lots of unintelligible moaning and mumbling over repetitive, droning instrumentation/electronic beats. for the first few tracks, i could see through the banal slog at what could have been interesting--part kate bush/peter gabriel synth driven artpop. but as it wore on, it wore me down. fuck this album

at its best its female madman-era elton john written by a 14 yo girl who just went through her first breakup standing in for taupin. at its worst it sounds like joni mitchell. boring, repetitive instrumentation. trite, on-the-nose lyrics. i actively hate it. closing track was particularly insulting

classic. perfect. haunting. depressing as fuck. ian curtis was a goddamn genius. 5 stars. new dawn fades has always been a favorite

invested 34 minutes during my morning ablutions to discover i do not like Devo. that talk-singing with shitty surf rock riffs doesnt do it for me. i cant believe i listened to the whole thing

it doesn't quite give me the feels hounds of love does, but i'll be goddamned if i wasn't getting verklempt at "this woman's work."

forgot how much it slaps and stands the test of time. WIAWSNB, Thank you, Moby Dick are standouts, but all are bangers. there's really not a weak track on there, or maybe they're all so deeply ingrained in my memory. it's like a time machine to being 15 again.

odd mix of britpop and grunge that manages to be less interesting than the sum of its parts. as if the gallagher were less talented and listened to too much nirvana but didn't understand it. a product of its time i guess. and if it were 1996 i'd probably have liked it. as it is, i didn't hate it but can't imagine ever wanting to revisit.

at its best its female madman-era elton john written by a 14 yo girl who just went through her first breakup standing in for taupin. at its worst it sounds like joni mitchell. boring, repetitive instrumentation. trite, on-the-nose lyrics. i actively hate it. closing track was particularly insulting

art rockers led by a mancunian peter gabriel. I dug it and will probably explore other releases. grounds for divorce and one day like this are standouts.

"hush" is a great song. unfortunately, it's not on this album

production is fantastic, and i'm sure it's an important entry in his oeuvre and music of that era. not really my jam, though. highlights for me were kanye's production on takeover and heart of the city.

even the most accessible dirty projectors is probably fairly niche. regardless, i think i probably love this album. i love the weird time shit he does.

subversive and understated and pretty fucking great. love the doors-y and drone-y minimalist stuff going on here. "frankie teardrop" is really just a breath of fresh air

i'm a sucker for bowie's berlin years

a welcomed time machine to the simpler days of listening to 94.9 and playing links awakening on my game boy color. probably nothing more than nostalgic traipsing but i appreciated it

the eagles are so fucking bland and boring.

i've never thought elvis was that great. i also thought this was a live album. it feels good to be wrong. surprisingly listenable in [current year]

smooth operator is a catchy tune. beats are pretty neat for 84, but grating cheesy lyrics won out. 2 minutes into frankie, i turned my stereo off from the toilet and finished shitting in silence.

Not my favorite entry of Bowie's, but blue-eyed soul Bowie is more than a novelty. He does the genres justice, and I think blends R&B, Soul, and Rock typically deftly, even if the songwriting isn't on par with previous or subsequent records. I love it, but it's without a doubt a cocaine-driven transitional record between the Ziggy era and the Berlin Years-two iterations i prefer to this one. Fascination stood out to me as a forgotten bop.

some inoffensive 70s pop rock. some annoying 70s art pop. overall, i disliked it.

I really wanted to like this. I have wanted to like this before. I am aware and understand its influence. But, it's just not for me. Too much unintelligible mumbling. Too much experimental improvisation. 3 stars because I see how for 1971, it's ahead of its time.

put me on a little bit of dylan kick over the weekend. there's a lot on it; some parts of which works better than other parts but when it's great, it's great

inoffensive, boring, and bland. I can see this playing well in places where bullriding is the #1 sport. Just enough of an edge on it to appeal to dudes who'd otherwise be listening to pop country if it weren't so effeminate. I hate almost everything about it. I did, however, enjoy the bizarre, misplaced afrobeats on worlds apart, and the funk in let's be friends. really subverted my expectations for 2 songs in the middle there. it wasn't particularly interesting, but I didn't hate that 10 minute stretch.

not my music but its good in the background. i understand the appeal; billie holiday was a heck of a vocalist

70s Temptations were cool as fuck

classic. perfect. haunting. depressing as fuck. ian curtis was a goddamn genius. 5 stars. new dawn fades has always been a favorite

as a pretty big fan of jazz from that era, i've always found this a little too polished. take 5 is iconic, but beyond that it's boring when stacked up against even just other 1959 release from Coltrane, Mingus, and Miles Davis. not enough improvisation

much better than expected. felt a lot like early 2000s indie rock i liked. glad i didnt skip it

lots of unintelligible moaning and mumbling over repetitive, droning instrumentation/electronic beats. for the first few tracks, i could see through the banal slog at what could have been interesting--part kate bush/peter gabriel synth driven artpop. but as it wore on, it wore me down. fuck this album

not as good as when i was 15. felt very dated, but i remembered why i loved Cream. loads of wah, heavy drumming, and jack bruces psychadelic lyrics. it's got to be one of the best examples of mid/late 60 hard rock

hey it's that riff george thoroughgood jacked. oh wait they all kinda sound like that

dont see anything special. was recently told they were "important" which just adds to the ball of confusion

catchy stuff. didn't expect to listen to the entire thing in one go at 730am. also didn't expect i'd start cleaning during it. feeling energized

invested 34 minutes during my morning ablutions to discover i do not like Devo. that talk-singing with shitty surf rock riffs doesnt do it for me. i cant believe i listened to the whole thing

interesting blend of that late 90s/early 00s electronica/sampled and vaguely subversive punk. There are definitely better examples of both, but it's not a bad album. Slideshow at Free University was probably my favorite. it was also instrumental/largely sampled which says something probably

not for me

my views on JJ are somewhat conflicted, but i really enjoyed this one. ball and chain is definitely the standout for me. also, i fucking love the album art.

never cared much for barrett-era floyd. it all kinda sounds the same. psychedelia on psychedelia. i think i'd have appreciated this more if it was something i had explored in my formative years. hearing it now for the first time its just sad and boring

right when TH hit their stride to become probably the best band of the era. weird beats and instrumentation, peak Eno ethereal production, and David Byrne delivering some of his best and weirdest vocals and lyrics. I Zimbra and Animals stood out to me as forgotten gems off this one.

i probably would've killed myself too if i was responsible for creating this garbage

enjoyed this more or less. ngl brass in pocket is a bop. makes me inappropriately attracted to chrissie hynde. new wave with some teeth.

It's going on 10 years since I listened to Grizzly Bear, so when Veckatimest showed up as AOTD, I felt immediately nostalgic for my early 20s law school days. Shields had come out during my last year of law school, and my roommate and I were fans of GB, so Veckatimest and Shields (and even Yellow House) were on heavy rotation at our place. Even the album cover really brings me back to simpler days of day drinking and playing Halo. That's all just window dressing, though--the things I felt before I actually listened to the album. I busted out my good headphones for this one, and I was genuinely excited for it. At this point, I'm 45 minutes in, and honestly, it sucks. Everything was set up for me to love it, and it fucking sucks. Songs I remember fondly--Two Weeks and Ready, Able--just sound like moaning and mandolins. I fucking hate this wussbag shit. So what changed? I've spent most of the back half thinking about the change in my views on this album and more broadly changes to people in general. Was there a point of inflection before which I liked GB and after which I didn't? Or is it more of a Ship of Theseus accretion of sensory experience where I gradually withdrew from this whining bullshit? Are the changes in us discrete or do we change with every breath we take? I don't think I know. Maybe they aren't mutually exclusive. Maybe it's different for everyone. What I do know, however, is that as the person I am today, this music is trash.

every dylan album to me has jarring highs and lows. for some reason this morning i lack the patience for the lows. hes made for best ofs

i'm hearing most of these songs for the first time. 15 year old me would've fucking loved this. the 32 year old me thinks its boring. i shot the sheriff is a little cringey

my experience with SR was mostly in the context of britpop. i don't recall ever listening to a song let alone an album, but i genuinely enjoyed this. feels like a mashup of oasis and my bloody valentine. loved the dreamy vocals and instrumentation. the first half felt stronger than the back half until i got to the last 2 tracks. brilliant way to end an otherwise poppy affair. this may very well end up a 5 but i would need to sit with it for awhile longer

US and UK versions are wildly different. I am confusion. Either way, I would definitely have been #teamStones. Great album. Out of Time is a forgotten gem.

i'm sure it's an "important" entry, but it's not for me. purportedly socially conscious rap containing homophobia and antisemitism might be clever if done ironically, but i don't think they were smart enough for that. i think it's genuine in its crudeness and cruelty. hot garbage

when it's good, it's amazing. concept is brilliant, although i prefer Love Below to Speakerboxxx. my complaint is that even as a double album, it feels a little bloated. if they couldve trimmed it a bit--like 45 minutes each--i feel like itd be perfect.

better than expected but my bar was pretty low.

it doesn't quite give me the feels hounds of love does, but i'll be goddamned if i wasn't getting verklempt at "this woman's work."

british, political, idk. kinda repetitive

more enjoyable than I expected from the "red, red wine" band. "food for thought" was a high point for me. listening to reggae brought me back to high school days

it feels so old and tired. or maybe that's me. i genuinely wonder what kind of people still like this music. even the aging-loser-who-peaked-in-the-80s stereotype feels dated.

never been a GnR fan but i guess this is the good one

never heard of it

early 90s grunge pop is usually a miss for me

enjoyable as someone who likes reggae, but it sounds like a lot of the reggae from the period. felt somewhat forgettable after marcus garvey and slavery days

energetic, diverse, and very 90s. really enjoyed it. some of these will be in rotation on workout playlists

i never knew this existed. really cool

disharmonious cross between blues traveller and oasis. it actively offends and i dont like it

I don't think I gave it a fair shake. I wasn't really in the mood for 90s rave music. Some songs hit harder than others. Space Shanty is def a bop

hate hate hate this. 1 star is an affront to the other albums ive given it to

idk lofi pop grunge doesnt do it for me. little too whiny

rap/funk/metal fusion is so lame

murphy's hitting his stride here. the sophomore effort features less improvisational lyrics and much richer production from S/T. SOS has some of his best songwriting in All My Friends and Someone Great-emotional bangers. and it's still got the dance vibes on Get Innocuous, NA Scum, and Us v Them. overall a remarkably balanced album. i tend to think This Is Happening is the high water mark, but I love this album and appreciate a reason to revisit it.

trash for 14 year olds angry at their dad

interesting and eclectic 90s rock. funky rock mixed with music from the subcontinent. felt like it drug a bit in the middle but the beginning and ending were memorable

cringed at the album artwork, but it wasnt what i expected. first 2 tracks were pretty good. is this metal? doesnt feel like it in places

it's like i'm back at john b dey. self esteem is a banger

yeah idk. smooth r&b isnt my thing

sounds like chicago in the 70s

sounds a lot like john fogerty. somebody should sue

tonally weird. felt like a mishmash of popular sounds from the late 70s early 80s

classic. i think VU were coming up at this point. venus, sunday morning, waiting for the man, femme, heroin. all bangers

waterfalls has value

brings me back to high school. lots of energy.

Very soothing. love the textures and her vocals. will be exploring more of her ouvre

i think i prefer fear of music as far as heads/eno collabs, but its still a classic

wonderful example of the nineties psychedelic/shoegaze pop. in the same vein as flaming lips and mazzy star. really enjoyed the spaced out instrumentation and ethereal textures. feels like im stoned or dead

i had shitty taste in music at 15

perfect

definitely more fun than i expected. answering machine is a great closer. unsatisfied is a gem

theres some nigh bangers. music is cool. the vocals ruin it for me

2000s perfection

better than i was expecting. got great late 80s post punk instrumentation

lotta bangers

#notmypoppunk

slightly ahead of its time but not for me

dated but still a classic

kinda uneven. cool electronica/ambient/soul then lame 90s rapping

niche. interesting at times. overall i felt bored

better than i remembered in context. 3.5

dated

i can understand why its held in the esteem it is. not my bag though