Almost 30 years old, and this album's content is as relevant as ever. Not only do the lyrics speak to the continued shooting of unarmed black men by police in the United States, but the beats still pack a punch. Maybe because Ice Cube is speaking from a place of pain that this record still feels so salient in 2021. Protest record for the ages. Fav Tracks: When Will They Shoot, It Was a Good Day and Check Yo Self. Rating 4.5/5

This was a really challenging record for me, as I had never heard anything from this record beyond "Fast Cars". I expected Chapman's lyrics to be more autobiographical, but surprisingly, Chapman is more of an observer. She is able to describe the injustices and systematic racism she's witnessed in such a digestible and beautiful fashion. I bet artists like Lauryn Hill and Fiona Apple listened to the Chapman growing up. Fav Tracks: "Behind The Wall", "For You" and "Fast Cars" Rating 4.5/5

This album is so imaginative and so wildly different than what the rest of the British Invasion survivors were putting out, and I love every minute of it. Ray Davies loves hyperbolic irony and took great pleasure in skewering British imperialism and culture, but all the while using English colloquialism and flipping things on their head. Other than "All of My Friends Were There", this is a desert island disc. Fav Tracks: Big Sky, Starstruck, Monica, Picture Book and The Last of the Steam-Powered Train

Martyrs of Swing. This album feels so circular, slowly meandering through the songs and never getting to the point. It's as if Bob Dylan's 70's backing band got a free weekend in the studio and they just "jammed it out". Talented group, but they need some direction (which is hilarious, considering they're one of the best selling bands of their time). The music of Dire Straits just does not translate well, and has all of the hallmarks of guitar-driven dad rock that has become the butt of so many jokes. Fav Track: Wild West End

Make. It. Stop. Other than some instrumental work on "Small Hours", I couldn't wait for this album to be over. Anti-groove jazz.

Two things: 1. Never noticed how this album sounds like if Lou Reed produced the Beatles' White Album. 2. Some of the slang on this record is hilarious, but I love it. It really evokes a particular time and place in pop culture, which reminds me of slang used in hip hop music and how you can place the music based on the language being used. Anyway, this album is a classic and holds up really well.

Hunky Dory is kind of like a road map to the rest of Bowie's output in the 70s. I'm always surprised that the album works so well, despite having such stylistically different sounding songs. Favs: Kooks, Queen Bitch, Oh! You Pretty Things, Life on Mars

A post-Summer of Love wake up call, I can hear so much of 90's hip-hop in Sly's funky beats. A dark detour from what I normally associate with the band's sound, I really need to listen to this one more.

Woof. Fake crowds throughout the whole record? The production on this album is gimmicky and awful and if I never hear that cover of "Summertime" again, it'll be too soon. Janis Joplin's vocals are raw and singular, but it can't save the rest of the record. Favourite tracks: N/A

Silky smooth voice and production, this is Marvin Gaye sounding his most effortless. I think it's a little unfortunate that most people think of him as just the Godfather of the slow jam, because there's so much more going on here. Faves: Let's Get It On, Just to Keep You Satisfied, Distant Lover

Tapestry is like All Things Must Pass, all of those ideas just needing a canvas to present themselves. Soulful and conversational lyrics, with blues-y and approachable music throughout.

Psychedelic, Brit-Pop, Electronica, this album has it all! I had never heard anything this early in Spiritualized's discography, but I'm glad I got to experience it. Hoping "Ladies and Gentlemen..." is on this list somewhere too.

Great post-punk blues-y stuff. I already know this band influenced Japandroids ("For the Love of Ivy") and Jack White immeasurably, but they really do the impossible and make rockabilly sound cool.

This is one of those messy, pop-punk albums that could only be created by teenagers making their first album, but the highs on this record really shine through. 3.5/5

Bitches Brew is such a trip, I'm definitely gonna have to take a deeper dive into this one (maybe in a pitch black room, laying on the floor haha). Much heavier and rock-focused than what I'm used to from Miles Davis, incredible set of players on this one. 4.5/5

Probably my least favourite Smiths' record, but also their most unusual, so got to give it points for that. Johnny Marr's guitar work is almost unrecognizable. Favourite Tracks: Stop Me If You've Heard This One Before, Girlfriend in a Coma (Oh Morrissey...) and I Won't Share You. Rating: 3.5

Had a lot of fun with this record, and that cover of "Jumpin' Jack Flash" works insanely well. Cool fusion of Sitar with rock and roll songs before playing some originals.

Make. It. Stop. Other than some instrumental work on "Small Hours", I couldn't wait for this album to be over. Anti-groove jazz.

This album goes off the rails so quickly after a solid start with Pristine. I'm sensing this is a concept record, based off the length and the themes of the lyrics, but it overstays its welcome and becomes almost unlistenable. Julian Cope reminds me a little of Lou Reed, but he lacks the nuanced lyrics and the ability to pull off Reed's droning vocals.

Interesting album that showcases Elvis' ambitions to move into different genres, and maybe reinvent himself. But despite the album featuring a bunch of different popular late 50s genres, they're all isolated in separate tracks. Would have like to feel a sense of cohesion.

Like Nick said, this era of Leonard Cohen is unmatched. Some really beautiful songs on here, Famous Blue Raincoat and Avalanche are both stellar. But there are a few misses here too, like Dress Rehearsal Rag, which sounded like something that should have been left on the cutting room floor. 3.5/5

Soul, hip-hop and reggae Queen. This album feels so spiritual and is arguably the most influential record of the decade on future rap and hip hop artists (see Kendrick, Drake, Kanye, Chance, etc. etc. etc.) Fav tracks: Ex-Factor, Everything is Everything, Doo Wop (That Thing)

Noisy punk rock in the 60s? Yes please. A couple of the covers on here are really stellar, well others kind of fall short, but overall it's an important record for more grungey/punk-y production. Fav Tracks: Do You Love Me, Have Love Will Travel

Some of the tracks feel a little bit charming, but also completely baffling at the same time. So respect, definitely not my cup of tea but I can imagine this album being important to a lot of esoteric artists. 2.5/5

Wow, this album is stellar. Two tracks, the musicians all seem so in-tune with each other, but it all feels so relaxed and original. (This list is really getting me into Miles I guess?) 4.5/5

Scott Walker's production has always been a little unhinged, but some of the songs on this record really work for me. A nice combination of interesting lyrics to dive into, big string arrangements and some dark harmonies. Fav tracks: The Seventh Seal, Hero of the War, The Hold Man's Back Again

Solid tunes on this one, a little blues-y guitar and folk elements that work really well. "Darkness, Darkness" is a great track, and enjoyed it overall.

So much funk here, a little bit of Sly, James Brown and Curtis Mayfield, but based around Samba? It works really well, with the interwoven percussion, guitar work, warm vocals and funky bass lines providing an extremely enjoyable record. I can hear a lot of influence on David Byrne here.

This album is pretty disappointing. Inconsistent quality of songwriting, it feels more like this album is on the list for Crosby's reputation.

Excellent guitar work, the styling reminds me of Nick Drake and Donovan. Interesting voice too, as it's far from perfect, but seems to produce an image of a rambling guitar player, someone you might see playing your local pub on a Wednesday night.

This is Neil Young's mainstream breakthrough, kind of like his Born in the USA, and I have similar feelings about both records. The band feels really tight on this record, and there's a great groove throughout. Songs like Alabama sound like they could have been off of Tonight's the Night and Are You Ready For the Country? sounds like it's from Everybody Knows. RE: A Man Needs A Maid discourse, I struggle with this one. Its production, like There's a World, seem wildly out of place on this record. However, for me the lyrics: "To give a love, you gotta live a love To live a love, you gotta be part of" redeem the whole song. I think it's a bit of an attempt by Neil Young to view a loving relationship as emotionless, and he has this realization partway through that it's impossible. You need to take it for the ups and the downs, not some old world patriarchal mindset. 4.5/5

Catchy and energetic punk music. Most of these poppy songs still hold up, save for maybe Fiction Romance and Moving Away from the Pulsebeat. Favourite tracks: I Don't Mind, What Do I Get? and Oh Shit. 3.5/5

This album is full of samples and interesting snippets, but I'm not sure I'm a huge fan of the finished product. Definitely makes more sense how they ended up at XTRMNTR next. Fav tracks: Star and Long Life

Hard one to review, because I don't have much to compare it to. It felt a little repetitive at time, but that might be because my ears aren't tuned to death metal. I liked the drumming in parts though. Rating: 2.5/5

Well, now I know where the "To Be Continued..." meme comes from. Thanks Roundabout. Definitely hear some math-rock influence, but I agree with Nick, prog rock has never been my favourite. My experience would have been greatly enhanced by a laser light show haha. Respect it, but probably won't go back to this one. Fav Tracks: Roundabout, Heart of the Sunrise Rating 2.5/5

Love this record, Brian Eno has some great meditative music, but this one has a lot more pop sensibilities. Fav tracks: I'll Come Running and The Big Ship. Rating: 4.5/5

The combo of the rhythm and Tracey Thorn's voice via a pop record is pretty magical. Some great songs here, I look forward digging into this more after consuming the limited Marine Girls material. Fav songs: Big Deal, Before Today and Single.

Pretty great live/bootleg recording capturing Dylan's transition from acoustic to electric, but this recording removes the audience reaction. It really loses all of its tension. Definitely loses a lot of it's importance/relevance to this list without it. Fav Songs: Visions of Johanna and Like a Rolling Stone. Rating: 2.5/5

The songwriting duo of Forster and McLennan is at its best on this record. Half the tracks are upbeat, romantic and optimistic, and the other are sad and heartbreaking. The driving melodies and guitar work is some of the best I've heard, rivalling some of my favourite Smiths records. Fav Tracks: Love Goes On, Was There Anything I Could Do and Dive For Your Memory

Really surprised how much I loved this. Like Nick said, there's a kinetic energy and playfulness between the members, but they're able to keep up their politically-fuelled lyrics. It's soulful, the beats are so full and realized, definitely going to be a repeat listen. Fav Tracks: Rebel Without a Pause and Don't Believe the Hype. Rating 4.5/5

I've never been into grunge, but I can appreciate some of the influences on the members of Mudhoney, like the Stooges' Iggy Pop. Unfortunately, this evolution of punk on this record isn't that impressive. It's not humorous, energetic and doesn't make me feel much. Rating 2/5

This album sounds very tasteful, digestible and radio ready. It's also bloated and boring. Maybe it's because I'm listening to it after Coldplay copied a lot of their playbook, or because "Bittersweet Symphony" gave me hope that the lyricist had a few tricks up their sleeve. But it was really disappointing, and I can't really forgive an entire album of tired cliches about carpe diem. Rating 2.5/5

Ogden's Nut Gone Flake seems like a rare case of an album that feels so essential and influential, but somehow never really comes together for me. Some great tracks, and the narration is original, and while I've seen it done on other records since, definitely has a purpose here. I appreciate the experimentation and a few of the stand-out tracks. Fav Tracks: Afterglow and Son of a Baker. Rating 3/5

Almost 30 years old, and this album's content is as relevant as ever. Not only do the lyrics speak to the continued shooting of unarmed black men by police in the United States, but the beats still pack a punch. Maybe because Ice Cube is speaking from a place of pain that this record still feels so salient in 2021. Protest record for the ages. Fav Tracks: When Will They Shoot, It Was a Good Day and Check Yo Self. Rating 4.5/5

Born To Run remains my favourite Springsteen record, and I always thought that was because it was my first. But listening again after all these years, I can safely report that every moment of this record is perfect. Springsteen's wails about breakin' out of the places that have always trapped him works as the perfect allegory for a suppressed working class that slowly realized that the American Dream was not meant for everyone. The sax work my Clarence, the drumming of Mad Dog/Weinberg, the keys provided Roy J. Bittan are absolute magic here. Heartbreaking to listen to, but still exhilarating after all these years. Fav Tracks: Thunder Road, Backstreets, Jungleland, Born To Run, et. al.

This really feels like the proper evolution of indie, rock, soul, funk, etc. It's a fusion without explicitly selling itself as such, allowing boundaries to be broken at will when it suits the band. I'm always curious about music that was released at the end of the Bush administration, and this record definitely feels a little jaded, as the politics really mix well into this concoction. Fav Tracks: Family Tree and Halfway Home

This is a challenging one for me. I was really into a lot of this record, especially the first few tracks. It reminded me of a math-rock Athens, Georgia group. They could have fit right in with early R.E.M. and the Flat Duo Jets, maybe with a little Television. But the bass playing was not my cup of tea, although I'm sure Flea would have loved it. I'll still give it a positive rating though! Fav Tracks: In My Mind, Riddle of the Eighties and Vastopol (Elizabeth Cotton?). Ratin 2.5/5

Probably my favourite Nick Cave record, as he goes with sparse production and really intimate and cathartic lyrics. Great piano work from Cave and the atmosphere from the Bad Seeds fits the mood of the songs perfectly. Fav Tracks: Into My Arms, Lime Tree Arbour, There Is A Kingdom, Brompton Oratory

I like Frank when he's singing from a lonely place, and the arrangements to these songs really help him sell the sentimental melancholy. It doesn't all work, and a few tracks could have been cut, but I still enjoyed wallowing with Frank for an hour. (Sidenote, his take on I "Get Along Without You" is nowhere near Chet Baker's brilliant version.) Fav Tracks: What Is This Thing Called Love? and In the Wee Small Hours of the Morning.

This album is so imaginative and so wildly different than what the rest of the British Invasion survivors were putting out, and I love every minute of it. Ray Davies loves hyperbolic irony and took great pleasure in skewering British imperialism and culture, but all the while using English colloquialism and flipping things on their head. Other than "All of My Friends Were There", this is a desert island disc. Fav Tracks: Big Sky, Starstruck, Monica, Picture Book and The Last of the Steam-Powered Train

I never knew Count Basie was making music like this well into the 1950s. There's a lot of creativity, energy and vitality to these songs, and I can even hear a bit of rock mixed in with the jazz. Count Basie's horn section really feels like an atomic bomb here. Works really well together, no favourite track, rather listen to the album as a whole!

This really feels like a record I should enjoy more. The production is lush, but dark and Jarvis Cocker has some really cutting lyrics throughout. But, a lot of it blended together for me, so it's a bit of a confusing listen for me. Fav Tracks: TV Movie and The Fear.

Warm vocals and tough lyrics here from "outlaw" Waylon Jennings. I guess outlaw country isn't an attitude, but a sound, because I've heard country acts going back to the 40s cosplay as outlaws. But I digress, it's a good listen, but the negatives kind of outweighted the positives. Rating: 2.5/5

I remember buying this album on a one-day band trip in high school. Snuck over the HMV while everyone was grabbing lunch and got it 2 for $20 with some other record. The reason I can't remember the other record I bought that day because Screamadelic confounded me. I loved the funky acid/psych rock, but my 16 year old ears had never heard club beats before. Wasn't a hit with my friends, and I mostly listened to "Moving On Up" on repeat, but over the years I got to the rest of the tracks. Incredible stuff, sprawling and loose, but not even a second wasted on this hour-long listen. Fav Tracks: Loaded, Moving on Up, Shine Like the Stars and Inner Flight. Rating 4.5/5

Enjoyed this Cohen record, felt like a continuation of his first record for the most part, with his signature strumming and lyrics that can hit you like a brick ("I have tried in my way, to be free"). There's definitely a bit more country feel to it, though. Fav Tracks: Bird on a Wire, Story of Isaac, and The Partisan. Rating 3.5/5

Not totally sure why this album is considered essential, it somehow feels overstuffed with ideas, but those ideas aren't that memorable. Maybe when it was released it sent shockwaves through the [New Wave/Pop Jazz] scene, but for me it was neither an easy listening or a challenging listen. Fav Tracks: The Whole Point of No Return and The Paris Match. Rating 2/5

I'm gonna have to side with Nick's review on Emergency on Planet Earth, as most of this album feels contrived, with Jamiroquai stepping into a style that was historically marketable. However, the historical appropriation of cultural music/stylings of black American musicians by white British musicians is well documented, so this whole project feels uncomfortable to listen to.

An intricate and effortless masterpiece, the last round-up for the Beatles. The album is split into two distinct sections, with side one holding the strange, the silly, the rock'n'roll heavy, while side two contains a cycle of songs that is some of the band's strongest arrangements. Credit where credit is due, George Martin made some of these short tracks into something grand and so repeatable. Fav Tracks: Golden Slumbers, Carry That Weight, She Came in Through the Bathroom Window, Something, Come Together.

This is just about the best radio alt. rock I've heard. Great melodies and lyrics from Courtney Love, all focused around California life. I haven't heard much Hole before this record, so I didn't have any expectations other than maybe this would be a grunge record, but I was pleasantly surprised at the big pop production of "Celebrity Skin". Fav Tracks: "Awful" and "Malibu"

Mitch Mitchell was one of my favourite drummers growing up, and this album is one of the reasons why. The Band of Gypsies is so experimental here, and while Jimi Hendrix is often viewed as the father of prog rock, it's the melding of genres here that make this album such a treat to listen to. Hendrix is undeniably a great rock guitar player, but what's often overlooked is his pop songwriting craft. Fav Tracks: Burning of the Midnight Lamp, Voodoo Chile, All Along the Watchtower Rating: 4.5/5

A great mix of late 70s punk and early 80s pop, kind of bridging the gap between bands like the Buzzcocks and mainstream radio. A perfect summer listen. Fav Tracks: Our Lips Are Sealed, Skidmarks On My Heart, Lust to Love.

Tough one to rate. I can sense the innovation, very tight new wave rock. For some reason, I was getting a sonic connection point between the Cars and Queen, but that might be a little off. "Just What I Needed" has an insane build up to the chorus, and I'll love them for that, but overall I was uninterested with the music halfway through the album. Fav Track: "Just What I Needed" Rating 2.5/5

BB King, what can you say. He's got such a distinctive blues voice and his guitar stylings are second to none. But Live At The Regal doesn't really stand out to me. I enjoyed the stories, but it felt a little out of place on a best 1001 albums list. Fav Tracks: "Help the Poor" and "Sweet Little Angel"

I can appreciate what Banhart is doing on this record, as you can hear the traditional folk influences of Cohen and Jansch, but unfortunately the individual parts don't seem to add up to much. The lyrics seem a little nonsensical, and not in a charming way, but more in a overtly obtuse way. Feels like he's messing around at times without a full vision of what he wants to do, like scraps of paper in a journal. Fav Tracks: N/A

CCR produced a lot of masculine/bayou rock in their day, pumping out a lot of albums in a short period of time, but they always felt more like a singles band to me. Their performances are always muscular and filled with emotional intensity, but there are always a few tracks that tend to stand above the rest. For me, Lodi, Sinister Purpose and Bad Moon Rising have always been the trio of songs that have stuck with me. Great record overall. Fav Tracks: Lodi, Sinister Purpose and Bad Moon Rising

Really experiential record to listen to. The lyrics seem timeless, as David Gilmour and Roger Waters guide you through life. From the second track "Breathe", a track that deals with birth and the lessons we teach children, to the final few tracks when the album comes full circle, as "Any Colour You Like", "Brain Damage" and "Eclipse" work as a study on death. Hard to argue with an album that still sounds as sonically fresh as Dark Side of the Moon. Fav Tracks: "Breathe", "Brain Damage", "Eclipse", and "The Great Gig In the Sky" Rating 4.5/5

I'll always love the Minutemen for just throwing everything at the wall. The proto-Robert Pollard, if a song doesn't hit the mark, who cares, in under two minutes we'll have a brand new compact idea. While there are a few songs that dip into genres/styles that aren't my personal taste, they are few and far between and there are some great subtly brilliant moments, as well as signs of a touring punk band that has really honed their craft. Fav Tracks: "Viet Nam", "Cohesion", "Nature Without Man" and "History Lesson Part 2"

A Walk Across the Rooftops really slowed my day down, as the members of Blue Nile strikes a good balance between sparse arrangements and raw vocals to great effect. The lyrics can be painful and bleak, but A Walk Across the Rooftops never loses steam. It's definitely an album I'll be returning to. Fav Tracks: "Automobile Noise", "A Walk Across The Rooftops" and "Tinseltown in the Rain"

This was a really challenging record for me, as I had never heard anything from this record beyond "Fast Cars". I expected Chapman's lyrics to be more autobiographical, but surprisingly, Chapman is more of an observer. She is able to describe the injustices and systematic racism she's witnessed in such a digestible and beautiful fashion. I bet artists like Lauryn Hill and Fiona Apple listened to the Chapman growing up. Fav Tracks: "Behind The Wall", "For You" and "Fast Cars" Rating 4.5/5

Very interesting record. I feel a bit Harry Nilsson/Magnetic Fields in terms of raw production/musicianship. Very striking lyrics and beautiful arrangements over Grant's crooning. It's a tad bit on the long side, but that also gives you more places to dig into upon further listens, which I assume will give me even more appreciation for this record. Fav Tracks: "Caramel" and "Outer Space"

Not really feeling some of the lyrics here from Jeru. The beats and atmosphere of the songs are pretty much on par with some of the Wu Tang Clan's albums, he's got a great gritty voice, but the lyrics seem to let down the rest of the record. Maybe I'm missing something, but some of the songs felt really hollow. Fav Tracks: D. Original

This is my first exposure to a Roots' record, and I was really surprised at the variety of genres they venture into here. There's a little prog, a little psychedelia, techno in addition to neo-soul/old school hip-hop, which is more of what I associated with The Roots. Make me want to dive into more of their work, as I feel like it's a strange entry point, but I like a lot of what "Phrenology" has to offer. Fav Tracks: Break You Off, The Seed (2.0) Rating: 3.5/5

Out of all the albums we've listened to so far, this one definitely has the most recognizable radio hits, and it's easy to understand why. The production is very triumphant, even if the lyrics are critical of American life. It's probably why "Born in the USA", a Vietnam War protest song that focuses on mistreated veterans, is still played at Republican Party rallies to this day. It's a strangely enticing combination of combining sentimentality and frustration with the reality of the American Dream. Fav Tracks: My Hometown, I'm Goin' Down, No Surrender, Born in the USA, Working on the Highway Rating: 4.5/5

Darklands is packed full of big pop guitar hooks, and some familiar sounding melodies from Psycho Candy. The band relies less on the wall of sound from the previous album, but much more on what sounds like a drum machine here, sometimes to great effect. It's a very enjoyable listen, and interesting to hear where the Jesus and Mary Chain went after the reverb heavy Psycho Candy. Fav Tracks: Happy When It Rains, About You, April Skies Rating: 3.5/5

Such an interesting record, and I agree with Nick's sentiments that the narrative of "Tommy" feels like Townsend's cynical summary of the late 60s/Summer of Love. While this narrative is not entirely clear at times, the grand concept and sonic atmosphere of "Tommy" elevates it to a higher plane. But I wonder if the concept of a blind Tommy actually plays well into the dense storytelling. I enjoyed the interplay between the hard rock that the Who are known for, to the more fragile, softer moments. I don't think I've noticed the double tracked vocals of Daultry before, which might sound counterintuitive because of his huge voice, but it really adds to the spacey/ethereal vocals. "Tommy" feels like a signpost to show where rock music was headed into the 1970s. Fav Tracks: I'm Free, Sparks, Pinball Wizard, Underture, Go To The Mirror!, Amazing Journey Rating: 4.5/5

New Gold Dream really feels like a circular conversation put to music. The lyrics are nonsensical in the worst way, and the grooves never amount to anything beyond a flourish here and there. Definitely some worthwhile stuff hidden away here, but it's only worth listening to for archaeological purposes, not really for enjoyment. Fav Tracks: Promised You A Miracle

An extremely poignant record, as Dennis Wilson, the blueprints used by the Beach Boys to bring their California sound to the 60s. The strain and melancholy in his voice combined with its richness is really something to behold. The highs of this record are undeniable, and seem like a mix of Beach Boys harmonies, with a little of Big Star's Third and a lot of heart. I can forgive the overly blues-y parts. Fav Tracks: Thoughts of You, End of The Show, Pacific Ocean Blues, River Song and Moonshine

Well, that album when downhill fast. The guitar-drive, heavy metal pop work really well through the first few tracks on 1984, but things fall apart after Panama. The first track is a great lead up to the record, but the rest just feels empty. Eddie Van Halen's guitar talent is undeniable, but David Lee Roth is hilariously incompetent as a frontman/lyricist. Fav Tracks: Panama, Jump, 1984 Rating 2.5/5

Really surprising addition to this list, but I'm glad they did. This album is electric, and Jerry Lee Lewis' backing band somehow manages to match his energy. It's essentially a greatest hits record, which Lewis keeping the set short, and the backing band keeping things loose, but on the edge of things falling into chaos. Fav Tracks: Whole Lotta Shakin' Goin' On, Long Tall Sally and Great Balls of Fire Rating: 3.5/5

I have a hard time understanding how The Auteurs didn't take off in the Brit Pop scene. The have a distinct folkly/chamber pop sound, clever lyrics and a front man that's not afraid to voice his cynical views on British imperialism. It's reminiscent of Ray Davies at the height of his powers, and they even carry a hint of 60's British Invasion in their music. Surprised this one passed under my radar. The production is a little bombastic at times, which dates it, but still enjoyable, as there is a tension between the cutting lyrics and the guitar-driven pop of the time. Fav Tracks: Don't Trust the Stars and Valet Parking. Rating: 3.5/5

Trafalgar has it's fair share of passable tracks, and my rating will reflect that, but there are some great songwriting and arrangements here. Somebody Stop the Music is a little more experimental, Walking Back to Waterloo is a great album closer with great arrangements and Don't Wanna Live Inside Myself has that overly-dramatic tension that the Bee Gees are so well known for. Fav Tracks: Somebody Stop The Music, Walking Back To Waterloo and Don't Wanna Live Inside Myself

Stripped down punk, as Public Image Ltd really peel back all the pomp and circumstance, leaving only the anti-religious confessions and accusations of Johnny Rotten. Often times, his voice is used more as an attack instrument rather than a melodic one. Not my favourite art-punk/post-punk project, but definitely worth the listen (the drums alone are fantastic). Fav Tracks: Annalisa and Public Image Rating: 3.5/5

Repetitive prog rock/nu metal has never been my idea of a good time, and combine that genre with this particular era of late 90s schlock rock, and you get Make Yourself. My only memory of Incubus was as the lame edgy band my middle school classmates would attach their personalities to for a few years. The lyrics are a hilarious attempt at nihilism and the production is so wrapped up in all the worst 90s tendencies, it hurts my head. Rating: 1.5/5

The guitar work on Call of the Valley, whether it's slide, dulcimer, sitar, etc. is so wonderful and innovative. Everything felt very organic, as the songs flowed into one another with this kind of ambient droning that has influenced so many other genres (psychedelic, shoegaze, experimental). The flute and percussion also add layers to this sonically simplistic but intoxicating instrumental album. Fav Tracks: Piloo-Teen Tala and Des-Dadra Tala

Can't deny this record it's due. Live albums tend to be a showcase for an artist's greatest hits, but can get bogged down in rough performances or poor sound quality. But this 1962 recording of James Brown at the Apollo Theatre transports you there. From the M.C.'s introduction to the tight band to Brown's captivating performance, this recording is better than any greatest hits album, because it's fresh and keeps you on the edge of your seat. Fav Tracks: Lost Someone, Try Me and I Don't Mind Rating 4.5/5

There's some great crooning on this record, and I enjoyed some of the covers chosen for the album. Solomon Burke's voice has a lot in common with Elvis Presley on some of the rock'n'roll tracks, and Sam Cooke on more of the more soulful tracks. Fav Tracks: Cry to Me and He'll Have to Go

Joshua Tree sounds like the culmination and refinement of U2's sound, as they move away from their punk roots and into a more radio friendly pop. Almost like REM's Automatic For The People and Bruce Springsteen's Born in the USA. For better or worse, it ended up sending them into stardom, and potentially inflated their egos a bit. There's a subtlety to the arrangements and lyrics that are lost in the broader modern U2 songs. While "Still Haven't Found What I'm Looking For" unwittingly provided the blueprint to 2000s Christian worship music, there's a good balance of personal lyrics by Bono with broader themes that deal with real world issues. Fav Tracks: Red Hill Mining Town and Mothers of the Disappeared Rating: 3.5/5

This record is the most consistent fun I've had with a Queen record. They've always been a bit of a singles band for me, so Sheer Heart Attack is a nice surprise. The arrangements are more complex and explosive than their older material, and doesn't suffer from some of the more egregious experimentation of their 80s material. Fav Tracks: Brighton Rock, Killer Queen and Bring Back That Leroy Brown.

Vincebus Eruptum feels like a bit of novelty, but also a signpost of things to come. The band slogs through the six tracks with a novel and sustained guitar tone that sounds like a precursor to heavier genres to come. Despite this revelation on guitar, the rest of the music feels average to downright boring, and the lyrics are so basic, it feels like they were written 5 minutes before the producer hit record. Fav Tracks: Out of Focus

Martyrs of Swing. This album feels so circular, slowly meandering through the songs and never getting to the point. It's as if Bob Dylan's 70's backing band got a free weekend in the studio and they just "jammed it out". Talented group, but they need some direction (which is hilarious, considering they're one of the best selling bands of their time). The music of Dire Straits just does not translate well, and has all of the hallmarks of guitar-driven dad rock that has become the butt of so many jokes. Fav Track: Wild West End

Air does a great job here presenting a group of well-crafted electronic pop songs. The duo presents Moon Safair as a playground of synths, but with some buoys of organic and familiar samples floating along the surface to not get lost. Fav tracks: Kelly Watch the Stars and Remember

I really enjoyed the intimate lyrics and guitar stylings of Vega, but some of the production decisions and, as Nick noted, the sing/speak start to the record was off-putting. I'll remember a few of the tracks from this record, but the record as a whole was only okay. 2.5/5 Fav tracks: Knight Moves and Marlene on the Wall

Fugazi is one of those post-hardcore groups renowned for "breaking the rules", not just musically, just preaching anti-violence at their shows and beyond. This record is no-doubt super influential on bands growing up listening to their music, but I've never quite been able to connect the dots to my own musical experience. While I appreciated the opportunity to sit down and listen through Repeater for the first time, I'm afraid I'll never be able to experience it in the right setting and at the right age. 2.5/5 Fav tracks: Styrofoam and Merchandise.

Hindsight is a funny thing. Big Star's Third wasn't readily available to the public upon it's release, so it gained a big of a mysterious quality to fans, especially considering this record's defining quality was the disintegration of the band. What happened to make this the last Big Star record, and what made Alex Chilton abandon his band's signature sound only to wander the deserts of underground musical genres for the next 15 years. The production, while rough and borderline unfinished in places, have a real magical quality in the context of the band's history. They achieved pop perfection with songs like "September Gurls", but here we get a look behind the scenes, at the raw emotions Jody Stephens and Chilton were feeling. Their music had remained in the shadows, and that hurt and anguish is felt through an album that feels like it's being stitched together before your very eyes. I agree with Nick about this record having a huge impact on bands like Yo La Tengo, REM, Wilco, the Replacements, Teenage Fanclub, etc. etc. I'm not always in the mood for the depths and tension in this album, but it's a masterpiece by my account. Fav tracks: Kanga Roo, Thank You Friends, Blue Moon, You Can't Have Me, For You, Big Black Car

If Pablo Honey was the band warming up, The Bends is where they truly start to find their signature sound. Simple and straightforward alt. rock songwriting is at the forefront here, and there are some really effecting tracks here. Street Spirits is a new favourite, and leaves me with a pit in my stomach. The tracklisting is almost perfect for this genre, and Radiohead is very close to perfecting this genre for the 90s, which isn't surprising that they jumped into more experimental waters after it's release. Onto bigger and better things. Fav tracks: Street Spirits (Fade Out), High and Dry, Bullet Proof...I Wish I Was and Fake Plastic Trees

I was grooving all the way to work with Under Construction playing in my car. It has retro-elements, not just in terms of musical production, but also in terms of it's lyrics. Miss Elliot is very nostalgic here, and the lyrics are fun, poppy, but also light and a little underwhelming. Fav tracks: Bring the Pain, Work It and Back in the Day

Chic has always been a singles band, producing dance-floor ready disco that can light up our worlds. So it's a little difficult to rate this record on the whole, as there are a few stellar tracks here, but the later half of the record feels inconsequential and made me want to pick out the best tracks and save them to a dance playlist. Will You Hear Me Cry and A Warm Summer Night don't really hold up. Fav tracks: Good Times and My Forbidden Lover

I'm going to have to agree with Nick's comments, this record's runtime is a bit of a slog, which I suppose relates to the records themes. A real upside down/mirrored look at our world, stripped of it's joys and stranding us in a horrific atmosphere. The post-punk poetry here sometimes hits the mark, but can feel a little aimless at times. Rating: 2.5/5 Fav tracks: L.A. and To Nk Roachment: Yarbles

There's a heavy atmosphere on Time Out of Mind that creates a new landscape for Dylan to explore, but he mostly sticks to standard ballads and polished blues. Some great writing here, Highlands excluded, which is exhausting and uninteresting in every conceivable way for Dylan. Fav tracks: Make You Feel My Love, Not Dark Let and Love Sick

Surprising, but I don't have much to say about this record. Steve Albini's production is big, Kurt Cobain wears his heart on his sleeve and the sound went on to inspire countless copycats. But almost nothing on this record stood out to me, which was a strange experience, as I was expecting a lot more from a recorded that was lauded by many of my music friends in university. Rating: 1.5/5 Fav track: All Apologies

Whenever I hear the influence of the Scottish indie band Orange Juice in anything else, I'm immediately onboard. What's wild is that when I was a tween, I had never heard of Orange Juice, but I sure loved what Franz Ferdinand was delivering. It was that same indie sound, but adapted for the stadium rock tours that defined the late 90s/early 2000s alt rock scene. Franz Ferdinand succeeds here with their duelling guitars, tight production and witty turn of phrase. Fav tracks: 40", Michael, Take Me Out and Jacqueline

Holy horns, Ray! The production on this record really elevates these songs. I felt like reaching for my non-existent Old Fashioned the second "Let the Good Times Roll" started playing. Even if Ray Charles has objectively better songs from different albums, the first half of this record put a smile on my face. The latter half is mostly slowed down piano ballads, but honestly, he earned it. Time to dive deeper into Ray's lengthy discography. 3.5/5 Fav Tracks: Just For A Thrill, Let the Good Times Roll, Come Rain or Come Shine

Rod Stewart's signature growl was always fit well in the Faces. The guitars and keys play an important role in his success, and there's a slight turn on this solo record. His attempts to match the other singer/songwriters of the era finds a mixed result. The first half of the album is a difficult listen, especially the culturally-voyeuristic gaze on the title track. But the second half of the record comes alive with beautiful production and lyrics. 2.5/5 Fav track: Maggie Mae

My impression of Billy Bragg's folk-punk music has always been that it's straightforward, blunt and effective in it's political messages and "Talking With the Taxman About Poetry" is all those things and more. With some horn accompaniment and harmonies chiming in here and there, a more fleshed out version takes shape. Charming and purposeful lyrics sung with a commanding voice, I find myself returning to this album. Fav Tracks: There is Power in a Union, Greetings from the New Brunette, Help Save the Youth of America, Levi Stubb's Tears

I was not expecting this album to sound so spectacular. I'm familiar with Def Leppard's big hits, and I'm not completely confident in their songwriting abilities, but the producing really elevates this album into something that's quite palatable and fun throughout. Pop metal can be so joyous and goofy, and Hysteria came close to making me turning my brain off and making me a believer. The T. Rex influence here is palpable. Fav Tracks: Pour Some Sugar on Me and Animal

DNF

Despite it's title, album is the opposite of "Timeless", it's a time capsule of what was to come for the drum and bass genre. And to be fair, the beats are interesting and fairly complex, and there are some wild moments tucked away on this 2 hour long album, but that's where it lost me. I didn't feel engaged enough to warrant a two hour runtime, and frankly, it's difficult to judge Timeless without the satire music that has surrounded the d&b scene in pop culture. Fav Track: None

The Street's lyrics are at their best when they're conversational, vulnerable and a little bit awkward, and Mike Skinner does a fine job and working those into his self-centred storytelling on A Grand Don't Come For Free. Some of the tracks just don't land for me, possibly because they haven't aged super well. Fav Tracks: Could Be Well Now, Dry Your Eyes and It Was Suppose to Be so Easy

The Wildest! truly imparts Louis Prima's style onto a record, as the singer/trumpeter sounds like he's barely holding it together or about to burst out laughing with some of the lyrics he's squeezing into certain bars. I have a soft spot for this era, and Prima provides a nice combination of upbeat blues, jazz and early rock'n'roll. (Hats off to Louis and his band for adapting to the new rock style and not rejecting it). Fav Tracks: Just a Gigaloo/I Ain't Got Nobody, Oh Marie, Jump Jive an' Wail, (I'll Be Glad When You're Dead) You Rascal You, Buena Sera

I really enjoy when this list introduces me to an album outside of the western canon, and Kenya took me off guard. Great playing, high energy, but also a little hard for me to rate, just because I'm not overly familiar with the genre. The production sometimes made it difficult to hear all of the parts, but that might have been on purpose. Fav tracks: Tin Tin Deo, Conversations, Kenya and Congo Mulence

Madman, Tumbleweed Connection and Honky Chateau are my favourite era of Elton and Tupin. This album feels a little chaotic, but also sentimental. It feels like it is almost gonna fall apart near the end, but it never does. Beautiful ballads throughout, even if Indian Sunset's storytelling is tainted by the songwriting duo's stereotyping of Indigenous Americans stories. If it wasn't for a couple mediocre tracks like Razor Face and Rotten Peaches, I would rate this album a little higher. 3.5/5 Fav Tracks: Goodbye, Levon, Tiny Dancer, Madman Across the Water

Joplin's soulful vocal performance on Pearl is undeniable. The songwriting is pretty average early 70s blues, but Joplin and her band elevate it to something that can really connect you to how she's feeling. Also, there aren't any extended tracks on this album, so Pearl never overstays its welcome. Fav Tracks: A Woman Left Lonely, Trust Me and Cry Baby

Bjork is an artist with a capital A, and her music always takes you on a journey on a unique combination of musical influences. It's avant-garde at times, but also poppy. Experimental throughout, but also simple and palatable. This is the album I'm most familiar with from Bjork and I'll have to use it as a diving board to discover more of her music over time. Debut is stunning and I'll be coming back to it for years. Fav Tracks: Big Time Sensuality, Venus as a Boy, Human Behaviour, Come to Me and Like Someone in Love

I'll admit that I enjoyed some of the political messaging of Joe Fish here, preaching anti-Vietnam/anti-imperialists messaging from a psych-rock pulpit (aka 1960s folk festivals). However, the music felt very middle of the road, and hasn't stood up well over time. 1.5/5 Fav Track: Not So Sweet Martha Lorraine

A couple of tracks on Synchronicity were really compelling, especially the sonic continuity of the second half of the record. Just wanted to point out that "Mother" might be one of the most unappealing tracks I've suffered through since the Jamiroquai record. The album starts off great with Synchronicity I, immediately falls off a cliff and when all hope is lost, recovers on Side B. Wild stuff. Fav Tracks: Synchronicity I/II, King of Pain, Every Breath You Take and Murder By Numbers

It's rare that an album starts with an 18 minute opener and still manages to maintain a coherence and progression throughout the record. The transition between movements within these lengthy prog-rock tracks work so well, I can see some influence on bands like Sigur Ros here. Fav Tracks: And You and I

Method Man oozes wit, but sometimes his theatrical persona can run counter to his flow. Regardless, some of the grooves and samples here are so well produced, and they really ground things some of the darker/deranged themes on Tical. 3.5/5 Fav Tracks: Release 'Yo Delf, Tical, Bring the Pain, All I Need

The traditional American blues-y sound of the Jimi Hendrix Experience The Black Keys and Jon Spencer Blues Explosion is so palpable, it's impossible not to mention. And while the grooves that JSBE can really get you stomping your feet...the clean and polished production runs so antithetical to soul of the music, that it almost hurts to listen to. Also, it should be noted that Jon Spencer seems to have put all his skill points into guitar playing and none into his lyrics/delivery. Groups like Flat Duo Jets and even Velvet Underground to a certain extent create a better overall feel by scaling back the production to a minimalist style that fits the music being produced. Fav Tracks: Can't Stop, Rocketship