tex-Mex-inspired Americana country. Contrasting with the growing popularity of contemporary country, there was alternative country that was innovating on the genre. Feast of Wire conjures up images of the American southwest, now far removed from its cowboy days and finding it's foot in modern society and culture. I think the instrumental sections are some of the most interesting on the album, as they grab you and impress their influences the most out of any song here. However, Black Heart is easily the standout track.

She's obviously the greatest soul singer of all time. What else do you want me to say?

The Who's debut is surprisingly strong. I've had reservations about their more popular 60's albums, but this has a certain edge to it where the other albums were sanded down. The true crowning jewel of this album is, no doubt, the title track. Not only was it the rare proto-punk single that would inspire punk rock's development in the UK, but it gave a jumpstart to developing hard rock through it's incredible drums and electric sound. The rest is still good, but man does the track My Generation kick ass.

A strange opening followed by an extremely strong second track. This is the kind of weaselly power pop I can get behind. The rest is honestly a mixed bag. Some songs slap, some songs are stinkers. Hard to assess the overall quality of an album when you only want to listen to half of the songs. Given it's incredibly strong single and the chaotically fun closer, I'd give it a soft recommendation.

I do not want Anthony Kiedis near a microphone! I do not want his rapping, his singing, his riffing, anything! Maybe the Red Hots wrote a few good songs, but I cannot tolerate nearly an hour of them. It's evident from the opening track, they're not that good. My huge problem is that they consistently show promise and decent ideas, that are then marred by just the worst possible choices. Around the World has an excellent chorus that gets ruined by the goddamn "Ding ding, dong dong, ding ding, dong dong, ding ding" like come on man. I know people also dislike Rick Rubin's mixing à la the loudness war. This is best exemplified by clipping being found on the album (you can see the blocky waveforms for yourself if you google "californiacation loudness"), leading to many songs lacking the proper dynamic range that they deserve. I, personally, do not mind as much as others might, but ideally an album should be mixed properly for the best possible listening experience. It's slightly better than Blood Sugar Sex Magik, in that it doesn't get on my nerves as much and also isn't as long.

I really only know The Slits from the LCD Soundsystem song Losing My Edge where James Murphy rapid-fire namedrops every cool band and artist he knows. He says "The Slits" with a kind of slickness, like it was a bad word. Hardly bad, an all-woman post-punk band that is rough around the edges, but embraces that wholeheartedly. Cut is a definitively creative album, finding rhythms and harmonies in the most unlikely of places. It's a strange and perhaps polarizing sound that is certainly not going to appeal to many, but I think the innovative aspects of The Slits is what makes them so great.

Axis: Bold as Love roars in, making alien sounds like nothing else. It's a noisy, scary experience and it rules. The rest of the album is par-for-the-course Hendrix. That is to say: really good. It's consistent in it's delivery and a worthy slot in the Hendrix discography.

NIGHTMARE NIGHTMARE NIGHTMARE If you've arrived at this album with the intent to take the Residents seriously then you've already failed. Their Dadaist approach to music has allowed them to experiment and venture into areas that no other musical artists would dare approach. A complete disregard for melody and structure gives them free reign to explore dissonance, new forms of instrumentation, and (most importantly) humor. The Residents revel in being inaccessible and strange. That being said, it's not a very pleasant listening experience, is it? It certainly excels in being an abstract horror for the ears, but it's rarely something that I would listen to for my own enjoyment. Perhaps that is the end goal of the Residents, given their reputation. It's an album worth trying at least once. NIGHTMARE NIGHTMARE NIGHTMARE

I am often indecisive as to which LCD Soundsystem is my favorite. This Is Happening has a certain polish to it that it makes for such a high quality record with the best production possible and some of LCD Soundsystem's best-written songs. On the other hand, Sound of Silver has the punkish edge that gives the songs some extra grittiness, with the dirty synths and incredible energy. I love every song on Sound of Silver. Every minute, every beat and note is worth hearing. I love it dearly.

Tiny Dancer is obviously a classic. The rest is actually quite good, with side B taking on a more folksy sound (I am a sucked for mandolin on Holiday Inn).

It has been [5] years since the last Frank Ocean album. On April 26th 2012, Frank Ocean tweeted "5 albums before 30". To date, he has released [3] albums and a mixtape. He is currently [35]. This is how Frank Ocean fans tend to talk about him, and for good reason. Ocean creates some of the most captivating R&B over the 2010's. Every song explores a new dimension of sound without feeling too disjointed or removed from R&B roots. The greatest aspect of Ocean's songwriting is, by far, his lyricism. While he certainly has a great ear for production and instrumentals, his lyrics reveal how much a wordsmith he truly is. Ocean is distinctly in touch with his feelings and the people around him, making for damn good songs. Combined with how the songs are structured, Channel Orange is an album that made a man into a legend.

R.E.M. seemed to be THE alternative band of the 80's. Originally backed by I.R.S. Records (with A&M as their distributor), R.E.M. enjoyed a successful run of albums before jumping over to Warner Bros. With better overseas distribution and maintaining creative control, R.E.M. set out to try new things on Green. Mandolin, accordion, cello, and steel guitar are broken out to bring new sonic textures to the signature R.E.M. sound. Oddly enough, it's the song Orange Crush that stands out as the best on the album, and it's without any of the new approaches to songwriting. If we're talking brass tacks, R.E.M.'s run in the 80's is great, no matter which album you choose. There's a consistent songwriting quality that gives their brand an alternative rock something to appreciate.

Say what you will about the obnoxious, frat-boy personality of the Beastie Boys, but Paul's Boutique is a feat in sampling that would not be topped until The Avalanches' debut. With production and beats this stunning, it's no wonder this is heralded as the greatest hip hop album of the 80's. The Dust Brothers are deserving praise for their contributions to this creative milestone in hip hop. Paul's Boutique is always "on". There is a constant stream of energy coming from the Beastie Boys here, feeding off of each sample like Goku's spirit bomb gaining power from everyone lending their energy. This reaches a natural climax with B-Boy Bouillabaisse, a 12-minute multi-suite epic that throws anything and everything at the wall (with most sticking).

Everybody hurts....sometimes. This is R.E.M.'s dark album. Their sad album :( It makes me wonder what it would've sounded like if they did the fast and hard rock album they were planning on making. Ignoreland is probably the closest we would get to that, and that song kicks ass. I think the rest of it is still the standard quality R.E.M., just not as captivating as their preceding albums. Which is disappointing because people seem to really like this one! Like, this is heralded as R.E.M.'s best. I always feel a little bad when I give an album a listen and it doesn't stack up. I definitely don't think Automatic For The People is a bad album, just one that doesn't stick with me as much. Perhaps I should do a discography run? Check out more of their IRS era?

Patti Smith was unlike anyone else at the time. Still is unlike anyone, in many ways. Her songs flowed and rocked , but largely lacked direction. Perhaps she was too forward-thinking, even to this day, but it occasionally feels like the band is jamming around her poetry.

Despite having spent much of her time on England when developing her hip hop sound, M.I.A. pulls from her formative years spent in Sri Lanka to develop a unique blend of UK hip hop and various traditional folk music genres from the global south. Quite a bit of her work is politically changed as well, likely as a result of her father's political activist roots. While M.I.A.'s production and stylistic choices are certainly innovative and different, it's largely hit-or-miss on the quality of the songs. If you were around radios in the late 2000s then you couldn't escape Paper Planes, but Boyz is also worth it's salt. Otherwise, much of the album is messy.

Berlin. 1976. Trying to kick a coke habit. Iggy Pop just released The Idiot and things are starting to fall into place. Brian Eno on production, a myriad of new influences, and David Bowie's legacy. This is the album of the 70's.

Of all the hard rock bands and albums, AC/DC hit the sweet spot for gen X with Highway to Hell. It was just loud and heavy enough that dads everywhere in their 40s/50s today love the sense of rebellion, but not too loud or heavy that they're scared by it. To this day, old farts will call into the local classic rock radio station, spouting "J-Lac, b'y can you play some 'Tunderstruck by h'A.C.D.C. K-Rack racks!" And then they crack another beer. The band knows what they're good at and lean heavy into it. Blues riffs with heavy distortion, competent rhythm section, big face-melting solos, goblin vocals. AC/DC are effortlessly cool for 70's in a practical, working man way. The problem largely rests in their lack of consistent quality: you've heard one AC/DC song, you've heard most of them. The exception is their hit songs, which are usually quite good! There is only one hit song on this album. Can you guess what it is? AC/DC stews around in passable hard rock, usually quite bland and unremarkable. Most of Highway to Hell is not worth more than a second look, but you can rip the opening track for your road trip mixtape, so it's got some value in there.

Originally a samba artist, Jorge Ben would join the growing popularity of MPB, Brasil's own modern take on bossa nova and samba. This particular take on MPB draws influence from Funk, which has hit it's stride over in the states. The result is fun, high-quality music from Brasil!

With the rise of gangster rap in the late 80's and early 90's on the west coast, there was bound to be a few hits. NWA was perhaps the earliest, but Cypress Hill certainly made a splash. Hard to describe my grievances with this album. At 16 tracks, it feels like they've barely left an impression on me. It was certainly hip hop. Good? Bad? I don't know! It was probably harmless.

You may know Lupe Fiasco from his guest verse on Kanye West's hit single Touch the Sky. I like that song. Despite this album's bombastic first few tracks, the album doesn't really kick in until the track Kick, Push, which has a jazzy boom-bap beat that Fiasco effortlessly floats on. His lyrics are very socially-conscious, which feels like a growing trend in the early 2000s as a reaction to the more violent hip hop of the 90s (and perhaps the violence of 9/11). I think this is mostly corny. The production is fine, it's just Fiasco's whole vibe that kills any of my interest. On top of being overly long, dated, and corny, the outro is effectively a waste of time. Few albums attempt to aim for grandiose and epic reputation, only to end up falling so short. I can only shrug.

Not being a contemporary country fan, I was compelled to find out who Kacey Musgraves was after seeing her win Album of the Year in 2019. Sure enough, she was worth her salt. Golden Hour is a warm, soft album that builds on the country pop hooks while maintaining an authentic singer/songwriter base. This is helped by Musgraves' voice, which is effortlessly charming and comforting. Pretty well every song is worth it's salt here, but the opening track Slow Burn is a true beauty. High Horse is perhaps the most poppy song on the album and only slightly out of place from all the slower and stripped-down songs. It's beautiful and purposeful in it's execution, and that's all I ever really want out of an album.

Charming and fun with sugar-sweet hooks. Vocals from Nina Persson define much of the album's personality, with the band backing her excellently. Lovefool is the obvious standout song, with it's instantly grabbing chorus (love me, love me, say that you love me). It pulls a disco beat and builds it's indie pop sound on top of it, leaving a playfully lovey song that landed itself on the Romeo + Juliet soundtrack. The album hits some peaks and valleys (both in pacing and in quality), but First Band On The Moon is more fun than not. Also features an interesting rendition of Black Sabbath's Iron Man. I'll also say it ends on a high note. Very enjoyable.

Every synthpop album of the 80's must reckon with the question "what are we doing that's better/different from Kraftwerk?". New Order has a post-punk background with immaculate production. Depeche Mode had a darkness that reflected on the human condition in modern society. The Human League had BEATS. This album feels like The Human League putting the emphasis on the wrong syllable: there's far too much focus on glossy, shiny synth sounds and not the incredible rhythms that they've stacked track after track. Do Or Die would almost certainly go on to inspire LCD Soundsystem's approach to crafting a danceable beat. I dislike everything else about Dare!. Side B opens with a lot of conceptual minimalist synth that meanders until the song Seconds, which brings us back to the rhythmic goodness of Human League's drums and bass synths. For all of the hit-or-miss of Dare!, I thought it was oddly good. I think it is quirky enough that I enjoyed the earnest weird synth parts of the Human League. Also ends on a strong note.

A consistent problem with dance records is the length. They wanted to use every bit of data available on CDs, eh? Unfortunately dated. The drums just scream "90's dance" with no real unique identity. The Shamen do their best to add atmosphere to each track, but I would argue that the drums are the most important part of any dance song. Some tracks are more interesting than others, with 666 Edit grabbing me with it's rapid fire rave synths. It's alright, yeah.

Before there was Boygenius, there was Trio. Three great singer-songwriter women (though more country than folk) came together for a back-to-basics album. Trio consists of a few old songs and a few new ones. The end product are simple-yet-beautiful country songs that hearken back to the traditional styling of the genre. The exception to this is Telling Me Lies, which is more of a Nashville Sound 80's ballad that was originally recorded by Linda Thompson. This is perhaps the weakest point on the album, as the women showcase their voices best on the more traditional songs, especially when they harmonize together. A strong showing from all women here. Not nearly as bad as I anticipated from an 80's country album.

Time for a salsa jam! It's nice. Rhythmic and fun, but not exceptional in any way.

D'Angelo's followup album, Voodoo, is perhaps the greatest R&B album of all time. Brown Sugar ain't far behind. Aside from being incredibly sexy, it's a hallmark album that builds on all of it's influences with precision. The groovy basslines of funk, the tight production of hip hop, the soul of soul. Every song hits in different ways without ever feeling out of place. Brown sugar really is that sweet.

In recent years I've really come around on Homework: great debut, great songs, great duo. You can tell they were looking to make a dance record here, it's way more suited for those euro parties they were playing at back in the 90's. THAT BEING SAID, I think this is the wrong Daft Punk album for the list. Discovery feels like it tops Homework as a full album experience with more purposeful songs. Also, sadly, Homework is too long. Regardless, Daft Punk are basically the gods of french house music: a subgenre of house that focused heavily on funk and disco grooves that were sampled for many of Daft Punk's songs. If we want to get into specifics, Da Funk and Around the World would be their breakout hits on this album, both of which bring different things to the table. The songs in between are worth listening to as a study on french house music (except maybe Rock'n Roll?). This is probably Daft Punk's most abrasive record at times so hunker down for that. Otherwise I think it's excellent.

Right before The Knack killed power pop in 1979 with the mega-success of My Sharona, it would be The Cars that had perfected the sound (Replacements and Big Star be damned). It's peppy without being annoying, giving us a bit of rock edge with some great pop hooks. The one song that will throw the album off is I'm in Touch With Your World, which gets a little experimental before the band snaps back to it's simpler pop roots. Rarely does an album feel so tight and accomplished in it's execution. Any of the songs here could've been hits, but Just What I Needed is a natural pick. Just genius songwriting.

Previously unrecorded Woody Guthrie lyrics, performed by alt-country band Wilco and folk rock singer-songwriter Billy Bragg. Together, they bring a modern spin to some old-school lyrics. Bragg and Wilco feel like natural fits for these songs, as they bring so much life to the forefront. Timeless songs, timeless words. Bragg and Tweedy trade singing duties but neither feel like outshining the other. Bragg has more strength to his voice, while Tweedy has more dimension. I can't help but feel this was an album of respect and love

Dr. John (rest in peace) was one weird dude. But his weirdness helped reintroduce people to the world of New Orleans R&B, not heard since the days of Little Richard. Here, he puts a psychedelic edge on the sound and pulls from other Louisiana genres such as swamp rock and zydeco. The end result is a smokey, captivating experience of sound. Of course it's extremely weird. If you're eagle-eared, you might recognized some influence on Tom Waits' sound. It is eternally unique and expertly plays with it's influences in ways that creates a whole new sound.

From their no wave roots, Sonic Youth would effortless evolve into a noisy alt rock group that had all of the style of New York's artsy scene without any of the pretentiousness. EVOL and Sister were sibling albums that showed band's progression, both excellent in their own ways. If we're to make conclusions about Daydream Nation based on this assessment, I'd say it's peak of this evolution. A perfectly stylized, no-frills alt rock masterpiece that knows it's at the top of it's game. Every song hits it's stride. Every song has it's place. Even the interlude Providence feels momentous. The first half's songs have more weight to them than the second half's, but this is made up by the grand 14-minute finale Trilogy. This an album that is consistently make it's case for how impressive it is. Given Sonic Youth's album run from 1985 to 1988, it's clear to see why they're so revered.

Alongside Bob Marley & The Wailers during the golden age of roots reggae was Burning Spear (aka Winston Rodney). Like many roots reggae albums, Marcus Garvey is a poignantly political album that tackles a lot of the hardships of the Jamaican people. Unfortunately it's still reggae. This is a genre that does not stick with me much, though I am happy to appreciate it from afar.

In between the wailing sounds of Drive Like Jehu, guitarist John Reis played and sang for Rocket from the Crypt. Rocket is a much more straightforward rock band, while maintaining a lot of the energy and loudness from Drive Like Jehu. This energy is backed by a horn section, borrowing slightly from ska's third wave resurgence. It's pretty good! Not nearly as forward-thinking as Drive Like Jehu, but it's got a lot of classic songwriting combined with a passion for noisy guitar and drums. It works for Rocket.

Slipknot and their self-titled album are the logical progression of the nu metal genre. There is more focus on rhythms and grooves, pulling inspiration from the contentious rap metal genre and abrasive industrial metal. This is further emphasized with Slipknot having a DJ on deck, who opens the song Eyeless with a breakbeat. This is further emphasized with cleaner production than you would not hear in most metal. The dirty truth about Slipknot is that it's the kind of metal that really resonates with a lot of young teenagers and frat dudes who might consider it "the heaviest shit ever". I think that's okay. The pitfalls of Slipknot are thinking that it's innovative or even trying to be innovative. It's certainly not, but Slipknot makes a great case for how it integrates it's influences into their music. Corey Taylor's vocals borrow from the aggressive screaming found in hardcore. Meanwhile, the guitarists will occasionally employ riffs inspired from black metal or death metal. Turntablism had already been employed in metal and rock with Incubus, and of course the occasional rapping borrowed from recent hip hop circa 1998. The result is a pretty compelling amalgamation of nu metal on the edge of the new millennium, but nothing truly groundbreaking. I am sad to report that Slipknot, not unlike the Rolling Stones, are only worth listening to for their singles. For all their horror-inspired aesthetics and mega-brootal riffage, much of this album did not make me feel any strong emotions. Some would be more critical of this notion, as it would indicate a failing of artistic expression! I think it still has inherent artistic value, it just does not fall on me to determine that value. Enjoy metal!

George Michael's split from Andrew Ridgeley (the other half of Wham!) would require him to make a definitive statement of his own sound. Wham! was sunny, friendly, maybe even a little juvenile. A George Michael debut had to be more mature. The pure, lovey nature of Wham! has been molted in exchanged for a sexual, sensual man who is perhaps a little too well-groomed for his public image (see: Sexuality and relationships section of his Wikipedia page). This is emphasized by Faith's focal point, which is the 9-minute I Want Your Sex (Parts 1 & 2), the longest track on the album and the most unabashed as well. Speaking more on Faith, side A opens strong with the titular track and his biggest hit off the album. It's a fun little track that bops along and highlights Michael's best qualities. The rest of side A plays out pretty well, with the perhaps over-indulgent I Want Your Sex being the most inspired choice. Side B has back-to-back songs with programmed drums, which distracted me more than I would've liked. Such a bizarre album. I don't think Faith is bad. I think it starts strong and ends strong! But a lot of the middle parts are tedious and makes me not want to listen again. Such is life.

The Beach Boys' most somber album, and it's fantastic. Truely exquisite songwriting on display, as expected by this point. This album marks the second in the band's tenure with Reprise Records, a sort of second wind intended for the boys after financial troubles had hit them, requiring the selling off of their back catalogue. This would also mark Brian Wilson's return to songwriting and producing after a stint in a psychiatric hospital in the late 60's. Surf's Up was a success for the band, garnering favorable reviews and putting them back in the limelight. It helped that the songs were great. I know people love to praise Pet Sounds, but Surf's Up is where it's really at. More mature songwriting, more well-executed ideas, particularly in the run of the album's last three songs (all written by Brian Wilson).

Baggy (or "madchester") was England's sort of return to form after the post-punk and synthpop of the 80's. This was a result of the sound developed by New Order, which blended neo-psych style, alternative dance rhythms, and jangle pop riffs. Returning to traditional rock instruments with an increased focus on production and tone lead to a very rich-sounded genre. Bummed embodies much of that sound. Unfortunately, most of Bummed is uninteresting. Just doesn't do anything for me.

The first true COVID lockdown album. About a month after everything went down, Fiona Apple gives us an album with an apt name. It's a range of emotions that's mostly restless. This is emphasized by the percussive nature that drives the music in unique ways. Of course, Fiona Apple's impeccable songwriting is the crux of what makes Bolt Cutters so good. Her ideas are aptly explored without ever meandering or overstaying their welcome. These are a handful of interesting songs that are primarily build on drums and piano, simple as.

Mudhoney is, of course, essential grunge from the earliest days of the genre. Masters of the fuzz, Mudhoney brings much of the same energy from their breakout Superfuzz Bigmuff, but with more matured songwriting. Much of EGBDF is solid and clearly delivers on the punk-inspired grunge sound that they're so well-known for.

Tom Waits channels a certain sound like no other. His voice, for one, is so grizzled and expressive that it delivers in spades. At it's core, Waits is making the rawest form of folk music, defying convention for a truly earnest expression through music. It is strange, and perhaps a bit puzzling, but I have a lot of respect for Waits' music. This is especially true for the some of the lyrics he's written, such as the beautiful Soldier's Things. I think Waits hit a better stride on his followup Rain Dogs, but this is still indicative of his quality work.

Courtney Love caught a lot of flack for her relationship with Kurt Cobain. She was accused of stealing his songs for Hole and riding his coattails, but I feel like that's a disservice to the everyone involved who clearly made a forward-thinking power pop record for the end of the millennium. Having shed the edgy grunge sound from Live Through This, Hole produces some quality hooks that feels like this was what they were meant for all along. Undoubtedly though, Celebrity Skin has a lot more polish in it's production, indicative of a post-grunge world that rejects the grime for only a few years ago. This production is both to the benefit and detriment, as some songs fare better than others. Use Once & Destroy attempts to hold on to some of the distortion but loses it's edge along the way. The prior song, Dying, gains a lot by highlighting the subtler elements of this tender song. Hole did well on this record. I think Celebrity Skin deserves it's flowers just as much as Live Through This, as it shows solid maturity and growth for the band.

The Libertines were one of the perpetrators of the garage rock revival, though from the UK side. The energetic indie rock is dragged down by Peter Doherty's unfortunate voice. Many of the songs meander and feel like a waste of space. It is the opposite of purposeful songwriting. It's trashy, boring, safe music that probably seemed cool at the time but has aged terribly. The legacy of the Libertines is weak and their influence is nil. Better rock music has been made by better bands that same year. Go listen to Modest Mouse or Interpol instead.

Australia's honest entry into the garage rock revival of the 2000's. Get Free was the hit song, and not without reason. The other songs, unfortunately, leave little impression. This is made doubly so by the back end of the album, which drags on until the very end. While it all sounds just fine, it barely registered in my brain that I listened to a full Vines album. That was just Get Free and a bunch of other noises. Whatever.

Donald Fagen (of Steely Dan fame) brings us a record that is more poppy than his usual stuff. This came about after contributing some solo efforts to the eccentric animated film Heavy Metal in 1980-81. Fagen brings much of the smooth sounds of Steely Dan to his solo stuff, but eases up on the guitar to give a more well-rounded sound with a variety of keys. This album cements Fagen is a simply phenomenal songwriter. He's so dialed into how every element of his songs work with one another. The result is lush, sophisticated music that is light and easily enjoyable. This is true for the whole album.

An early entry into the rise of psychadelic music for the 1960's. This album is best known for it's two singles: Sunshine Superman and Season of the Witch. Coincidentally, these are the only two tracks on the album that are truly noteworthy. Other songs are slow and rarely develop into anything noteworthy. Mostly, they lack the memorable hooks of the singles. It's a fair listen. Nothing terribly lacking or bad.

Who knew that Ravi Shankar's daughter would go into music to make vocal jazz? It's a smooth and calming album that would fit perfectly into an evening cafe with dimmed lights. After a few songs, this becomes a bit of a dry, boring listen. Dear god is it a slog. What starts out as a relatively nice listen quickly becomes a soulless and vapid, with little variation in between songs. The closest I can think of is Lonestar and it's more country crooner sound, which still holds on tight to the slow, breathy delivery of the other songs. This is the musical equivalent of unflavored oatmeal. Perfectly competent, but so damn bland. Norah Jones would go on to sweep the big four awards at the 2003 grammys, which only proves how safe the grammys are. Wilco's indie rock masterpiece, Yankee Hotel Foxtrot, was released the same year as Come Away With Me and would've been eligible for same awards. Wilco wasn't even nominated.

Maggot Brain is primarily defined by it's self-titled 10-minute guitar solo epic, which explores desolation in the biggest way possible. Eddie Hazel uses space to his advantage as he sparsely plays in between a subtle groove. It's a monument to stellar, thoughtful music that that properly contemplates it's position of sound throughout. It can often feel like the opening track overshadows the rest of the album, but I feel like that would be a disservice to other songs. Funkadelic expertly hones in on fun, effective funk rock that effectively riffs on a groove. This culminates in the final 9-minute jam Wars if Armageddon that throws a lot at the wall (for better or worse). It is fitting that Maggot Brain ends with annihilation. Sounds of atomic bombs, the low rumble of the explosions, followed by a heartbeat.

Only notable for having Company Flow on track 5. Every other contribution is frankly pathetic. Production is alright, but there's a lot of elements here that make the album come across as half-hearted. It's hard to believe it got so much praise from reviewers at the time. While Welcome to the Afterfuture explores some unique ideas, it's mostly aimless and poorly executed.

I have no doubt that Elvis Costello is an accomplished and talented musician. I think the fact that he put out an album as recently as 2022 speaks for itself. Mr. Costello is nothing if not a career musician. However, I do not care to evaluate so many of his records. I can understand listening to his first two records, maybe even Armed Forces, but anything beyond that is perhaps overdoing it. I will say that I Want You is a spectacular closer to side A, and side B has some stellar songs such as Blue Chair and Battered Old Bird, but I think I've had enough of Costello.

Aerosmith was the first rock band I had the pleasure of getting to know. Being a young lad and being primarily exposed to the great Guitar Hero series of games, it was like a gateway drug to rock music. Of course, this led to me learning more than a 6th grader ought to about Aerosmith. This band is akin to the Rolling Stones in that they're 1. rooted in blues rock, and 2. relying heavily on singles. Walk This Way and Sweet Emotion are bonafide classic tracks, and even the title track is worth a listen, but everything else is run-of-the-mill blues-inspired hard rock. Aerosmith knew how to rock, there was no doubting that, but their capacity to write great songs was inconsistent. This is especially true for ballads, which all but sucked.

Frank Zappa has always had a sense of humor about him. The original US cover doesn't make it clear, but based on the European cover you can tell it's a larp on the Beatles. Specifically, the commercialization of hippie culture, as perpetuated by the Beatles. It's an incredibly sarcastic record that clearly wants to make you laugh. They also want to make a point, but it's mostly for a laugh. Not only that, but the Mothers of Invention are actually quite a talented band. Their ability to hone in on psychedelic rock and play as a unit is impressive, particularly on Absolutely Free. The lacking parts of this record happen to be rooted in their cynicism, as they never take any part of the album too seriously before leaning heavy into a satirical joke. Any effort towards sincere artistic expression is brick-walled by making fun of hippies. Aged like milk, I'm afraid. Despite this, I think this is probably the best that a satirical record could be. We are lucky to see Frank Zappa's more serious work in other releases, but this one is still well done.

While all of his contemporaries were making britpop at the time, Neil Hannon was making fancy, prissy chamber pop. It's this sort of complex songwriting combined with Hannon's personality that makes this album seem more sophisticated than it actually is. Behind the strings and perhaps accentuated accent, The Divine Comedy is a rather brutish band. I struggle to really like this album because I can't look past how inauthentic it all is. Everything from the cover to the songs feel like a big act to make the music seem more nuanced than it actually is. It's well-produced, well-performed, but often comes across as a failure of artistic expression. And too much of it, for that matter.

Motörhead has always held a bit of a reputation for ascending genre. They weren't quite heavy metal rockstars, and weren't quite hardcore punks. Lemmy knew how to lay down a killer riff on his bass that always kept the songs sounding full and heavy. Fast Eddie could shred with the rest of them, but could also back up Lemmy's bass riffs in lockstep. Philthy kept a perfect balance of sloppy devil-may-care drumming while also nailing the hits with the rest of the band. As a unit, they are an unstoppable force of sound. Loud, brash, and intense as all hell.

There is no denying that the Sex Pistols are the cornerstone of punk rock. While proto-punk bands may have come before them, the cultural movement of punk counterculture had started with Never Mind The Bollocks, Here’s The Sex Pistols. It had to be on the list. And yet, despite being intensely vulgar, starkly rebellious, true to the first wave of punk, the Sex Pistols were never really about it. At least, vocalist and frontman Johnny Rotten (John Lydon) was a reactionary loser who only liked getting a rise out of people. Any sort of messaging or politics of the Pistols ran hollow, as it was only ever about generating controversy. For every person they pissed off, they had another one buying the record. It was a marketing tactic more than anything. Some good songs on here. Hits like Anarchy in the UK and God Save the Queen are still decent listens, but the rest is barely notable. Even in the canon of punk rock history, Sex Pistol songs are barely notable. In comparison, bands like the Buzzcocks and the Clash would have the better collection of songs under their belts. The truth is that the Sex Pistols were always the bollocks.

I reckon most people know Kings of Leon from their alternative rock stuff, such as Sex on Fire from 2008. Youth And Young Manhood, however, is the band's debut and indicates a different sound that they pursued. Kings of Leon had slotted themselves in with the wave of garage rock revival bands in the early 2000's. In the same manners as many garage rock revival bands, Kings of Leon embraces upbeat and energetic rock that bops along. In terms of differentiation, they occasionally borrow the same guitar tones from southern rock. Caleb Followill's vocals also play a particularly unique role as his distinct singing gives the band much of it's personality. The end result is early aughts rock that's pretty good. Not much else to it.

How do solo Wu-Tang projects hold up in the landscape of hip hop in the 2000s? Pretty good, as it turns out. Notably, you get both MF DOOM and J Dilla production. If that wasn't enough, you get the full Wu-Tang Clan song, including Ol' Dirty Bastard just two years after his death. Even putting this all aside, this is an extremely tight hip hop album. Ghostface is consistently on his A-game, with the production fitting his energy. Not a single feature feels underwhelming or poorly placed. Quality is consistent, and I don't take that for granted.

The name for the genre "new rave" would come from a promotion for the first Klaxons show, indicating an indie rock sound merging with the dance rhythms of electroclash, not unlike LCD Soundsystem. Klaxons is always on, delivering a manic energy that feels like a constant attack with little room the breath.

Time will not be gentle to KISS. People will look past the makeup, the outfits, the stage antics and so-forth because KISS will lose their mythos and be judged by their music. And because they only had a handful of good songs (not great, just good), KISS will fall by the wayside. But it would be a mistake to brush them off so quickly. For a period, they were the biggest rock stars in the world. It didn't matter how underwhelming their albums were, they delivered. Energetic, effective, fun rock songs that broke through the cultural milieu to practically define rock music for the next decade or so. Some internet user, braver than I, once said "Some of these songs are really bad, however it's still a classic". Such a bold take: the songs suck, and the album's a classic. Only KISS could do that.

Who is Digital Underground? Turns out these guys helped launch 2Pac's career, giving him some of his first credits before a solo career. Unfortunately 2Pac is nowhere to be found on this release, having joined the group on the following EP. Digital Underground is best attributable to core member Shock G, who has the most contributions to this album. He has a clear vision and direction for the group, providing solid funk samples as the group's foundation. While the album's quality is pretty consistent throughout, it's a little too mid-school for my liking and doesn't have enough interesting things going for it to sustain over an hour.

Pet Shop Boys have always had a solid lock on 80's synthpop with their smooth, sensual approach to songwriting. Contrasting the energetic, often one-note approach to synthpop, Pet Shop Boys are content to explore a whole different mood. Pet Shop Boys made it okay to cry in the club, in a gay way. Music's good but not my jam.

Gary Numan is best remembered for Cars and Cars rules. The Pleasure Principle has some of the most straightforward synths combined with the finest new wave instrumentation. Tight drums, groovy basslines, sleek guitars. All of these back up the spectacular synthlines that make the album so damn good. It's clear that Gary Numan had a clear grasp on what made synthpop and new wave so good, and right on the jump too.

After including some psychedelic influence on their last album, the Beatles seem content to embrace it a bit more with Revolver. That being said, the album is content to starts strong with the upbeat freakbeat Taxman, followed closely by the incredibly Elanor Rigby. A pure Baroque pop masterpiece that almost certainly has not been topped since. I think, more than anything, Revolver showcases the willingness of the Beatles' experimentation. Trying new sounds, varying songwriting, not being afraid to get silly. Revolver contains some of the Beatles best songs and it represents a huge turning point for the band. I know some people will prefer other Beatles but Revolver is an easy standout.

M.I.A.'s debut Arular is much stronger than her more popular follow-up. Arular features all of the forward-thinking hip hop production and memorable international influence without any of the low points. While I don't care for the skits, they're short enough that you don't have to worry about them ruining the experience. M.I.A. is a good rapper who brings excellent energy to match the production on each of the tracks. Some songs are better demonstrations of her MCing than others, but the album is still an outstanding look at the kinds of new directions that hip hop was exploring in the early 2000's.

It is important that everyone knows that this album was a monumental release. Beyonce, one of the biggest pop stars in the world, had dropped this with no promotion, no leaks, no marketing whatsoever. Album sales were built entirely on the back of Beyonce's own fame, and it's success only cemented her as, undoubtedly, the GOAT. On the album's content, this is an incredibly sensual album. Beyonce leans into the ambience to give it a hazy feeling, no doubt trying to channel the feeling of love and desire. It also occasionally uses sound clips from milestone moments in Beyonce's life, serving as a sort of reflection on her life. This appropriately closes with a dedication to her firstborn Blue Ivy, who is the youngest person to ever chart the billboard charts. I think the consistency in quality makes it worth a listen, but to me there were never any specific peaks that I could pick out. The whole album rides a line of being just "really good" without every being fully great.

As far as modern hip hop goes, grime isn't really for me. For one reason or another, the accent or the style of production just doesn't click. That being said, I don't have anything negative to say specifically either.

Peter Gabriel's first solo effort post-Genesis turned out to be a huge hit. At least, Solsbury Hill was. I don't think anyone doubted Gabriel's songwriting ability, but his willingness to try new things outside of progressive rock. This includes a questionable vaudeville song, but more importantly includes the incredible folk-inspired Solsbury Hill. Peter Gabriel's solo debut is as strong as ever, still standing the test of time. Side B is especially impressive, which seemed to be Gabriel getting more ambitious with "bigger" songs. This concludes with a monumental Here Comes the Flood. I hold Peter Gabriel's artistic efforts in high regard. Even though Genesis was his more ambitious work, his solo releases were more concise and effective.

1997: Radiohead releases their critically acclaimed album OK Computer 1998: Talvin Singh releases his album OK, with no hard stance on Computers. As far as atmospheric drum and bass goes, this album stands out for it's incorporation of South Asian music influences, including the sarangi, veena, and sanshin. Apparently, Singh even travelled the world to record multiple folk singers and even the Madras Philharmonic Orchestra. I can appreciate this level of involvement to understanding the incorporating regional sounds into the drum and bass. These are used to great affect, bringing a refreshing and unique variation to drum and bass that enhances the overall experience. Breakbeats will play in parallel with tabla rhythms, keeping pace while a beautiful medley floats along.

Going against the catchy synthpop hooks that their contemporaries aim for, the Associates are content with building a dark atmosphere that's more akin to post-punk of the day. While they provide an interesting overall sound, nothing on the album comes across as memorable or outstanding. Sulk is competent in what it does, but disappointing in what it doesn't.

Tom Waits gets weirder. Lots of percussion, raspy vocals, some unconventional production choices. Sometimes it sounds like Waits is just messing around, with no structure or idea in mind. Sometimes it actually sounds like a fully-realized song. There's no doubt that Tom Waits is an accomplished and excellent songwriter, it's just that Bone Machine indicates a certain willingness to dive into whatever idea Waits had at the time. It just turns out that a lot of his ideas are really good!

We have to thank Led Zeppelin for taking hard rock and giving it a much-needed edge. While it's still very blue-rock in it's nature, the distorted guitar tone, hard-hitting drums, and impactful dynamism in their songwriting had elevated the genre to make it so much better. Good Times Bad Times, Dazed and Confused, and Communication Breakdown all emphasizes these elements to a great degree, and all on the band's debut album! In between the heaviest moments on the album are quieter interludes which are a nice bit of pacing, either as seperate songs or within the song itself. Page and the boys had a great handle on what made the genre rock and how to maks it rock even more. That's quality.

Crosby's first solo album after his run with Stills, Nash, and Young. Of course, he's not completely alone but it's just his name on the cover. It's a pretty laid-back album. Some of the most sleepy folk you'll ever hear. It's an enjoyable listen if you enjoy nice peaceful songs, but could get boring at times. I thought it was nice, with Crosby tapping into his thoughtful mind. Perhaps the last album of the 60's. Why are two of the songs pulled from Spotify? Turns out Neil Young wrote those two, so he had the rights to pull them when he took his ball and went elsewhere.

Really thoughtful, with little in the way of interesting musical aspects. O'Connor perhaps would have been better in the field of poetry. This is exemplified in the closing track, which puts full focus on her voice and words. This is by far the most impactful track and mamaged to stick with me after the album's end.

Weirder than their debut, but still retains a lot of the signature King Crimson prog sound. Big focus on dynamics, whimsical lyrical delivery, and full-band punctuation. I do feel that Larks' Tongue part 2 crescendos nicely into a bombastic end to the album, and there are a few high points to the album, but King Crimson's slower sound does not do much for me in the grand scheme of the album.

one of the last proto-punk records before punk debuted. This makes sense where the Modern Lovers' self-titled debt was actually recorded years prior to being released. A lot of Modern Lovers' songs are based around solid hooks with a driving garage rock energy that almost borders on power pop. Jonathan Richman's vocal delivery is what gives the Modern Lovers their proto-punk sheen.

Boy George and, by extension, the rest of Culture Club were one-hit wonders. Anyone who has listened to Colour By Numbers will know exactly why. While Karma Chameleon was charming enough with it's dreamy lyrics and earworm chorus, rarely does Culture Club land that same plane twice. Of course, it's worth discussing the cultural phenomena of Boy George. While the New Romantic was playing with androgyny, Boy George seemingly embraced it. There's a lot of ambition in embracing a more feminine look than even David Bowie. There was even rumblings of homosexuality, though Boy George would pull the bisexual card for a while as a sort of rockstar "fuck anything that moves" play. Turns out he was just gay. There's not much else to say about Culture Club. Colour By Numbers was truly unremarkable.

Not actually orchestral, but synthpop. Also a bit weird. It shares a lot of the darker atmosphere of New Order, but cycles into ambient pop on occasion. Orchestral Manoeuvres is likely one of the more oddball groups of the day that breached synthpop sensibilities. I've gotta give credit to the UK, they really embraced the genre.

After the success of Daydream Nation, it seemed as though Sonic Youth was content to streamline their sound a bit more. Gone were the bold, experimental styles on their earlier records.that's not necessarily a bad thing, as their songwriting capabilities had developed to a point where they had clearly slotted comfortably into the alternative rock of the day. Kool Thing and Dirty Boots are standouts, being sleek and energetic while still maintaining a signature amount of edge and grime to them. A true Sonic Youth album that signals a new sound for the new decade. With Goo, you get a really good first half and a kinda good second half.

Die Mensch-Maschine. This was the formal move from strictly electronic music to synthpop. Although the hooks were rudimentary and the production still electronic-focused, The Man Machine would give way for a genre that would dominate the 80's as we know it. Sleek synths, programmed drums, soaring pads. Kraftwerk gave them the building blocks for synthpop. All they did was shove out a few tunes in German. A fair amount of the albums feels kind of mechanical and calculated, very serious in a German way. The exception to this would have to be Neonlicht, which has a sort of dreamy, nostalgic sound to it. This is the track with perhaps the most emotion. The rest of the album is still groundbreaking and amazing work, it just lacks a bit of the emotion that the genre would develop on it's own.

John Lennon, after leaving the Beatles, had an interesting solo career. He did some weird shit with Yoko Ono for a while, but then he pivoted and did pretty normal singer/songwriter stuff that was way more up his alley. This brings is to Imagine. The title track has found enough acclaim for it's dreamy approach and vaguely anarchist lyrics, so I won't spend too much time on that. I think that solo Lennon is a lot different than Beatles Lennon, in that he's bearing his soul a bit more by diving headfirst into touchy political subjects. Was there ever any doubt that he had bought into the hippie counterculture? I feel that this acute sense of vulnerability brings a great new dimension to his music, complimenting his already-excellent songwriting talents. So it's pretty good.

Everyone figured the death of original bassist Cliff Burton would hit Metallica hard, but no one could've guessed that they would pivot away from thrash metal to make simple heavy metal and, dare I say, bland hard rock. Sick riffs were traded in for grooves and even ballads. While Master of Puppets was their landmark album, this self-titled album (sometimes called the black album) is certainly their most commercial album. This sold over 17 million units and none of their albums have come close since. Everyone knows Enter Sandman, Sad but True, the Unforgiven, Nothing Else Matters. It's the only Metallica that your classic rock radio station will play, because their other stuff is either too heavy or too sucky. For all the good that this album was, it was also the album where Metallica distinctly sold their soul. Now you can play these songs on Guitar Hero Metallica.

That Lady is impeccable and I will not tolerate dissenting opinions. The guitar, the energy, the smoothness of it all. I love it. The rest of the album is also amazing. Summer Breeze, the Doobie Brothers cover, every bit of it is impeccable funk and soul. Every song is fresh. Great album for the list.

Acid house is a genre that sought some variation on the already-established house genre of electronic dance music by adding modulation and distortion to the bassline in order to produce a sound that became core to the genre. While picking up steam throughout the mid 80's, it hit a fever pitch in 1988 and 1989. Hence, we have 808 State's 90, dropping just before the decline of the house genre. Tracks flow from one to the next so it creates a seemless 40-minute dance party. It has a lot more atmosphere than I was anticipating. Most of my experience with acid house is form Daft Punk's Da Funk, so this caught me off guard. I thought a lot of it was pretty good, but 808080808 was the best showing of Acid House's excellence. Likely the best of the crop from this time, but has long fell to the wayside.

Weird to think that there's a whole history to Black Flag prior to lead singer Henry Rollins and, subsequently, their first album Damaged. Guitarist Greg Ginn had perfected a distorted guitar tone that was essential for the sound of hardcore. Combine that with playing faster and with more aggression compared to the punk rock of the late 70's, the 1979 Nervous Breakdown EP was essential to the now-burgeoning subgenre. The struggle with maintaining a band for hardcore audiences was finding a vocalist who would be able to withstand the crowd's vitriol while still being able to shout the lyrics out properly. You can hear the iconic Keith Morris (later doing vocals for Circle Jerks) on the Nervous Breakdown EP, Ron Reyes on the Jealous Again EP, and Dez Cadena on the Six Pack EP. Short tenures from each of these men lead to bringing on Henry Rollins, who had been a fan of Black Flag already. This made it easy since he pretty well knew the songs. All he had to do was get up on stage. People have reservations about Rollins' vocals. It's been described as "meathead vocals" and I can hear that, especially on songs like Six Pack and TV Party. The big thing that'll stand out is how dark Damaged gets in the back half. No More, Depression, and Life of Pain are all details of Rollins' inner turmoil that, while maybe cheesy, would be essential for the attitude of hardcore. Deeply influential, but has since been outdone by numerous hardcore releases in as many different ways as you can think. It's been done faster, louder, heavier, thrashier, noisier, more aggressive, more emotive, and more interesting. This one just happened to be one of the first.

As indie rock began to grow throughout the 2000s, it required a certain amount of innovation to keep bands from sounding stale. Taking a page out of many midwest emo bands of the 90's, indie rock bands would become more technically proficient as a way to add more variation to the songwriting. Enter White Denim. A little bit jazzy, a little bit psychedelic. A little bit savory, a little bit sweet. The boys are talent, there's no doubt about that. I do think that Dwight Denim lacks memorable moments in exchange for impressive song structures. It's fun in the moment.

I lost all my notes again! I had such a good thing about shredding and how Eddie Van Halen's guitar styling was foundational to thrash metal. It was so good, I wish you could read it. Oh well. Great A side, good B side.

You know "The Police" aren't a real band, right? They were conjured up by A&E records to cash in on the new wave craze but literally no band wanted to sign on, so they had to get three guys from marketing to record whatever they thought new wave was. One of them did a weird Carribean accent for the vocals, it was a whole thing. Anyway turns out they've got some serious chops. Like, they can play. The police have always been a singles band in my eyes, but listening to their instrumental stuff has me impressed. It just gets increasingly less impressive as the album continues. By the time I hit Does Everyone Stare, I am often asking what the hell is going on. What an album. What a group.

It's really only here for I Believe in a Thing Called Love. Justin Hawkins' ridiculous falsetto and 80's hard rock worship makes this kind of camp, but not camp enough to be genius. Dudes who long for the hard rock of yore will think this unironically kicks ass, and who am I to deny them that pleasure. For what it's worth, it's pretty successful at 80's hard rock worship. Chunky riffs, adequate solos, big choruses. Unremarkable. Production is so crystal clean, it makes me nauseous. Back half is especially boring and bad. It feels like the whole album ends on a whimper.

Frankly did nothing for me.

Neil Young at his very best. Beautiful songs performed with incredible care. This is an album that is free of time and space. After The Gold Rush doesn't need to prove anything.

Perhaps the most New Wave album there ever was? Catchy hooks, incredibly sleek, and they had music videos to boot. So much style and grace in one album, and it feels completely reflective of the 80s. Is every song a winner? No, not neccisarily, but there are no losers here either. I am impressed by Rio more often than not.

Irish indie rock for the new millennium. Conor Deasy's wispy vocals develops much of this album's personality, though the band arrangements are nothing to scoff at. It gets a bit slow at times and it's not all that memorable, but it's a nice enough listen for the runtime. In a word: pleasant.

He's a really good songwriter. He does the melancholy thing better than most. Is that what you want to hear? I'm not going to call him a genius, he doesn't deserve that! Also my god, what is with the shredding on I Don't Mind If You Forget Me? Eddie Vam Halen over here.

When people think of the mythos of David Bowie, I think most people remember him with the lightning bolt on his face. It's an iconic statement that's definitively glam. Alongside T. Rex, Bowie would develop the idea and sound of glam throughout the 70's. Theatrical elements aside, glam was all about giving rock a fun edge. Poppier hooks and additional instrumental arrangements gives an extra edge over the other rock stylings of the day. How's the songs? Pretty good, but not great. This is not his best work, not by a long shot, but it's still memorable.

If you enjoy LCD Soundsystem, then you owe it to yourself to check out Hot Chip. The wave of indietronica in the 2000s meant a lot of fresh new approaches to indie pop/rock sound, in part thanks to the newfound accessibility of electronic music-making tools via the digital audio workstations. Hot Chip, being one of the better results, had a lot of the electronic beats of LCD Soundsystem while incorporating a softer side of indie. Results are pretty good! No bad tracks, but not many great tracks either. I think Hot Chip makes pretty safe music, but it will occasionally hit a sweet spot where it all falls into place.

From the guy who wrote an album while in a hospital; something nice and floaty. Wyatt has roots in the eclectic Canterbury scene, which is known for it's proggy blend of jazz fusion and psychadelic rock. While Shleep is a good few decades removed from the height of the scene, Wyatt tentatively writes what he knows. While it is spectacularly well-written and composed, it occasionally feels like it meanders (as is the case with prog rock) and is more successful at striking an overall feeling rather than having any individual standout songs. While Rock Bottom is often considered his best, I'll propose that Shleep is a more refined and overall better piece of work. It also has Brian Eno, so, there's that.

Oedipus Schmoedipus (not to be confused with Nilsson Schmilsson) is an acid jazz record from the multi-instrumentalist Barry Adamson. Adamson had earned his stripes with the likes of Magazine and Nick Cave & the Bad Seeds. As such, his ability to experiment artistically had been stoked going into the 90's, allowing for a truly strange and fascinating run of albums, starting with a soundtrack for a film that doesn't exist (see: Moss Side Story, also on the list). Oedipus Schmoedipus reveals in a limbo-like ambiance. There are unexpected twists and turns that make for a surreal listening experience, with occasional grounding moments that bring us back to just jazz. It often feels as though Adamson is in a league of his own. Is the album a tad long? Yes, but I feel it is well-crafted and elegantly performed.

I still can't quite understand the cultural impact of TV on the Radio. While they are indie darlings, no doubt, I had never encountered the band's name until I saw their 2008 album on this list. It was pretty good! This one is just good. Some interesting ideas being explored but never in any context that compelled me. Felt like a good start for the band that would go on to do better things.

Fanciful stuff. Leaning heavy into psychedelic while maintaining a soft folk sound gives Veckatimest a distinctly floaty feeling. The problem, more often than not, is to keep things interesting throughout. This can be difficult for Grizzley Bear. This album relies on vibes to keep it going. Rather than having particular moments worth remembering, Veckatimest welcomes you to enjoy the overall space it creates. Not a bad thing, not a great thing either. That being said, there are occasional times where the album feels like it's breaking through the atmosphere to deliver something big, but it's too far and few for me to discern.

The death of Kurt Cobain in 1994 also signaled the death of grunge. While there was still a small well of grunge albums left for the decade, most everyone knew to pack it in. The Foo Fighters' self-titled album would be first to declare the post-grunge sound for rock. And it was pretty good. Dave Grohl, drummer for Cobain's band Nirvana, would be deeply affected by Cobain's passing. After a period of stagnation for Grohl, it would be Mike Watt (formally of the Minutemen) who would help Grohl get back in the saddle by recording drums for Watt's solo release. This inspired Grohl to take his collection of written songs to the studio and lay down his own tracks. The result is a self-titled album for a pseudonym band name. Capitol liked it, Grohl signed a deal, band members were recruited, and the rest is history. It's hard not to compare it to Nirvana's back catalogue. Given that Grohl was a part of Nirvana when he wrote many of these song, it makes sense that it would take some inspiration from Cobain's songwriting. It has a lot of the dynamic peaks and valleys similar to Nirvana, albeit cleaned up a bit. What makes the Foo Fighters distinctly post-grunge is the more conventional appeal; catchier hooks and cleaner production allowed for a more mainstream appeal that radio stations would appreciate going into the new millennium. Grohl's song would still hit pretty hard and would suite a more alt rock sound. The Foo Fighters debut, as a whole, lacks many standouts. This Is a Call and Big Me have stood on their own to this day, but the rest of the album would fail to make much of an impact.

As Brazilian metal band Septula progressed through the '90's, they started to move away from their thrash metal roots. While Chaos A.D. still maintained elements of thrash, it would be Roots that see a more complete embrace of new metal genres for the decade such as alternative metal, nu metal, and groove metal. It almost certainly indicates a desire to change and evolve the sound from their past decade of albums. More than that, it's a proud display of the band's Brazilian heritage and culture; This includes recording with the members from the Xavante tribe. Brining a unique blend of percussive elements to the heavier aspects of the metal gives Septula a whole new dimension for their music. They raised the bar. Examining the metal itself, it's extremely well-crafted. Heavy, fresh, and groovy without coming across as corny or trite. Although a bit bloated, this record never tired me out or felt stale. "Jasco" would have been a perfect closer track. Regardless, Roots feels like a consistently excellent showing from Sepultura. You can skip the Canyon Jam if you want; I wouldn't consider it to be a formal part of the album.

Within Sonic Youth's discography, EVOL and Sister were described to me as companion albums: two sides of the same coin. EVOL is the more challenging of the two, as it carries on the no wave and experimental roots of the band. EVOL sees Sonic Youth sharpen their noise rock songwriting without getting too "scary". Well-paced tracklist, standout songs, and overall cohesive tone means you've got a bonafide classic on your hands. More, please!

The Good, The Bad & The Queen are a British supergroup (plus Tony Allen on drums) that mostly sound like Blur or Gorillaz leftovers. It's also worth noting that Danger Mouse is on production here was part of the band's inception. The thing about supergroups is that the name implies a sort of meeting of the minds. The greatest musicians of our time coming together and making magic, so to speak. I have two points to challenge this idea: 1. Successful songwriting requires that all (or most) members of a band have good chemistry and are on the same page about the kind of music they're making, and 2. Members of currently-active bands might be more keen to save their best songs for their more well-known bands. Hence my issues with this album. Damon Albarn would have been in between Gorillaz albums when recording The Good, The Bad & The Queen and I have no doubt that the better/more interesting songs went to Plastic Beach sessions instead. The Good, the Bad & the Queen is not a bad album, but it's certainly not an interesting one. I only mention Albarn because he would've been the only member who was still with an active project. Paul Simonon had only been doing guest spots through the 2000's, and Simon Tong was effectively a Gorillaz studio guitarist after The Verve called it quits in 1999. Tony Allen is a different story since he effectively achieved legendary status after his work with Fela Kuti & The Africa 70, so he would end up drumming for a few notable names in addition to his solo work. What surprises me how sparse the drums can be on this album. On occasion, Allen is replaced by a goddamn drum machine which feels like a slap in the face. I understand the somber atmosphere that is being achieved here, but if I had Allen behind the drums I would want each song to be a groove-focused with undeniable rhythm. You don't get much of that here. I'll say that it actually picks up near the end, so it's worth sticking it out. This is especially true for the closing track, which is distinctly their best song.

Released at the height of the reign of synthpop, Songs From the Big Chair effectively perfects the genre. Starts of huge with a 1-2-3 punch of amazing songs and never lets up after. A bold take, but Everybody Wants to Rule the World might be the greatest synthpop song. Songs From The Big Chair is consistently captivating, with beautiful hooks and stellar basslines. Immaculate production on this too, as it avoids the flawed plastic tendencies of 80's production. Also closes on a bold rhythmic piece that isn't afraid to explore it's full potential. In a word: amazing.

A finger-picking virtuoso. Bert Jansch barely needed to prove anything to anyone. A handful of simple folk songs, beautifully performed. Jansch does not have the best voice, but his guitar dances along with incredible grace. This style of guitar playing would go on to influence the likes of Simon and Garfunkel and their own folk sound. Simple yet elegant. Easy to recommend.

Something to note about American popular music back in the day is that there were effectively two kinds of music: "white" music and "black" music. The latter was primarily blues, jazz, r&b, and soul, while the former was country, western, traditional pop, and various folk subgenres. Racial segregation was still a pretty powerful force of American life which is why there had become a distinction between the "white" and "black" music. This isn't a completely futile exercise though, as racial segregation had effectively made it so that distinct cultural movements would grow separately. As such, there's a variable depth of interplay worth analysis in the grand scheme of American culture as it developed in the early 20th century. Enter Ray Charles. His body of work throughout the 50's and early 60's (with Atlantic records) was best known as jazz, soul, r&b, and the like. When he signed with ABC-Paramount, we wanted to do something different: Ray Charles would cover country songs. Everyone told him he was crazy, and by all rights he probably was. However, Charles handles these songs with such grace and humility, it was hard not to appreciate. Audiences also appreciated his efforts, and it was a crossover hit with both black and white demographics. Considering how Charles was able to bridge the gap, even a little bit, easily makes this an important album for the list.

The first-ever documented proof that white boys CAN rap. While future Beastie Boys releases would be a better show of quality overall, this debut breakout is undeniable. The balance between the heaviness of metal and the bravado of hip-hop made for a bold statement during hip-hop's awkward years.

A double album from 1/4 of Crosby, Stills, Nash & Young. Technically Manassas is it's own band, but who's keeping track? There's a nice easiness to the album as Stills gently sings his little songs. Occasionally leans more county than folk. Nothing wrong with that, just an observation. As is the case with double albums, it runs longer than i would usually like and tends to wear me down a bit. That being said, it never feels like the album hits a low point. Every track is a pleasant listen. I also don't remember a single track. It's nice for what it is.

Kraftwerk tends to get a lot of credit for pioneering electronic music, and rightfully so, but people will often forget that there was an entire was an entire flavor of sound from Berlin. It focused heavily on multi-layered sequencers to create rich, ambient spaces akin to the likes of Krautrock. The synthesizer found a lot of use during the 1970's as it was an exciting new instrument, wild and begging to be tamed. You will not hear a single drum on this album, real or otherwise. Rhythms are subtle and developed using steady arpeggios. It is an extremely atmospheric piece of work, and if you don't like your music stretched out and spacey then you're not going to like this. But for Berlin in 1974, this broke ground. In truth, most of the good stuff is in the title track. Thankfully that's 17 minutes so you get a lot of good stuff. The rest of the album depends on your ability to tolerate a lot of electronic experimentation. Some stuff works, some stuff doesn't. I happen to enjoy this album enough that I would give it a hearty thumbs up, but I also recognize that it might be too weird for others.

It's the album with the banana on the cover. It's got Andy Warhol's signature. It's been praised to the moon and back by guys who are "into music" the same way that guys who are "into craft beer" talk about session-brew IPAs. Because deep down, you kind of know that they're right. They've had way more craft beers than you have and have been drinking them for way longer. Obviously, they must know what they're talking about. But on the surface, you only know that it tastes horrible. Just an overly bitter, hoppy mess. You might think that they've bought into their own bullshit as a way to save face, avoiding a certain amount of cognitive dissonance. What the fuck is at the bottom of the glass? "Oh, that's just sediment", he explains, "that means it's fresh." Yeah, sure man. You'll just order something that you know you'll like. Here's the thing about the craft beer guy: maybe he doesn't like it either. However, he's probably also ordered the same safe drinks for years and got tired of them. He had the same reaction as you when he started drinking IPAs too, but at least it wasn't another Coors Light. And the more he drank IPAs over time, the more he could start to appreciate them. Flavor profiles and hints of this or that. He likes how bold the flavor can be. He can talk about it with other craft beer guys and gain new insights, learn a few things about the brewing process. He becomes invested in trying all sorts of different craft beers, seeing what's out there and figuring out what he likes best. Perhaps he's happy with his bitter, hoppy mess of a hobby. People often drink just for the sake of drinking, and that's perfectly fine. There's also people who want to enjoy certain complexities to their drink. It can be fun to be challenged and try new things. Consider this your challenge for today.

Perhaps the greatest funk album that there ever was. Starkly political and groovy as all hell. It's a frankly dense album that I feel unequipped to properly articulate how damn good this album is.

It's dumbfounding that Limp Bizkit became any sort of cultural force, because it's so damn dumb. Most of the personality of Limp Bizkit comes from frontman Fred Durst, who is only ever obnoxious in his delivery. Whiny vocals, repetitively crass vocals, all overpowering the mix so the only thing you can think about is whatever garbage Durst is spewing at any given time. The first actual song, Hot Dog, is this odd diss track that riffs on Nine Inch Nails' Closer. It sucks because it's reminding me of a much better song. Chocolate Starfish And The Hot Dog Flavored Water (quick sidebar, does not need to be said but terrible album title and cover) has moments that I would actually consider to be good. The rest of the band brings unmatched nu metal riffs that feel like the peak of the genre. Dynamics are used to great affect and I'm consistently impressed by everyone except Durst. There are two notable exceptions where everything falls into place and you get the best of Limp Bizkit: the first is My Way, which is incredibly hype and utilized in the greatest video package ever made, promoting the all-timer WrestleMania 17 match of The Rock vs. Stone Cold Steve Austin for the WWF Championship. Hearing that outro over the quote "I need to beat you, Rock. I need it more than anything that you could ever imagine" gives me chills. Masterpiece. The second exception is the immediate follow-up Rollin' (Air Raid Vehicle), where the band manages to completely make up Durst's shortcomings as a vocalist. It was also used as an entrance theme for the Undertaker during his biker era. I'm noticing a trend here. At the top I questioned how Limp Bizkit became a cultural force. I guess the answer is that the culture preceded the band. Professional wrestling (only one part of the puzzle, but still) had hit a fever pitch in the late 90's and was only going to get dumber. Spectacle had become the game and it was bombastic in every way. Limp Bizkit was more than happy to be a part of that spectacle. Fred Durst is the perfect in-your-face guy to bring the energy. People wanted that sort of unfiltered, unpretentious music that you could break stuff to. Chocolate Starfish is a messy, vulgar piece of work that isn't worth anybody's time but will still be remembered for it's moment.

A boldly enduring album. Zack de la Rocha's poignant lyrics and powerful vocal delivery makes up a majority of the Rage in Rage Against The Machine. The rest of the band expertly backs him up with punctuating riffs from Morello, hard-hitting drums from Wilk, and Commerford with surprisingly groovy basslines. This culminates in the utterly fantastic 1-2 punch of Bombtrack followed by Killing in the Name. These two tracks still live on as genuinely fantastic shows of power from Rage and are arguably their best songs. As the album rolls on though, it is evident that Rage is something of a one-trick pony. And while I think they do that one trick particularly well, it gets pretty tiring when you heard it done best the first two times. A key exception I'll note is Know Your Enemy, which has some of the most interesting guitar work from Morello combined with a poignant outro from De La Rocha. Obviously this is a classic. There's reasonable room for discussion on the effectiveness of the band's core message and how it was delivered, but the debut Rage album is unforgettable at it's root. A tour de force in all respects.

Steely Dan albums can speak for themselves. They had a masterful run in the 70's and have become an incredibly well-respected band in all respects with the notable exception of Steve Albini. Steve, I love you and your work, but Steely Dan is immortal now.

Hard rock was perfected in the 70's. Everything after that was either something so different that it wasn't pure hard rock anymore, or it was derivative. You can sing your praises about Led Zeppelin or The Who, but for my money it was Deep Purple that had the genre on lock. Machine Head is dead proof that Deep Purple mastered hard rock. All you need is Highway Star, really. All the songs are still worth a listen, if you have the time. Now if you take these songs and hear them live (say, in Japan), then you get what is effectively the epitome of rock performance.

Rick Rubin produced this! Released in the same year as Beastie Boys' Licensed to Ill and Run DMC's Raising Hell (both also produced by Rick Rubin), Slayer's Reign in Blood was basically confirmation that they ruled trash metal. They had established themselves prior to this, but Reign was so fine-tuned that it felt like any thrash release after would be playing catchup.

Live album. Double. It's Van Morrison and it's and hour and a half long. Shoot me! I think this is actually a really good performance. Turns out a lot of Van Morison's catalogue up to 1974 was worth hearing in a live setting. Essential album? Maybe. I think the extent that people ought to know about Van Morrison is Astral Weeks and Moondance and that's it. The rest is up to personal preference. Either way, this live album is enjoyable enough to me.

I hate the eagles man. The Dude had some merit there. They were sorely overplayed on the radio and still are on classic rock stations. They're incredibly radio-friendly and smooth enough to appeal to at least some demographic that doesn't like music to be too abrasive. Basically anything that the Eagles can do, Steely Dan can do better. My only compliment is that sometimes when they lean into the country a bit more (Train Leaves Here This Morning). Otherwise it's the Eagles.

Expertly blends the delicate intricacies of British folk music with the modern fidelity of rock music. Fairport Convention is really only worth listening to once so whether you get Liege And Lief or Unhalfbricking, you'll know what to expect when you get the other. Still a nice listen.

Who is Alex Harvey, and what is so sensational about his band? Alex Harvey got his start fronting Alex Harvey's Soul Band throughout the late 50's and early 60's. It was more of a british blues band but who's keeping track? He would develop his performing skills during this time until he went solo, with little success. It wasn't until 1972 that he formed the Sensational Alex Harvey Band, beginning to ride the wave of glam rock that was ushered in by T. Rex, Alice Cooper, and David Bowie. If the "sensational" part of the name means anything, it comes from the performance elements: stage costumes, set pieces, and memorable vocal delivery led to the band becoming a success in the UK. Of course, you only get a third of that sensational element coming through on the record. And while Alex Harvey certainly laid down some solid rock tracks for the 70's, it feels difficult to give him and his band the praise they deserve by just listening to the studio album. Weird note: The spotify version of the last track has a moment where it pans hard to the left channel halfway through and then goes back to being normal in the outro. I'm not sure if this was an artistic mixing choice or a blunder on spotify's part but I hated it. Thankfully that was only in the final minutes of the album.

Glam metal vocals with 70's rock instrumentation. While I don't doubt that glam had it's moment in the 70's and reinvented into the 80's, I can't help but feel like this album does not need to be on the list.

This is, of course, the ultimate western album. It is genuine cowboy songs from a guy who did not live to see the development of the western frontier. Depending on how old you are, you know this album best from El Paso (you're old) or Big Iron (you're not old). El Paso was Robbins' best-charting song during his career and was inducted into the grammy hall of fame in 1998. Big Iron was included in the soundtrack for video game Fallout: New Vegas in 2010, and was subsequently memed in various different ways. For what it's worth, both songs are excellent western stories but Big Iron has my heart forever. What a treat! Smooth harmonies, warm guitars, and vivid imagery make this a classic. It's no wonder why Marty Robbins was immortalized for his dedication to the western song.

The cool thing about the 80's is that post-punk bands would start to develop a unique sound with more pop-informed songwriting. The result is effectively indie rock where the production was way more captivating than a lot of the more mainstream stuff from the 80's. Throwing Muses, while lesser known, was one of those bands. They would pave the way for the Pixies to be signed by 4AD, as they would share similarities in their sound that proved to be popular with an alternative audience. Throwing Muses is notably raw and restless. There's a lot of well-executed ideas throughout the album that I happen to appreciate more as the runtime goes on. Every song ends and I think "wow, that was great! I wonder what the next one has in store?" and it's just as good or interesting. A true underground underrated gem. Dig this up and give it a listen.

Bands back then could rarely match the energy of MC5. They were a roaring, unstoppable ball of fire when they took the stage. Even when they slow it down, their force is undeniable. Not only is it a proto-punk masterpiece, it closes with an experimental noise rock statement. Mileage may vary, but mine goes far.

Throwback blues/southern rock. Trying to sound like the 60's was never as cool as it was in the 90's. I know them best for their electric hit Hard to Handle, which was nice on relisten. I don't think Shake Your Money Maker has anything special to offer. I was pretty underwhelmed the entire time.

The Rolling Stones' double album. I already know where I stand on the Rolling Stones: they're fine. They have a few great songs, but they've never been one to wow me. I will say that Exile does not have all that many heavy hitters in my opinon, but it is their most consistent album in terms of quality. Based on the now-5 albums I've heard from them, I can confidently say that this is their best.

Pure 80's cheese. For all the synthpop sensibilities of it's time, this tends to be the most unremarkable. It's be done better by more talented people.

If there's one song you should take away from this album, it's Masters of War. It's a hauntingly beautiful condemnation of the Cold War, showing how Dylan expertly wields his anger through his art. For all that I don't like about Bob Dylan's songs, this will be the one that makes his a legend in my eyes. As for the rest of this album, it's incredibly humble. Dylan is the kind of bard to wear his heart on his sleeve and it shows in his lyrics. You'll need to buy into his charm in order to fully enjoy and appreciate Freewheelin', but those who do know exactly why it's so great.

The Killers exploded onto everyone's radar a mere two years after forming, with the song Mr. Brightside being an instant radio hit. They had successfully modernized the sound of 80's post-punk/new wave songwriting, giving it cool new coat of paint. They understood that rock's sound for the new millennium was basically The Strokes, but they could fine-tune it to make the sound their own. A strong demo led to a couple of record deals and the eventual recording of Hot Fuss. Many of the tracks here are actually from the demo, which is a testament of the demo's quality. As for the album itself, I have mixed feelings. The first six songs fantastic feats of early 2000's rock, planting the Killers' flag boldly in the music landscape. After the sixth track Andy You're A Star, it begins to sadly fall off. Hot Fuss is a definitive front-loaded album. No need to flip over to side B, or you'd be wasting your time!

Belle and Sebastian had a honed sound right from the start. It's no wonder, then, that the discography from the 90's through to the early 2000's has been so revered for it's precious tone. I think it's a well-put-together album, but not quite as good as their sophomore release. A nice and easy listen.

The ultimate rock album? Perhaps. Led Zeppelin certainly tuned in and made their best work with this. Strong side A, equally strong side B.

Exactly what it says on the tin. Do you like southern rock? Do like it enough for an hour and a half worth of material? Southern Rock Opera is for you. It was around the song The Southern Song that I got the nagging feeling that this was trying to the The Wall really bad. I don't even like The Wall that much, but any attempt to match The Wall is a fruitless attempt. I think this works better as a love letter to the south and it's developed culture, while also being aware of the social and historical implications (specifically regarding race). My position on long albums is unwavering: you do not need more than 50 minutes. Ideally you wrap it up at the 40-minute mark. It's clear that Drive-By Truckers are quite passionate about southern rock and had enough material to make a double album, but I'm not passionate enough about southern rock to listen to Southern Rock Opera again in one sitting.

Oh god, here we are. Aside from Ella Fitzgerald Sings the George and Ira Gershwin Song Book, this is the longest album on the list. It is, true to it's name, 69 songs. Nearly 3 hours split over 3 discs, this is better heard in sessions rather than in one sitting. It's much easier to tackle 23 tracks three times rather than 69 tracks once. Something to consider. As for the music, it manages to stay consistently interesting with lots of variation. Stephin Merritt will go from a bouncing indie pop song to a sensual baritone serenade with finger-picking guitar. It's filled with beautiful little moments that feel like memories of a life lived with love, loss, and missed connections. Not every song lands, but 69 Love Songs manages an impressive batting average for an album with 69 songs.

A mellow, pleasant album. There's a lot of heartache in her delivery and the story behind this album makes it even more heartbreaking for the listener.

An album that seemed to be incredibly well-received on release, but has not been remembered over time. Ms. Dynamite seemed to be championed as the next big artist for hip hop and neo-soul, riding in on the backs of Missy Elliott, Lauryn Hill, and Erykah Badu. Instead, it seems like her work pales in comparison to her contemporaries, and barely impacts like recent artists SZA, Noname, or Lianne La Havas. I can't hate too much but it's encompassing the 2000s bass-heavy style of hip hop production that feels dated. It's especially true when it feels like Ms. Dynamite is pulling punches. More than anything, this kind of production deserves bombastic, in-your-face delivery that sticks with you. When it's go big or go home, Ms. Dynamite does not go big.

Hello, welcome to the reviews page for the lowest-rated album on this website! Take a seat, dive into the horror of Industrial music. Pure industrial music (none of this industrial metal or industrial techno stuff) is content exploring dark, noisy soundscapes that sound, well, industrial. More metal than metal, more raw than punk. There's a specific fascination with the mechanical, rhythmic chaos of the factories. It aims to capture the bleak nature of the artist's realities, the world around them. Kollaps is a true, German reflection of the industrial genre. It is a monstrous experience and one that is delightfully disturbing. Wails from vocalist Blixa Bargeld, as if crying out for release. Unrelenting noise from things that simply cannot be instruments. Kollaps is, for lack of a better term, wrong, but it's execution is oh so right. What a messed up and uncomfortable album this is. Einstürzende Neubauten must have known the power of something like this, and how goddamn unpleasant it was. It's beautiful.

Here's what you do: go pick up the book Our Band Could Be Your Life by author Michael Azerrad. Skip over to the chapter on Big Black and read that. You should read the other chapters too but the Big Black chapter is important here for obvious reasons. That will tell you everything you need to know about the band and why they're so revered; there's no point in me writing anything else about them. However, the book was published in 2001 and does not go into how Big Black's sonic style would lend itself to Steve Albini's trademark production. Although Albini does not like to call himself a producer, it would be a disservice to not recognize his impact on noise rock and post-hardcore recordings. By mixing the vocals further back into the mix rather than in front of the mix, the vocals play more of a part of the overall sound. This is especially effective with aggressive vocals, as it provides a wider attack. While Albini did not produce Atomizer, it would follow him for the rest of his career. Next time you listen to P J Harvey, Jawbreaker, the Jesus Lizard, even Nirvana, you'll hear a bit of Atomizer too.

it's perfectly fine. Can't find anything bad to say about it but I also can't find a lot to praise about it either? The whole listening experience did not move me in any meaningful way. Feels bad.

This is your morning downtempo, giving you the most soothing beats for your early rise.

It's no surprise that Elliott Smith wrote and performed some of the most gorgeous music in his lifetime. Either / Or is a standout demonstration of his work as a singer-songwriter.

Bauhaus gets a free claim to the throne of gothic rock with their dark instrumentation and haunting production. Their debut album, In the Flat Field, perfected the gothic rock sound before anyone else even had a chance to experiment with it. While In the Flat Field had highs and lows, Mask feels like a more consistent show of quality. Unfortunately, I struggle to find the same highs that they had with their debut, making it feel less special as a result.

Stevie Wonder had a truly masterful run of albums throughout the 70's, and this is certainly one of them. While not strictly smooth soul, these songs are incredibly smooth. Wonder is a master, no doubt about it. Hate to compare apples to apples but Songs in the Key of Life is still the magnum opus in his discography. Feels like everything else pales in comparison. Even though the quality of Key of Life shines bright, this album is still worth it's salt.

Look, I get it. The Smiths are really good. Morrissey is really good. I think to have three Smiths albums and then three more of his albums on the list is a bit much.

I'm cool with house music but I don't think this is worth much of a listen. Rough around the edges with certain elements that don't pan out that well.

Ladies and Gentlemen We Are Floating in Space opens with an aptly spacey song that shows the production quality of Spiritualized as they perfectly capture what the album is all about. Then it dives right into some of the best rock of the 90's. To be able to explore so much sound in such a grand fashion is divine. It ends in a cacophony of instruments, all wailing like dogs at the moon. It is a freeing experience for rock, a genre that often feels so tightly wound up that it never takes a moment to appreciate how much greater it can be.

I think that a lot of people tend to forget that post-punk can embody a wide range of sounds. It can sound more new wave like the Talking Heads, or it can sound more gothic like the Cure. Those who saw the potential in post-punk early on would adopt a more experimental attitude. Pere Ubu is one of those experiments. Despite the name, there's only a little bit of dub influence in Dub Housing. Most of the runtime is tied up in janky, angular guitars and off-key wails. It gets especially experimental in the tape noises of Thriller! as sounds get less and less intelligible. A descent into madness. Side B brings us back to reality with some wonky synths and a bass groove that slides around. Pere Ubu captures music from a universe slightly different from ours, where we're maybe a file miles closer to the sun and it cooked our brains a little more than usual. I can see why many people would not like this bold form of post-punk, but I happened to enjoy what this album has to offer. Certainly better than their debut.

Kings of Leon are a somewhat restless band. Debuting with a strong southern rock sound, their identity pivoted to a more palatable alternative rock identity. This would fluctuate with their southern rock roots, but their 2008 album Only By The Night would land on poppier alt rock that would end up defining radio rock for the next few years. Two bonafide hit singes, Use Somebody and Sex on Fire, followed by three less notable singles would make Only By The Night their most successful album by a longshot. The singles aren't bad. Use Somebody hones in a sort of U2 stadium rock that I tend not to like, but Sex On Fire has a decent driving force to make up for the things. Oddly enough, it's the less popular singles like Notion and Crawl that I remember more fondly from the radio. Pacing is good, it never sound egregious or obnoxious. It's a perfectly acceptable rock record with a few good tunes to boot.

When the Beatles split in 1970, each member had a whole new decade ahead of them to make music with. Since they practically defined the 60's, there were heavy expectations on how each Beatle would deliver in their solo efforts. Lennon would release the politically-conscious Imagine. Harrison had the heavy-hitting All Things Must Pass. Starr, I'm hesitant to bring up so we'll skip over him. McCartney would collaborate with his wife to make Ram, a classic by all means. Linda McCartney's inclusion would eventually grow into a whole band, and thus Wings were born in 1971. McCartney has always been the silliest Beatle. Some may argue that it's Starr, but it's always been the guy who wrote Maxwell's Silver Hammer. No doubt he's an excellent songwriter, but he's always been a bit silly with it. Band on the Run is no different. Not just the song, the whole album. I like a few of the songs, specifically Let Me Roll It and Nineteen Hundred and Eighty Five. Others weren't much to write home about. I think the closer track captures a lot of what's distinctly interesting about the band, which is the more complex elements that break their songs from the mold. The rest of it feels kitschy, middling, uninspired. I prefer when McCartney gets bold with his songwriting. He's obviously very talented so why not makes things a bit more interesting? Temporary Secretary is not the end of the world.

As rich and beautiful as any album before or since. Lauryn Hill can take pride knowing she dropped only one solo studio album and then called it quits, because it's damn hard to top something like this.

Xtine, millenium pop royalty, had started her career in the late 90's with the bonafide hit Genie in a Bottle. After a bit of meandering, she decided to strike back at many of the issues in her life with Stripped. This would be the rallying cry for her and others to stand strong. Uplifting anthems like Fighter, Can't Hold Us Down, and Beautiful would be strong, albeit shallow, feminist messages needed in a post-9/11 America. They're not bad. Perfectly serviceable pop songs with an r&b influence. It's overly long so I checked out a few times but there's clear highlights. People probably got their money's worth for this.

There are many key bands, songs, albums in the great post-9/11 rock sound that defined the new millennium. Garage rock was having it's moment in the sun with the likes of the Strokes, the White Stripes, and the Hives. Rock had taken the apathy and edge of grunge and given it a boost of energy. Enter the Yeah Yeah Yeahs. Yeah Yeah Yeahs are a triple threat of Brian Chase's unstoppable drumming, Nick Zinner's hurricane guitarwork, and Karen O's signature enthusiastic vocals. Combined, Fever to Tell is a workhorse of manic power. There's a lot to like on this album but it hits it's true stride with the last few tracks. Maps is a bonafide 2k rock classic that elevates the indie sound. Y Control continues the elegance of Maps but brings it up to a speed that is mroe consistent with the rest of the album. Modern Romance is the sobering reality of love. It's at this point that Karen O's lyrics become all the more poignant: what was once a blurred frenzy of energetic vocals is now a focused delivery for the message. This band, wow. I didn't give them much credit on their 2009 It's Blitz, which was a fascinating pivot to new rave of the late 2000's, but debut shows that they locked in a great modern rock sound from the start.

Ry Cooder got his start with Captain Beefheart, also on the list, for his guitar work. He would go on to play guitar on many great albums, such as Sticky Fingers, Trio, and Crossroads. He would eventually explore music outside of America to team up with the likes of Vishwa Mohan Bhatt, The Chieftains, and Afro-Cuban All Stars to make all kinda of wonderful albums. One such collaboration was with Ali Farka Touré of the west African country Mali. Together, they would blend blues and the music of Songhai to make Talking Timbuktu. Given that the blues is traditionally derived from Songhai music, it makes sense that west African native Ali Farka Touré to explore the two genres in tandem. This is how he made a name for himself, as the incredibly soulful and roots-driven musician. His songs mosey along at a comfortable pace, giving listeners time to fully appreciate how large these songs are (not long, large). And while the album is quite long, it feels suitable to the atmosphere it creates as it invokes the traditions and landscapes of Songhai.

As usual, it is very difficult to talk about Beatles albums in ways that haven't been talked about before. Here's my attempt: Rubber Soul is a radical transitional piece. It's bringing the 60's out of cheesy by-the-books pop and into new sonic territory. While bands have done more forward-thinking stuff before or since, Rubber Soul broke the mold to make a much more comfortable shoe. We've been walking it ever since. But what the hell is up with Run For Your Life? Such a disturbing song!

an incredibly slow, comforting indie rock record with country influences. Guitars like this are so nice on the ears.

Didn't think this was worth being on the list as we already have two XTC albums worth enough praise, but the magnificence of Easter Theater is enough to make me believe in the beauty of sound. It is unfortunate that Colin Moulding's two songs (Frivolous Tonight and Fruit Nut) drag down the overall quality. Otherwise, what a spectacular final showing for a band that should have peaked in the 80's.

Scissor Sisters found a somewhat niche fan base as being unabashedly gay dance pop. Even then, most gays are partial to the more mainstream pop acts like Britney Spears and Lady Gaga. Scissor Sisters, in comparison, is tied up in making genuinely catchy tunes or tongue-in-cheek jokes. Shamelessly sexual, but never in an erotic way. Highlights are the surprisingly heartwarming "Take Your Mama", and the electric "Filthy / Gorgeous" which lives up to it's name by having the dirtiest synths. Despite this, I think they're better off with synths than piano. They lean almost piano rock for many of their songs, though their best stuff is elsewhere.

It's 2002. Boy bands are OUT, but contemporary R&B is still IN. NSYNC has, correctly, decided to cash out and Timberlake is the only one continuing to pursue music as a solo act. Bold move, Justine. Let's see if Justified earns it's name. About half of the album is aided by Pharrell Williams. In fact, the guy introduces the album to vouch for Timberlake. This is off the heels of some stellar work with Jay-Z, ODB, P. Diddy, to name a few. Despite this, it takes a while for the album to kick in. This includes the boring ballad Take It From Here; I prefer to watch paint dry. Cry Me a River has more to offer, thankfully, and it's pretty catchy aside from the off-putting beatboxing that bubble underneath the surface of the actual beat. Timberlake used to actual beatbox at shows and, God, I would want my money back if he did this on stage after I pay full price to see him. Good thing I didn't pay any money to see Justin Timberlake, except for that time I saw The Social Network in theaters where he plays the guy who founded Napster. Timberlake is actually a pretty good actor. This album shows it's age and not in a good way. Rock Your Body is a certified jam, but some of those synths...after the two singles the album just meanders on. It's more like Timberlake and Timbaland are just messing around than actually making songs. Either that or boring ballads. I'll lay it out straight: Justified was a misfire. Actually it was more of a warmup that seemed like a misfire. Timberlake would bring his A-game on his followup Futuresex/Lovesounds. Please don't be hard on yourself if you skip this album.

Peter Frampton, of no particular fame whatsoever, had this live album as his breakout hit. I have no idea why or how, but it landed on the Billboard 200 and stayed at number 1 for ten consecutive weeks. Did somebody grease the palms of radio execs or was there just a few slow weeks in 1976? Either way, Frampton Comes Alive sold a gazillion copies and now it's the most popular live record in the used bins of record stores across America. Behold: a double album no one asked for. Highlights include the talkbox. That's about it. Most of this album is tied up in boring, unremarkable 70's rock. This includes a particularly unnecessary cover of Jumping Jack Flash.

Traffic is a band that doesn't need to be on the list more than once. Sure they made some moves in the 60's and 70's, but nothing that felt particularly notable. If we're to compare them to their Blind Faith counterpart, Cream's music is far better. Also this is such an odd collection of songs. It gets occasionally jazzy at times and feels like a melting pot of ideas: haphazardly throwing in whatever influences the band scrounges up for the sake of making something more interesting. This doesn't always work.

Jeff Beck did a year with the Yardbirds, said "fuck this" and started his own band. Rod Stewart sings. But here's the kicker: Jimmy Page and John Paul Jones would both play on Beck's Bolero (with Keith Moon!!!!) and would no doubt hear Jeff Beck's brand of late-60's hard rock. What I'm saying is that Jeff Beck helped lay the groundwork for Led Zeppelin, and that's good enough for me.

Exploring the ambiance of trip hop while inducing the hypnotic frenzy of breakbeats. Results are fit for a soundtrack for a late 90's/early 2000's movie or video game. Lack of vocals leads to much of the album relegating itself to background music. This kind of attempt at trip hop has a lot of potential, but it often sounds stunted or never fully-realized. Don't Die Just Yet is the closest that Holmes reaches to excellence, but even then it lacks a certain focal point to give the music an extra kick.

Neil Young, for as good as he is, is at his best when he rocks. Rust Never Sleeps is evidence of this, but so are the songs on Tonight's the Night. It is, however, quite a slow album, taking it's time to tell each story. Not my favorite of the Neil Young catalogue, but still worth a listen.

Björk's divorce album. Incredibly somber and intricate. Every sound, vocalization, timing is purposeful. More than just a mere breakup album, Bjork examines the more complex emotions surrounding divorce. Overwhelming grief and betrayal surrounds each song like a whirlwind. Goosebumps just experiencing this for the first time. How is she able to create such incredible works of art like this? Does the depths of her creative talent know no end? For all the Björk albums on this list, it gets hard to argue each one. Maybe Medúlla could've been cut, but having such a recent release be so impactful is such an impressive feat. Vulnicura earns it's spot easily.

We're still four years away from the Bee Gees going disco, so you get some pretty pathetic soft rock for now. Feels like it only hits a stride by side B with the title track followed by a genuinely great Don't Wanna Live Inside Myself. It loses steam shortly after those two songs. God, it's boring as sin. It's slow and whiny and it drags on and on. If this were a single live performance where they had my undivided attention, I would be asleep by the end of it.

Dumb. The whole "punk rock party" thing was done better by Andrew WK and it wasn't even punk. Songs come and go and are barely interesting, just power chord after boring power chord. Lyrics are impressively bad and maybe you can argue "well that's the point!" Well that doesn't change the fact that I don't enjoy listening to it. This reminds me of what the Darkness went on to do except Turbonegro has more of a punk edge to it. Still, I think it's bad.

You know you've made it big when you survive an assassination attempt. After making waves in Jamacia, Bob Marely nearly loses his life with a poorly-aimed gunshot to the arm. He would flee to London soon after, hence the name Exodus. Exodus is the peak of Bob Marley and the Wailers: smooth, groovy, and full of purpose. An incredibly pleasant listen that makes me appreciate the finer elements of reggae.

Spacemen 3 is the band that Jason "J. Spaceman" Pierce was involved in prior to his work as Spiritualized. As a result, you still get a lot of the space rock revival sound on Playing With Fire that would later find itself on Spiritualized releases. It's a fairly airy release, as expected with space rock. Much of Playing With Fire is more concerned about creating an atmosphere but not doing much with it. That's fine for ambient music and such, but for a rock record it feels like wasting precious time. The exception to this is Suicide, which is a behemoth of a track that builds upon feedback and noise until it reaches a magnificent roar, not unlike a rocket attempting to break the sound barrier as it propels itself with unreal forces. This is followed up with the closing song Lord Can You Hear Me?, as a tender moment of aftercare. These songs alone do so much for the album.

"Yoko Ono ruined the Beatles!!!" yeah and my mother ruined supper last night. What do you want? This is Lennon slowing things down. He is kicking rock and roll to the curb so you can appreciate his songwriting a bit more, but brings it back in for a song or two. Working Class Hero channels Bob Dylan. Well Well Well borrows from the electric rock and roll of Chuck Berry. Lennon wants you to understand his influences and his pain. His primal screams give proto-punk a foundation to build on along with the fuzzed-out guitars. It's pretty good. If Imagine is Lennon's political album, this is his therapy album; a way for him to parse through his feelings.

When I first started getting into post-hardcore, I was of the understanding that Spiderland was the peak, the pinnacle of the genre. Eager to explore the best, I gave it a listen and was not too impressed. I simply did not "get" it. So I moved on. Now I have returned, a few years later, to revisit and reevaluate. There's really no other album like Spiderland. It's the most impressive use of dynamics, where songs go from blasting guitars and wails to tender strumming and whispers. It is an album that shouldn't be put into a box because it is so sonically detached from it's contemporaries that it makes it difficult to even define. On reevaluation, I like this one a lot more. The production in particular is superb, especially on those drums. It's an impressive show of composition. Incredibly unique in concept and execution, I can't help but feel they captured something special here. The extended quiet parts give way for incredible noisy parts, as exemplified in the closing track. I can't wait to revisit this in a few years.

A Tribe Called Quest hit the ground running with this debut. Although they would top this with their following two albums, People's Instinctive Travels and the Paths of Rhythm is still an incredible piece of work from this group. Aside from their clear contributions to jazz rap in 90's, Tribe has a clear talent for storytelling in their lyrics. Songs like I Left My Wallet in El Segundo and Bonita Applebum have a great relaxed feel as if you're listening in to a friend recounting something from the other day. It's incredibly chill and laid-back. Does it run a little long? Sure, but I can forgive that for the simple fact that it's Tribe. Can do no wrong.

Combines the rising popularity of the outlaw country genre with the throwback honky tonk sound (if the title wasn't obvious enough). This was a successful blend of old and new (new at the time) country. It's a classy country record that respects both the genre's history and the audience. While I prefer shorter albums to longer ones, I am somewhat miffed that this clocks in at under 30 minutes! Jennings had a great sound dialed in and barely expands on it. Regardless, I'd stand by Honky Tonk Heroes for being one of the finest country albums I've had the pleasure of experiencing.

The peak of punk rock, innit? The Clash's willingness to experiment, or even compromise to other genres, helped create a masterpiece punk rock album. Still punk at it's core, it happily dabbled in new wave, ska, reggae, jangle pop, and a few other sounds. The result is a multicultural punk representation of the UK in 1979. A double album, no less! IT rarely falter in quality and has plenty of standout tracks: Spanish Bombs, Hateful, London Calling, and Train in Vain comes to mind. Are there better punk double albums? I would argue yes, but this one set the bar.

An album that I've seen many times but heard little about. The Flaming Lips' strange brand of pop is one that defies conventional instrumentation. Despite this, their pop sensibilities are strong and true, maintaining a charming allure of synthy hooks and memorable lyrics. A big aesthetical theme running through the album is that of pulpy science fiction, which it excels at communicating with weird blips and bloops and storytelling. I admire the Flaming Lips for having such a cohesive idea that is this well-executed. While I don't absolutely love it on first listen, I believe that future revisits will make me a big fan.

The first post-Troubled Water album from Paul Simon. A sort of eclectic mix of folksy songs, perhaps invigorated by the fact that Garfunkel wasn't there to ground him. Some songs work especially well but there are a few that don't quite land. The clear highlight is the bouncy Me and Julio which never fails to make me feel a bit better.

I've already heard Solid Air so I think that's enough John Martyn for me. Look, he's pretty good. A consistent, smooth, mellow sound that enjoyable to most. I found it a bit boring.

Joe Ely is pretty good, but I find he lacks a certain gentle touch to the finer aspects of country. Every song lacks the proper dynamism to make me fully enjoy them. That said, there's nothing explicitly wrong with this album. It's well-performed and a fun choice for social functions.

OutKast had an iconic discography from start to finish. Ending on a double album where each of the two members get to freely divulge in their creative interests is a perfect way to give a sendoff to OutKast as a group. Big Boi's side (Speakerboxxx) is consistently cool and groovy, while Andre 3000's side is inventive and a bit funny too. Each song brings something new to the table, and I have a lot of respect for the output that OutKast has managed here while maintaining quality. It's also two hours. This is a true double album in every sense, in that you really should not listen to this in one sitting. That said, I think that Speakerboxxx/The Love Below is excellent but a poor indicator of what OutKast was about. It's an exception more than anything.

Believe it or not this is not the first black metal album (because it's technicially not black metal), but to deny it's influence on black metal would be foolish. Right out of the gate, Venom introduces unrelenting guitar riffs, blasting drums, and a raw production style that provides the blueprints for true black metal. kvlt. The truth is that they're like a more evil Iron Maiden. And I like Iron Maiden, so I also like Venom.

He's kinda the James Dean of rock music, eh? I don't think it needs to be said but Springsteen is great. Had a fantastic run in the 70's and 80's, so you really can't go wrong with this one. My beef is that the list went a little overboard on Springsteen. You've already got Born to Run, Nebraska, and Born in the USA. Three great choices and it's all you really need as an intro pack to Springsteen. Darkness on the Edge of Town is still worth a listen, but I think the list could make room for other artists.

It's rare for the list to have any true blues on here so I'll welcome Muddy Waters with open arms. This album opens with the bombastic Mannish Boy which is easily the best stop-time blues performance I've ever heard. There are many more fantastic performances on this album, but Mannish Boy takes the cake. Much of the appeal, aside from the artistic skill, is Muddy's personality that shines through each song. Listening along, I'm convinced that there are his songs. No one else could give such gravity to each song. Muddy Waters kept blues alive, and for that we ought to thank him.

Apparently Pitchfork gave this a 9/10 or something like that. I think for reggae it's not bad for the 90's this is sorely behind the times. Just not enough interesting ideas to justify the runtime. That being said, the execution was not bad at all. There are some genuinely pretty good aspects to this album that makes me wonder if there's a better album buried underneath all of the middling stuff.

I've never heard of these guys. I'm assuming it's because they're Australian but I figured there's more to the story than that. Turns out this was a huge hit in Australia and New Zealand, even becoming a breakout hit in the UK. Unfortunately it failed to enter the mainstream consciousness here in the US and Canada, so Woodface or Crowded House never appeared on my radar until now. It's fairly good pop rock but nothing that really stuck with me.

You know the guys who did Why Can't We Be Friends and Low Rider? Turns out they also make great funk jams.

Britpop-turned-fancy! It's actually a gorgeous album through and through. Moments like The Ocean make this extraordinarily moving. The pop conventions are almost certainly borrowed from britpop, but the chamber and ambient instrumentation elevates it. Even the twangs of country influence feel earned as Hawley's wit plays through the lyrics. I enjoyed this!

A lot of great features for this German woman's album who I've never heard of before. Turns out Ute Lemper has some incredible songs here. Incredibly fancy and theatrical in nature, the runtime ends up being a bit of a mixed bag. This is especially true for the closer Scope J., which does little to justify it's length or inclusion. This album drags on as it continues, but there are some pieces of artistic merit that make listening a worthwhile experience.

Looks like country but it's very much folk. Songs are simple and reflective of the time where they came from. Elliott learned folk the folkiest way possible: on the street. He would later learn under Woody Guthrie and began spreading American folk music to the UK and Europe. Elliott's vocal stylings would influence the great Bob Dylan so his work is the blueprint for a lot of great contemporary folk music in America.

Some Tropicália from Brazil! In the late 60's, a psychedelic movement had begun in São Paulo which blended elements from psychedelic rock and pop with Brazilian pop music. Os Mutantes were a key part of this movement, utilizing a number of unique production techniques to give them a unique psychedelic sound. A lot of interesting songs on this record, but I am not a huge psych fan so my mileage is low.

There's a lot of Rolling Stones on this list but I'm of the opinion that they have not contributed enough to rock music history to warrant such praise. On this album, you'll hear songs that are performed originally (and better) by black american musicians. This record is an example of the british invasion stealing black american music and selling it back to them because racist white americans couldn't tell the difference. It's trash.

In a twist, 1001 Albums has included a Senegalese-native genre called Mbalax. Here, Youssou N'Dour blends the percussive elements of traditional Wolof Music with pop sensibilities. The result is a groovy, infectious handful of jams that simply do not compare. Having the traditional styling of Wolof Music lends a sound that is not often heard outside of it's respective culture, so the end result as a Canadian listener is a fresh and exciting sound.

It's difficult to talk about Tom Tom Club without mentioning Talking Heads, so I won't do that. In the rising popularity of new wave, Tom Tom Club serves as the weirder exploration of New Wave sensibilities. Frontwoman Tina Weymouth always had a good ear for bass grooves, so taking that to the forefront by having their songs lead with rhythmic-focused funk-inspired jams. This is backed up by odd-sounding synths, cryptic lyrics, and silly little background noises. What is that percussion instrument that sounds like a washing board? Who knows! Tom Tom Club is a fun little slice of early 80's weirdness and it's a breath of fresh air. It didn't have to be much more than that because it revels in the joy of simple musical pleasures.

Some slightly lesser-known downtempo stuff. Obviously there was a huge wave of artists in this genre during the 90's, with artists like Boards of Canada, Portishead, and Massive Attack making some of the most memorable stuff. Nightmares On Wax makes fairly unobtrusive downtempo that lingers in the background, but that's not necessarily a bad thing. Much of Smokers Delight is riding out a chill beat while occasionally mixing new elements in and out of the song. This album succeeds more in creating an overall vibe rather than asking you to pay attention to every element of it's songs.

The Beta Band is one of those bands that were slated for success based on endorsements from their contemporaries. Having opened for both Radiohead and Oasis, perhaps they could have been the UK's next big band. Alas, the best they could do was chart at number 13 on the UK albums chart. They disbanded shortly after this album. How is Heroes to Zeros? Pretty good actually. This is a record record with some forward-thinking ideas. A little bit of psych, a little bit of electronica, a lot of potential. I don't think much stuck with me except for the song Out-Side.

I'll often see praise for this being the greatest instrumental hip hop album of all time, and perhaps for good reason. DJ Shadow has an impressive ability for taking a typical sample and utilizing extensive production techniques at his disposal. To this extent, Endtroducing is like a bag of tricks that just keep coming. Where the UK was heavily invested in the world of trip hop during the 90's, America had DJ Shadow. And while not every track is the most impressive or mind-blowing, it displays a certain creative energy necessary to elevate the genre and industry practices as a whole.

When Slipknot's popularity peaked with All Hope Is Gone in 2008, it was basically all downhill from there. It was both a commercial and critical success for the band, though it was a departure from key tonal elements that made them so popular in the first place. This was done in favor of a more mainstream metal sound, which proved to successful for this release, but detrimental therein after. This is Slipknot's Black Album. Psychosocial was a big hit for them, and for good reason. It's kind of their poppiest metal song if that makes sense? Melodic and catchy chorus, chant parts for audiences to contribute, plus a little breakdown for the metalcore bros. Something for everyone. I think the rest of the album is extremely middling. I'm listening to metal but I feel like it's a shell of the genre. What other metal releases were there in 2008? Gojira, Opeth, and Meshuggah all released stuff that year so I guess prog metal was having a moment. Maybe that would've been a good move for Slipknot, but then again maybe they're not capable of progressive songwriting. When everything sounds the same, how progressive can your music really be?

Boards of Canada is a Scottish electronic group and another piece of the 90's UK trip hop/downtempo puzzle. Music Has The Right To Children is unique in how it wields the drum samples, mixing them with subtle synth pads, field recordings, and ambient hums. Production on this album is unique and occasionally experimental, as it takes each song into unexpected territory that keeps the listener on their toes. You could listen to a single Boards of Canada song a dozen times and notice something new each time. There's a lot to unpack a lot to enjoy.

Soul for lovers. Al Green does not phone it in and this record has some of the finest production of it's time. An enjoyable album through and through.

Upbeat standards sung by the iconic Sinatra. An easy listen for anyone who enjoys that style of jazz. The only real downside is that there's a song on here called "Makin' Whoopee" and I can't imagine a less sexy song about sex. Anyway, incredible production for the 50's. Nothing less for the fantastic Sinatra.

Recorded right before his death, Gram Parsons left behind a wonderful document of his influence on country. Truthfully, this is just as much an Emmylou Harris album as it is a Gram Parsons album. The two were close contemporaries, leading her to be invited on to provide vocals for all but one song. They are especially great on the live medley that opens side B. Truly, everything about Grievous Angel is magnificent, oftentimes seeming like the rest of country music is trying to catch up to Parsons. What an album.

Featuring the guy with the washboard flipping you off on the album cover. This was a bit of a flash in the pan. The band's grassroots success was seemingly sabotaged by their label and the ensuing press reception. Regardless, these fellas were primo performers in their time. This comes through on the record and I'm consistently impressed by their sharp songwriting, flowing melodies, and lovely harmonies. Perhaps one of the best bands from around this time. Moby Grape.

Admittedly I do not care much for PJ Harvey. I respect her artistry and having her earlier albums like Rid of Me and Stories From the City on the album, but this makes the 4th entry on the list which feels excessive. Truthfully she's still a great songwriter. She has a lot of compositional ideas that pan out exceptionally well here.

John Prine, country legend, makes his genre seem effortless. Playing around with time signatures, metaphor, and humor ("Jesus Christ died for nothing, I suppose"). With how witty and twangy Prine is, you wouldn't think he grew up in Illinois! He certainly borrows stylistic elements from Bob Dylan, but Prine crafted country music into his own.

Where were you when Brian Eno invented ambient music? I wasn't born yet, so it doesn't matter. Okay, maybe Eno didn't invent ambient music, but his contributions to the genre definitely legitimized it to a wider audience. Eno is perhaps best known for his production in a number of widely-regarded albums, which extends into the immaculate detail imbued in Ambient 1/Music For Airports. What may seem like just piano and background synths at first becomes a comforting presence. It's music you can envelop yourself in. Even at it's worst, I can't help but appreciate the cheap choir synths and their dynamic floating in and out of the soundscape.

I've never heard of Jane Weaver before, and I don't think I have anything to say about her. On to the album. It sounds cool and fun. Production is superb and Weaver explores a good variety of sounds to keep things fresh. I liked it but not enough to warrant calling it great or anything. It's just a good listen.

I'm surprised to see Baaba Maal on the list again after having listened to Lam Toro. Is his work truly prevalent enough to warrant multiple entries? If we're to compare the two, i prefer Djam Leelii to Lam Toro, but dear lord do both drag on.

The King! When Presley got drafted in 1958, he was only away from the music business for two years. Turns out that two years away did wonders for his image, as he gained respect from those who weren't sold on his music prior, while also building demand from fans who desperately wanted more Elvis. The result is pretty tame. Compared to the hard-hitting bangers of Jailhouse Rock and Blue Suede shoes, Elvis Is Back! was fairly tame. Ballad after ballad, this album's core appeal was to make girls swoon while also being respectable for older audiences. Indeed, gone was the controversial hip-gyrating songs and appeal of a younger, pre-military Elvis. I think that's a shame! Presley's career went through a few distinct eras, but Elvis Is Back! would mark his most underwhelming era: boring music, bad acting career, and finding Jesus. These songs aren't so bad, but it's not much to praise either.

Modern soul for the soul. KIWANUKA is a stunningly beautiful album that is able to draw on it's inspirations without feeling derivative or stale. It is not only inventive, but flows incredibly well. God, what an incredible piece of work this is. It's albums like KIWANUKA which reminds me that music is art, and i guess that makes Michael Kiwanuka an artist. Gorgeous.

Ian Dury was more of a UK success, so I never heard of him. My understanding is that he had a breakout hit with Hit Me with Your Rhythm Stick, though he also received acclaim from his single Sex & Drugs & Rock & Roll. In either case, you'll not find those songs on this album. Incredibly British album. Feels like a precursor to britpop is some ways with it's catchy rock leanings. In a way, Ian Dury for music in the UK, though it would take a few years for his efforts to be fully appreciated. Some people have called this "punk" and I might agree with this in the traditional sense of the culture, but punk has changed a lot since the 70's. Blockheads has the most punk to it, which would go on to inform Dury's later sound. Easily the best song on this album for my money. There's really nothing else like Ian Dury. He embodied a lot of the British working class spirit that would inform a lot of punk and britpop in the future. He had the mark of an exceptional artist.

Syd Barrett, formerly of Pink Floyd, displays his songwriting and performance efforts on The Madcap Laughs. Prior to his split from Pink Floyd, he had become increasingly difficult to work with. This could primarily be attributed to his heavy drug use, but there's no use in speculating. After being basically replaced by David Gilmore in Pink Floyd, Barrett would ask Gilmore to help record The Madcap Laughs. This proved to also be difficult, as Barrett provided little guidance for the songs. The end product is a bit of a mess, but one that only a mad genius could concoct. Songs wander around and then terminate. Follow another thread and find it tied up in something else. This disorganized, folksy mess is an album that requires parsing. The Madcap Laughs is an oddity that would stir debate in whoever wishes to look deeper into it. How much of it is intentional? How much is just contractual obligations?

The album with Fame on it. This would be the crossover hit into the US that Bowie needed. This success can be attributed to a shift from glam rock to soul music, which is often referred to as "plastic soul" in the context of Bowie's music. "Plastic", here, means "inauthentic", but the only inauthenticity I see is in his middling cover of Across the Universe. Once you lose Across the Universe, you have an album full of incredible songs. It's kind of the most plain Bowie since his 60's works but not in a boring way. The theatrical elements of his glam albums get transmuted into instrumentally-rich songs that are otherwise straightforward. His ability to channel the dynamism of performers like James Brown or George Clinton helps give a new dimension to his style, thus fleshing out the artist David Bowie as we know him today. With that, another building block of the house of Bowie comes into frame. Another sign of excellence.

Prog double album. You get four songs, one per side, and they're each nearly 20 minutes long. At times it's more jazz than prog rock but what does that matter? It's all a lot. Technically impressive but did not stick with me at all. Felt like there was maybe 15 minutes of good ideas in that 75 minutes, the rest being padding.

Emmylou Harris is a classic voice in country. Obviously by the turn of the millennium, that voice would grow worn and weary. Still, Harris lays down her soul for some lovely songs. Tracks that lean more towards contemporary country are not a good fit for her, such as the programmed beats on Tragedy. I think there have been more memorable songs that she has sung on, but her efforts here are appreciated.

Steve Earle is perhaps best known for Copperhead Road, which is not on this album. Guitar Town's rock elements are distinctly '80s, while the country is influenced by honky tonk. The end result is kind of a corny record with maybe too much polish for it's own good. However, it is earnest and harmless enough that I wouldn't immediately write it off.

Of popular garage rock revival bands, the White Strips is perhaps my least favorite. This album, however, switches things up on occasion with more innovative songwriting. So it's pretty good.

Early electronic music was still figuring out the potential of the new music-making machines, so the now-common genre of electronic dance music was still in it's primitive stage. Instead, electronic music was more focused on providing ambiance and layered soundscapes that were mostly instrumental. A lot of the genre was developed in Europe, so it makes sense that we visit France as a foundation for understanding progressive electronic music. Oxygène is an influential album in the world of electronic music for it's utilization of both analogue and digital synthesizers. Jean-Michel Jarre's innovations would inspire other artists such as Moby, who would incorporate the same dynamism in his trip hop music.

What an explosive entry into the world of music. Blue Suede Shoes gives listeners everything they need to know about Elvis Presley at this time: dynamic, youthful, and maybe a little bit dangerous. Of course, people thought of him as a threat to American culture. 1956 was a landmark year for Presley not just because of this debut album, but because of his cultural impact as shown by reactions from fans and critics alike. He was unavoidable. He was America. Of course, he's at his best when he's upbeat. Presley knows how to drive a song and make it work. Rock & roll broke through to the mainstream thanks to Presley and it's no wonder why when you listen. While some of his covers don't quite eclipse the originals, it could be argued that a few of the songs on this album are the definitive versions. Presley is rightfully praised for the quality of his performances on his debut. Well done.

Who is John Grant, and why is he the Queen of Denmark? Formerly of the Czars (a band I've never heard of before), Grant moved from Denver to New York City and decided to work on solo material. This album is his solo debut. It tackles personal issues of addiction and coming to terms with sexuality, which shows a lot of Grant's depth in this album. As for the music, it takes a little while to pick up. I wasn't quite hooked until Sigourney Weaver, and the quality was spotty after that. Some songs have a tendency to be hokey rather than good. Nothing against Grant's songwriting or performances, I just find he's at his best with a full band driving a lot of the emotion. Queen Of Denmark hits it's peak with the last few songs on the album, and makes me wish Leopard & Lamb was expanded on a bit more. An album that gets better as it goes on. Feels like a lot of feelings swimming around in the soup and trying to sort things out one way or another. Potent listen at times. That said, it's importance is perhaps overexaggerated.

Xtine made a big splash in 2002 with her seminal album Stripped, so for her to go "back to basics" with a double album feels like a way to outdo herself. This is a lot of Aguilera. I do not care much for double albums but there's no doubting the quality of the songs on here. It's clear she has a lot to say and a lot to say it with. If you're boiling it down then disc 1 is better than disc 2, and that's because disc 1 is incredibly good. Great production, pacing, performances, everything comes together. It it even ends so well that I would consider that an album all on it's own. Disc 2 has some good songs on it but quality is a bit more spotty. It's also weirdly themed around pre-war American culture before switching back to normal pop on Hurt. Either way, this is perhaps the most impressive pop double album I've ever heard. Aguilera brought her a-game for most of Back to Basics. The only trouble is the spottiness on Disc 2.

Snoop's one good album. Easily the coldest song on here is Murder Was The Case, which features a deathly theme that Dr. Dre knocks out of the park. Really it's Dre who carries this whole album; Doggystyle might be his most memorable work to date. Snoop's contributions are mostly for his laid-back vocal style that compliments the G-funk sound. It's a consistent album but it's also incredibly tacky. My theory is that this is the highest level of quality snoop could hit because anything that would be more "serious" would just fall out of his wheelhouse. Snoop's whole thing is pretty goofy but he makes it work on this album so it ends up being solid.

Armatrading's compositions are unique in that they explore folk rock with a distinctly funk edge. Her voice is also absolutely gorgeous which gives the whole thing a calming feel. Some incredible guitar work here and there too. Honestly what an album! Armatrading does such a fantastic job it feels like this is too often overlooked.

The Carpenters were a sibling family band consisting of Karen and Richard. While Richard was the songwriter of the two, the real shining star was Karen and her dynamism on both vocals and drums. You may recognize her chops from a video that circulated the internet of her 1968 performance of Dancing in the Street on Your All-American College Show. While that song is not on this album, her fantastic drumming skills are in no short supply. Close To You has a lot of the soft, almost adult contemporary style of music that would inspire the radio-friendly pop and soft rock genres of 70s and early 80s. While I am not personally a fan of these kinds of songs, the Carpenters perform them exceptionally well. The Beatles cover is unfortunately unnecessary, but the rest of the album makes up for it. Performances are also contributed by the amazing Wrecking Crew, who undoubtedly gave their all for these recordings. Lots to appreciate on an album where the songs themselves aren't much to write home about. Just did a fantastic job with this!

What if the White Stripes filled out their sound a bit more? What if the garage rock revival broke off from conventional garage rock songwriting? What if the world was made of pudding. By far the noisiest 21st century album on this list, embracing full feedback and walls of sound that feels like a trademark of the loudness war (thanks, Rubin!) I feel the garage rock revival style doesn't quite gel well enough with the noise rock that aims to subvert a lot of typical trappings of popular rock. It goes in some interesting directions, such as the big switch-up in Getting Bright at Night and the industrial influence on Meatmaker. That said, Penance Soiree often feels like it drags on for too long with disjointed ideas, making for an overall messy album. Wikipedia claims that this is "one of 2004's most critically acclaimed releases", though the quality of the article leads me to believe that it's legacy has since been forgotten. The truth is that it does some interesting things, but not enough to warrant retrospective praise.

Perhaps best known for being produced by Paul Simon after they were featured on his 1986 album Graceland, the choral group Ladysmith Black Mambazo performed traditional Zulu folk music in the a cappella style. I won't lie, I think the performances in English detract a little bit from the music's cultural roots, but the performances themselves are nice. The choral style has a natural flow that gives song a soothing, peaceful quality to them. I found much of Shaka Zulu to be a generally pleasant listen throughout, though it is held back by the limitations of a cappella. I think that form of music tends to face challenges relating to space, as the lack of instrumentation ends up feeling somewhat empty. That said, I want to remain respectful of the music from other cultures so I won't judge it too harshly.

Alex Chilton may be one of the greatest songwriters to ever live. Big Star's power pop sound was (and still is) unmatched. 80's alternative college rock acts such as the Replacements and REM would find inspiration in these songs, and would even reverberate into the 90's to influence Primal Scream and Teenage Fanclub. Needless to say, Big Star's legacy is cemented in the history of pop music. #1 Record, as cheeky as the title is, contains a fantastic selection of songs that I find only gets better the more I listen. The simple things, from the warm production to the beautiful melodies, the upbeat singalong In The Street to the tender love song Give Me Another Chance, give this record it's personality and praise.

Marianne Faithfull's story is one of tragedy and perseverance. Having started out as a folk pop artist in the 60's, she had been romantically involved with Mick Jagger of the Rolling Stones. This fell apart in 1970 and, after losing custody of her son, she fell into heroin. The rest of the '70s would be Faithfull battling her addiction and homelessness. At her lowest, she would record demos with Barry Reynolds that would eventually get her signed with Island Records for her comeback album. Broken English is a radical embrace of the contemporary and forward-thinking music styles of the day. A little post-punk, a little funk, and a lot of new wave makes this a departure from her more folksy sound in the '60s. Combined with her raspy voice now affected by laryngitis, Faithfull had developed a distinct sound that made this album so well-received. Songs like Guilt and Why D'Ya Do It land their emotional impact, emphasizing the hurt in her voice.

Aretha Franklin is THE voice. Soul, as a genre, has turned out some of the greatest artists of a generation: Marvin Gaye, Sam Cooke, Otis Redding, countless others. One name stands head and shoulders above all, one who will almost certainly be remembered for her artistry long after her death. I Never Loved a Man the Way I Love You is considered her seminal work and for good reason! Not a single loser on this one. You get the finest performances, the finest songs, the finest of everything Soul. If you wanted it any other way, then you probably didn't want Soul.

Take Talking Heads circa Speaking In Tongues/Stop Making Sense and give it an injection of British sophisti-pop. Think the Cure if they were less melodramatic and more fun. Pelican West is 100% funk-inspired, but leverages many elements of typical '80s pop to keep it firmly in the new wave section of record stores. Songs are light and breezy, giving way to little music elements such as accenting horns, embellishing percussion, and filling bass grooves. This album rarely hits a low, and I can't help but feel it's due in part to the consistency of Haircut 100's sound. Every part of this band works incredibly well, making for an upbeat jam machine that knows it's all in good fun. Some may find this to be cheesy or perhaps artificial, but I've enjoyed the album from start to finish.

Peter Tosh, formerly of the Wailers with Bob Marley, went his own way in 1974 after issues with the president of Island Records. Tosh would defect to CBS Records to have his first solo album, Legalize It, released in 1976. Obviously it's about weed. For better or worse, these records would become the stereotype for reggae for years to come. Movies and TV shows would use reggae as a shorthand for a character smoking pot. What was once a historically rich genre that intertwined with the cultural identity of a nation is now a novelty for 4/20. I'm not saying Tosh intended for this to happen, nor is it his fault, but there's something to be said about how a genre that is equally about politics and spiritualism has been water down in the larger cultural conscious. Strange world. It's not much to write home about. I struggle to really like reggae because I find it rarely goes above and beyond to leave much of an impact. It's definitely more of a "vibes" genre and Legalize It has vibes for a whole 38 minutes. Any more and I would've clocked out.

In the current year, Good Old Boys is a bold and potentially controversial album as Newman tackles southern American platitudes in the form of a satirical voice. Good Old Boys covers racism, class disparity, and tragedy, all in Newman's signature singer-songwriter piano cadence. While the song performances are an enjoyable listen, it is the wit and lyrical acumen of Newman that tends to make the songs memorable. Lines like "President say, 'Little Fat Man, ain't it a shame what the river has done to this poor cracker's land'" and "She will laugh at my mighty sword, why must everybody laugh at my mighty sword" showcase a lot of this ablum's appeal. While impactful, I feel a lot of Good Old Boys relies on it's clever songwriting, and for me it falls just short of being clever enough to praise. Newman still wrote some great songs here, but the overall product of this album doesn't quite sit with me the way it intends to.

Sonic Youth's second record on a major label. When Nirvana's Nevermind burst onto the scene in 1991, grunge was suddenly everywhere. It would be downright dishonest not to admit that they were the biggest influence on '90s rock. In the wake of this storm of grunge, Sonic Youth released Dirty in 1992. Some people have claimed that this is their grunge record, but I think the influence is only slight. Concretely, Sonic Youth has still made alternative and noise rock bangers on Dirty. We get the most from Kim Gordon on this record and she's a fantastic vocalist. Compared to Goo, I'd say Dirty is the better record. Perhaps Sonic Youth had to adjust to major label expectations but this album shows that they could still turn out great songs like they did on the indie labels. Sonic Youth is one of the best sounds of the 20th century, and I'd consider us lucky that we got to hear so much of their stuff.

Has the drama of the Cure but none of the incredible songwriting. Everything I heard was just fine. There's not a whole lot of Australian bands on the list so it's a shame when the experience just sort of passes me by with barely any impression.

I wish there were less britpop on this list. You've probably already seen comparisons to Oasis for this album but it's fitting: similar neo-psych influence, similar alt rock edge, similar vocal inflections. They're not a carbon copy of Oasis but there's enough to warrant a comparison at the very least. Perhaps the most interesting thing out of this album is the instrumental jam Area 51 which embodies a distinctly '90s rock sound. Rob's Theme is similarly memorable for breaking away from the formula to give us some rock-inspired trip hop. I don't think Tellin’ Stories does much more to warrant being anything better than just "good".

Quick clarification note: Metal Box is occasionally also referred to as Second Edition, particularly in reissues where the album does not come in a metal box. It is technically a triple LP, although it is played at 45 RPM so there's less space per side, clocking in at a little over an hour for the runtime. Absolutely incredible post-punk. It's a mess, but it's an enticing mess. MVP has to go to bassist Jay Wobble and his dub-influenced grooves. This, combined with the complimenting drum rhythms, gives a solid foundation for John Lydon and Kevin Levene to experiment and explore. It's best executed on the first five tracks before dropping off, but I'd forgive it for how enjoyable it is as an overall product. Metal Box makes me wish I owned the album in the metal box and everything. Obligatory "fuck you" goes to John Lydon for being a reactionary punk loser. I'm never going to let this go.

The strength of street knowledge should never be underestimated. N.W.A. changed the entire culture of hardcore hip-hop with this album, with their honest reflections of life full of crime, discrimination, and ruthless violence. Further, it was all done while maintaining a hard-as-nails image. The result is a hot and controversial album on release that resulted in bans, media coverage, and even a warning from the FBI. In retrospect, it was pretty disproportional response. Musically, the strengths of N.W.A. rely on the dynamic deliver of the various MCs over Dr. Dre's timeless production. Songs like Fuck tha Police, Express Yourself, and the title track are instantly memorable with iconic rap verses and inspired sample flips. These songs alone make up some of the greatest songs of the '80s and can immortalize hip hop. The problem is many of the other songs on this album are distinctly bad. Compton's n the House, for example, is noticeably phoned-in should've been cut. Dopeman relies heavily on the strength of it's beat, lacking any sort of additional production. It's just disappointing. What could've been an easy 5 has to be bumped down to a hesitant 4. I think highly of this album's legacy and strongest tracks, but it is ultimately bogged down by the weaker songs. Still legendary in it's own right.

What's up with that parade march song? Takes a hard left turn after a few relatively smooth bossa nova songs. Truly a nothing album. You put it on and it's over before you know it. Not a single memorable song except for the bad ones. It's not all bad though so I can't fault it too much.

Huble beginnings for Gram Parsons. Country rock would begin with the likes of Parsons, Buffalo Springfield, and the Byrds, so this is a natural steppingstone for the genre. Songs are so well-tuned and pleasant, I enjoyed just about every song the Flying Burrito boys has to offer.

Classic punk rock that set the bar for many other bands. More than anything, it was frontwoman Poly Styrene and saxophone from Rudi Thompson that gave X-Ray Spex a differentiating edge that put them a step above their contemporaries. Even compared to other vocalists of the day, Poly Styrene had a distinct look and sound that practically defined the band. No doubt, her voice would help shape the sound of Kathleen Hanna and the eventual riot grrrl movement of the '90s. Track listing varies depending on which version you had, something that always bothered me. Going with the streaming track list, it opens with the slow grower title track before bursting into its punk rock form with non-stop energy. It's kind of incredible how every track hits its stride, resulting in a cohesive punk album that feels somewhat rare for this era. Dynamic and memorable, X-Ray Spex had a winning formula to keep punk colorful.

Carried heavily by it's earworm hit Brimful of Asha, When I Was Born For The 7th Time is an album that does little to establish itself beyond a few quaint ideas. Turntablism trip hop, spacey raga rock, beat poetry with some sort of south Asian percussion, all explored within the hour. Nothing truly feels consistent with Cornershop and it likely stems from an urge to experiment. Nothing wrong with experimentation, but execution can come off as half-baked.

Two bassists! Girls Against Boys is one of the Touch and Go post-hardcore bands of the early 90's that would be overshadowed by their contemporaries like Slint, the Jesus Lizard, and Shellac. This was also around the time that Fugazi was cementing the new sound of post-hardcore for the 90's, effectively carving out their own little piece of alternative music history. It makes sense, then, that Girls Against Boys would bear some similarities to Fugazi, especially considering Fugazi's drummer Brendan Canty founded the band. He's only on the first record, however, so it would be drummer Alexis Fleisig taking over for the rest of their discography. Regardless. Venus Luxure No. 1 Baby is a dirty, grimy album that reminds me of my favorite Queens of the Stone Age album, Era Vulgaris. It revels in muddy, distorted guitar tones and raw power. The sound often revels in a low place where it gives way for moments of quite contemplation followed by a wired release of noise. There is perhaps something to be said about the influence of grunge, but I won't say it here. Girls Against Boys honed their own sound, and they did it damn well.

Noisey '80s rock with some pop sensibilities to make the songs a little more catchy. Reminds me of Sonic Youth with rounded edges in some ways, but not in any disparaging way. I am impressed with the tones that J Mascis manages to get out of his guitar, and how it weaves into the unyielding rock songwriting. This all culminates in a bulldozer of a song for the final track that destroys everything in it's path. Some may be put off by it's relentless wails and feedback, but I find it brings the album to it's natural conclusion.

On the more conceptual side of post-punk, Pere Ubu is happy to experiment with different noises and influences. It is, unfortunately, going to be annoying to most people. I am willing to accept it at face value for what it is, but I would never willingly return to The Modern Dance.

One of the better jangle pop albums I've heard. This is mostly held up by the incredible song Streets of Your Town, which could've been played 10 times in a row and I would think it was perhaps a better album.

Before his long-standing role as a detective on Law and Order SVU, Ice T was a gangster. Not just any gangster, but the Original Gangster! Haha do you get it, I referenced the title. In all seriousness, he was one of the original innovators on the genre of gangster rap by utilizing hardcore hip-hop to put a life of violence and crime in the forefront of the music. Quality is pretty consistent throughout the record, but it rarely feels as though there's a true standout track. Ice T is not the most memorable or impressive rapper from this time, but his stone-cold personality is easily his most enduring feature. This is best-utilized on the song Midnight where the darker production lends exceptionally well to Ice T's delivery, leading to a frankly unnerving track that borders on horrorcore. Also hard not to like the song M.V.P.S. where he takes time to shoutout major name in hip hop, really cool. Incredibly funny is the crossover thrash song Body Count, which has Ice T dabbling in hardcore punk with a the band which is also called Body Count. The result is okay. For all that this album has to offer, it definitely runs too long for it's own good. Regardless, I think Ice T has a lot of great things to say, especially by closing the album condemning Operation Desert Storm and the prison industrial complex in America. I got a lot of respect for Ice T, and this album cements that.

Bluegrass that aims to harken back to the good old days of country. Never have I heard an album that is so fully-invested in displaying bluegrass in all it's greatness. The story goes that country music changed with the advent of rock and roll, with the rise of country rock and the Nashville sound becoming the more popular forms of the genre. In an attempt to recognize and appreciate the traditional country artists before the '70s, country rockers of the Nitty Gritty Dirt Band connected with a plethora of guest musicians to play the old-time country classics: over 100 minutes worth. If you don't enjoy bluegrass then this album will be a tedious listen, but for me it was an absolute treat. A wide array of some of the finest traditional Appalachian folk music played by the best musicians of their field. Best of all, it's recorded and produced in such a crisp, wonderful way that gives every song the room it needs to breathe. I particularly enjoyed the occasional studio banter while the tape was still rolling; this makes the album feels more alive with the personality of musicians within it. It feels more like a historical document of culture than a simple musical album, but there is no shortage of music here. I love every song, I would praise them all. Does it need some trimming down? Perhaps, but I can easily forgive that for how rich and beautiful this record is. It has so much to offer, I feel lucky in this moment, grateful that music is meant to be shared, and it was shared with me over 50 years later.

I had never considered ABBA to be great for their albums. If you're looking to listen to some ABBA then put on ABBA Gold and let the hits play. Nothing wrong with the hits, it's just that I was under the assumption that their best songs were spread out across mostly-mediocre albums. Well, turns out I was wrong to assume. The Visitors is ABBA's final album before disbanding. Not unlike Fleetwood Mac's Rumours being a product of tumultuous relationships, ABBA's The Visitors is distinctly a divorce album. With this change of mood comes a change of tone as well; the upbeat, dancing hits of the 7'0s have been changed out for more melancholy and introspection. The result is an album that carried more weight, and it's all the better for it. I had no idea that there was an album like this in ABBA. It's consistently mature, thoughtful, and well-assembled. I believe this was a great turn for ABBA, which is a shame because they would never make anything like this again. I can't say much about their solo material, but I will say that their 2021 album Voyage did not come close to what they achieved on The Visitors.

Riding off of the success of Ace of Spaces, Motorhead (or their label) takes the opportunity to record a live album. This is a blistering live recording, in that they are playing so much faster here than on the studio recordings. Motorhead had developed a reputation of being fast and loud by this point, so of course the live album perfectly encompasses those qualities in spades. From the needle drop, the band bursts into a fury of sound with their bonafide hit Ace of Spades. At no point does the band let up, and that's for the best. This is the way that Motorhead was meant to be heard. Studio records kind of neuter the raw power that they had fostered in the late '70s and early '80s. Every punk and metal band can only aspire to a sliver of the sound that Motorhead had at that time; they were just that damn good.

U2 had more of a distinct post-punk sound back in the early '80s, which is certainly evident on this release. Where I am biased, I much prefer the post-punk influences rather than the arena rock sound that they would begin to pursue later into the '80s, but there's still some traces of that "big music" on War. Truthfully, this has some of U2's strongest songwriting out of the other releases I've heard (The Joshua Tree, Achtung Baby), and I believe they lost some magic when they brought Eno on for production. This is the first time I've ever been disappointed in Eno, but we'll let it slide. This is U2 at their most interesting: better rhythms, better dynamics, better ingredients. I'm surprised that they had an incredibly tight album in them! And it never happened again.

Before the iconic album Loveless, there was Isn't Anything. Many of the same qualities on Loveless can be found on Isn't Anything, primarily the otherworldly guitar tones and dense waves of sound. Comparing the two, I actually prefer Isn't Anything for it's energy and similarities to Sonic Youth. I can respect that My Bloody Valentine found their own distinct sound with Loveless, but their debut is easily strong enough the justify their importance in music history.

Britney Spears' debut album was a signaling for the new era of pop, as a core demographic (teenagers) would now be catered to with the likes of solo artists instead of boy bands and girl groups. It would still be distinctly dance-oriented with some R&B influence, but the product would look a little different. I am referring to Spears as a product here because, in the eyes of the industry and audiences alike, she was not a person. She was less than a person. She was a puppet. With no writing, production, or creative credits, Spears is only here to sing the lyrics and look the part. It is a particularly vapid role to fill but most of the blame ought to be placed on Jive Records for this shameless commodification of music as an artform. Riding on the strength of one single (two if we count You Drive Me Crazy), this album has little to offer. The ballads are uninspired, the hooks are weak, and the inspirations are shallow. Nothing about ...Baby One More Time, save for the title track, is worth remarking. As for the earworm single, it serves its purpose as a danceable pop song that performed well on the radio. It's good enough. The real importance of this album lies in it's cultural impact outside of music. Spears was the blueprint "pop star" in every respect, and other would follow with the likes of Ariana Grande, Miley Cyrus, Taylor Swift, and eventual K-Pop idols. It's a tale as old as time, since the teenager first became a marketable demographic with disposable income, but Spears' impact seemingly brought the pop star into a whole new era of commercialization. It's made people millions at the cost of her well-being. In truth, Britney Jean Spears deserved better.

DO NOT BE FOOLED: THIS IS NOT MADONNA'S COUNTRY ALBUM. IN FACT SHE HAS NEVER DONE A COUNTRY ALBUM. Madonna's entry into the 2000's after Ray of Light was bold and brash (more like belongs in the trash!) When pop stars such as Britney Spears, Christina Aguilera, and Jessica Simpson were modeling their careers after her, Madonna was choosing to innovate and experiment with her own music. The result is a mix of house, folk, downtempo, and other diverse sound influencing her approach to electropop. The result is a mixed bag where some songs definitely work better than others. I commend Madonna for being so willing to evolve and attempting to synthesize new elements. It's just that some parts of the album come across as painfully dated, and the American Pie cover should've been dropped.

I was never a big fan of the Pixies. I admire their quirky approach to indie rock but I never thought it was all that great. On relistening, I found myself enjoying Doolittle a bit more than I did back in 2020, but I still find a lot of the stuff in here middling. I think I was so blown away by the opening track Debaser that I was expecting more just like it, when Doolittle actually explores a lot more stuff with wider dynamics. This one is a grower for me and I'd say it'll be one of my favorites in a few years after few relistens, but for now it's just good.

A bit of Bakersfield sound for your morning. When rock and roll broke through the mainstream, country found solace in it's electric guitar and leisurely backbeat. This, at it's core, is what gives Merle Haggard his smooth, warm sound. Listening to Haggard is like smoking menthols or drinking good whisky, and it's a delight. I can sleep easy knowing I can wake up early and put on Merle Haggard while watching the sun rise.

Lost my review. Heartland rock with a most atmospheric approach, making for a beautifully charming album.

William Orbit is possibly best known for his contributions to Madonna's album Ray of Light, which is perhaps one of her best. Here, we get a taste for his solo downtempo material as listeners are immersed in his ambient dub-infused vibe. It's pretty straightforward and nothing stood out too much, but it was still enjoyable all the way through.

Who indeed killed the Zutons? They had a unique approach to indie rock in the early 2000s with quirky lyrics and instrumentation. While certainly memorable, I don't find it to be particularly amazing. I even found it grating at times for it's personality. Never boring, certainly talented, largely not for me.

The Flaming Lips have a knack for making beautiful pop music and then making it more interesting. The odd instrumentation and production changes stuck with me as I heard the opening track get blown out by peaking volumes and funny synth sounds. Fittingly, the album closes with reprises as you hear two wonderful songs in a new light, showing how the Flaming Lips innovates in pop music in fantastic ways.

Lost my notes! Some of the best alt rock for it's time, except for the fact that OK Computer came out the same year. Hard act to follow.

Before pivoting to downtempo in the '90s, Everything But The Girl was a cute little indie pop outfit that did tenderness better than most. The problem is that it's '80s sheen makes it sound so boring and flat, it occasionally sounds like telephone hold music. While pleasant, Idlewild lacks a certain X factor that makes it stand out. Otherwise it's a fairly middling album.

America's first punk rock band, if we exclude the New York Dolls, the Stooges, Richard Hell, Death, Patti Smith.... Okay so maybe they weren't the first, but the cultural force of the Ramones is undeniable. Compared to the exaggerated and sneering performance from the Sex Pistols, the Ramones were more subtle: simple leather jackets and jeans, apathetic looks with hands in pockets, and fairly straightforward punk songs. For a lot of their debut album, they follow a basic formula of 2-and-4 rock beats, steady power chords, and playing it relatively quickly. Rarely do they break away from this format, but I suppose that's what makes it punk. Blitzkrieg Bop is easily the most interesting song of the bunch for it's ability to at least deviate with it's memorable "Hey ho, let's go!" chant where all the instruments drop out save for the drums. The whole experience starts to blend together after the opening track and really once you've heard one Ramones track, you've heard most of them. But man they were right there in New York City in the 1970's making it happen. The Ramones were the culture, and everything followed soon after. I think they've earned the right to be praised for their contributions to punk, but I do not think it can be so easily distilled and packaged into a simple studio album. This album is only the simulacra of the Ramones, though it can be argued that all recorded music is just a simulacra of the artist. Ramones is the memetic form of punk rock as we understand it today, which is funny considering that Richard Dawkins' The Selfish Gene was also released in 1976. For that, we ought to be grateful.

Let's be real: we're all here for the B-side. The 17-minute long psych rock epic has been heralded for it's biblical length and contributions to the heavy metal genre. The side A songs pale in comparison, it's not even worth mentioning them; they're skippable '60s rock slop. Ambiance-setting organs, primitive drum solos, and crushing guitar solos are what make In-A-Gadda-Da-Vida the legend that it is. And it feels like an amateur performance that they couldn't be bothered to plan better. The Simpsons made a gag out of it where the church organist is tricked into playing the whole 17-minute song, but they neglected to account for the aimless drum solo that account for a good 5 minutes of this song. The only thing In-A-Gadda-Da-Vida has going for itself is the memorable hook, which is likely what most people remember it for. That, and the fact that it's 17 minutes long. My theory is that people misremember the song as 17 minutes of that riff being interpolated in different ways, so it must be good. No, it's just okay. I don't think it deserves nearly as much praise. Even considering it's legacy and influence, I am terribly underwhelmed.

Take the songwriting of country and make it in the style of punk: That's much of Meat Puppets II. They also do some of the most unique alternative rock of their time. Curt Kirkwood has some unfortunate vocals but the rest of the band makes up for it with incredible instrumentation.

It should've been The Original Soundtrack, if only for I'm Not In Love. Regardless, Sheet Music is still a great display of 10cc's innovative songwriting. It's as if they listened to a lot of Beach Boys and decided to do more of that but really experiment with it. 10cc is still very clearly a pop band making pop music, but their construction of pop music involves doing a lot of things that other pop rock bands wouldn't do. It results in an infinitely more interesting record, one which I enjoyed thoroughly. Is it a bit campy at times? Sure, but it keeps the ball rolling so well that it never bothers me at all.

One of the two Muse albums I've heard front-to-back (the other is Origin of Symmetry). That's all I'd like to listen to from Muse, really. I had a friend in high school who was really into Muse. He had all their CDs, and even lent them to me so I could rip them to my iTunes library. I don't think I listened to more than a few songs by them. It wasn't until the 10-year anniversary of Origin of Symmetry that I decided to give their albums a chance, but I only finished two. I think they're incredibly well-structured and stands out as some of the best rock of the early 2000s, standing out against all the post-punk and garage rock revivalists at the time. Right from the opening track, Black Holes and Revelations feels like a fully-realized piece of art that it concretely timeless rock. Muse innovates with unique rhythms, synth sounds, and song structures to keep things fresh throughout. I am always grateful for a band who dares to venture outside of the established genre conventions to try new things, and Muse is no exception. Almost every song on this album captures my attention with it's distinct sound and themes, and they maintain a certain level of quality that keeps this album enjoyable throughout. It's a shame because it seems like Muse lost themselves to a distinctly more bland pop rock sound after this album. I'll always remember them for their solid run in the early-mid 2000s, but to still consider them worthwhile in their most recent releases would be a waste of breath.

What about RAM? Is RAM on the list? A mere week after the Beatles disbanded, Paul McCartney releases his debut solo album. This is an incredibly gentle album, which perhaps comes from a desire to strip down his songs such they don't require a full band arrangement. Makes sense! The result is some mostly folksy pop songs that aren't too notable. I get the sense that this first solo album is a warmup for McCartney, flexing his songwriting for his own artistic vision and no one else while also finding a tone he's comfortable with. Nothing wrong with that, but also not much to get excited about. He even has two "junk" songs which goes to show you how he feels about his own songs. Despite this, most of this album is a pretty pleasant listen. Not remarkable, but pleasant. That's gotta be worth something.

Let's be honest: this is here for the title track. American Pie is a reflection of how American culture has been built in the modern era (post-WWII), with prom and rock n' roll and the war in the Vietnam. Things moved real fast in the '60s so when you stopped to look around in 1970, you'd realize America came out the other end a completely different nation. American Pie is McLean's numerous observations through poetic parable, which he only begins after he explains "the day the music died" in the first verse (the plan crash that killed Buddy Holly, Ritchie Valens, and J. P. Richardson. To be clear, I reject the notion that music "died" with Buddy Holly or even that it was a loss of innocence for a generation, but McLean seems content in his analysis of American culture up to his point in time (1971). Fair enough. The second track, Till Tomorrow, exists in the aftermath of American Pie to the extent that it's basically filler in order to pace out the album to his next single, Vincent. This second single often gets overlooked but it's a frankly beautiful tribute to Vincent Van Gough and the ways in which people are often misunderstood. He interprets so much through Van Gough's art, it's a testament to the tenderness McLean conveys through his music. Much of this album is quite tender, with a couple of notable exceptions. I think the tone that McLean focuses on is one that suites his voice and songwriting style, so it's a welcome artistic choice. There are a few standout tracks but the album doesn't always grab me as much as American Pie does. I guess that's a hard act to follow so I assumed he put it at the top of the tracklist just to get it out of the way. Still, there's other gems in this album that are worth hearing.

No one NEEDS to listen to a Bruce Springsteen album released after 1989. As far as his career is concerned, he's been coasting off of Born in the USA ever since. The core problem is that The Rising is largely overproduced in order to compensate for Springsteen's weaker voice. There's also the sense that he's lost some of his songwriting skill, or at the very least he's padding out his albums with subpar songs. For Springsteen, this is nothing short of disappointing, but it's also to be expected somewhat given the passage of time. I found myself just waiting for the album to end so that I could move on but by good every song is like 5 minutes long. Very over-indulgent but he's still the Boss at the end of the day so he gets a free pass.

It is no wonder that eastern European countries would take to industrial genres so well. Hailing from Slovenia, Laibach would invoke a satirical approach to industrial with themes of militarism, nationalism, and it's all done in a relatively clever way. One might see Opus Dei as a sort of Nazi or Soviet influenced album with it's menacing marching beat and hardened vocal delivery. This maintains a pretty unique tone throughout the runtime that likely influenced a similar tone for Rammstein, and presents itself as a sort of force to be feared. And then, at the final track, the band pulls the rug out from under us and delivers Churchill's "We shall fight on the beaches" speech. Nationalism goes both ways! In the fallout of WW2, a lot of eastern European art movements had been grappling with the ideological influences that brought them to where they are today. Laibach pushed the envelope in ways that western bands wouldn't dare approach in the 80's, and for that they have gained recognition for their prowess. Well done.