As someone who is not a fan of country music, this album was enlightening. I always knew Dolly Parton was something special, but this album reinforced that knowledge. She manages to take what I often times feel is a tired and repetitive genre and produced songs that are poignant, sweet, and funny. An absolutely fantastic album.

"It had a large impact on the psychedelic folk genre." As in what not to do? Okay, now that I got the joke out of my system, this isn't nearly as terrible as I was expecting based on the reviews. I was expecting a complete mess, but it was actually, often, pretty and relaxing. Some places were weird, yeah, and you can just write off the lyrics (which is what I did), but it wasn't nearly as off-putting as other comments are saying, at least to me. Okay, fuck it, I actually unabashedly love this album. I was sad when it finished. I laid back and closed my eyes and it was as great of an experience as some of the top psychedelic albums I've listened to. The nonsense lyrics, the warm instrumental variety, everything worked. So, long story short: expected to hate it, fell in love. 5/5.

Some good, ol' fashioned country music. If there's one thing that I've learned from this album generator, it's that I don't hate country music, I hate modern country music. The songs go down smooth and don't overstay their welcome. Hadn't heard of Merle Haggard before, but I'll definitely be listening to him more from here on out.

Yes, more rock with female leads please. Honestly there's not enough female-led rock groups in this list, probably because there's not enough popular ones in general. Siouxsie has a tremendous voice that, before today, I'd never heard before. This album was a shocking, pleasant surprise. I'm not super familiar with post punk as a genre, but if this is what it's like, then I clearly need to delve into it some more, because 'Juju' is all kinds of haunting, fantastic, and brilliant.

This was... really bad. I could leave it at that but I think this album deserves a bit of explanation. The vocals are nothing spectacular, but that's not necessarily a deal breaker. After all, Bob Dylan doesn't have a voice to write home about. And speaking of Bob Dylan, the contents of the lyrics are similar to Dylan's work. There are stories being told, but they're all laid out so explicitly that there's nothing interesting about them. You lose something when you're just retelling a story from beginning to end with no room for inference. Then there's the instrumentals, which at times aren't noticeable, and at other times sound discordant. Ultimately, not as interesting as Ackles probably wanted this album to be. Bored me into not finishing.

At points the vocals made me think I was listening to Weird Al. "Gotta Get Away" had serious Nirvana vibes. Overall not a bad variety of songs.

A great first album. Weird but catchy and lively songs. Not too heavy. And there's a reason why Psycho Killer is a hit. Got me to listen to other Talking Heads albums.

Having not heard much from The Who other than Baba O'Riley, this was a nice album that showcased what the band has to offer. Some really good variety of rock. Hard to believe at times that it was a live recording!

Though I'm not a fan of country, there are some nicely subdued tracks on this that make it a decent album.

There's no doubt that it's good, but after a while I felt like I was listening to one big song, there was just no real variety to be seen in the first half. The greatest variety came from songs on the latter half of the album, starting with "Pre-Road Downs." The album feels its strongest when an individual member is showcasing their vocal talents, and not when they are all harmonizing with one another; though perhaps that's just because so many of their songs are harmonies.

A chill, relaxing album with some really catchy songs. Overall, really nice.

I'm not sure what I'm listening to but... I like it? Hard to hear what's being said because the vocals are whispers and the instruments are loud, but still strangely enjoyable.

A solid album. After the first listen, I enjoyed the first song but overall felt the album was unremarkable. Listened to it again on a whim and it really got a lot better. Some nice, unique songs

A good jazz album. It would be great to sleep to if not for the yelling halfway through during "Rumba Mama".

One of the best albums. There's little better than the Beach Boys at their best, and this album is definitely a great one.

An okay album by the kinks.

A great folk rock album that says a lot in a very little amount of time.

A quality hard rock album. Some of ZZ Top's best.

I've tried to listen to this album so many times but never made it through. For the longest time I didn't get the hype. However, after listening to the whole thing there's an undeniable whirlwind energy that carries through the album that makes it excellent.

I really wanted to like this album more, but it was just missing any real musical depth. The instrumentals felt the same from beginning to end, and they weren't memorable enough for that to be a good thing.

A fantastic rap album.

A high quality rap album with great rhymes and beats. The album flows through from beginning to end and it's hard not to bop your head to the beat. I thought I wouldn't like it from the first song/skit, but it drew me in and I enjoyed it until the end.

Another good Fleetwood Mac album, though it's not as fantastic as their previous two, 'Rumors' and 'Fleetwood Mac'. It's not bad, but you can definitely tell that the musical direction has changed.

A decent indie rock album. Slower at some points, which offers a nice break from the rest of the album which plays fast and loud.

A wonderful selection of songs that are carried far by Nelson's voice. Beautifully peaceful, a great listen.

A quality autobiographical rap album. Good rhymes and dope beats throughout.

Some catchy songs but nothing really stands out. Overall it's good, but nothing extraordinary.

I get the point of the talking sections but I feel like they distract from the pretty decent music of the album. Enjoyed the duality of the vocals.

Some serious Bob Dylan vibes, but nothing as impactful as Dylan. A nice listen, but things started to blend together after a while.

A mellow, lovely Grateful Dead album. I'm not always a fan of the Grateful Dead, but I can see myself listening to this again! Especially loved Box of Rain and Friend of the Devil.

I'm not sure why this record is on the list to be honest. It's fine, but that's all it is. Nothing jumped out at me as I listened.

Unfortunately, the sound goes from too soft to hear to blazingly loud at the drop of a hat. The vocals are often too quiet. At times the sound can just be grating on the ears.

A bit dated, but still enjoyable for a listen. Just maybe not a repeat listen.

Having never listened to "Wonderwall" or anything else by Oasis, this was a new experience for me. It was a good album, though I was more wowed by songs like "Don't Look Back in Anger" than by "Wonderwall."

Odd. A weird, kind of magical journey. I can't quite decipher this album, but it does start to leave an impression. Unfortunately, that impression gets soured the longer the album goes on, and the longer the repetitive sections go on.

The vocals felt very monotone and grating throughout. The variety in the instrumentals between songs was nice, I just can't get behind the lead vocalists style.

An album with a catchy beat but really soft vocals for most of the songs. Other than "The Forest", nothing really stands out as spectacular.

Some decent hip-hop. Nothing terrible, nothing that really wowed me.

A nice album that made me wish I could understand the lyrics to fully appreciate it.

Weird, but not bad.

I absolutely can't stand when songs just repeat the same lyric over and over, which is why 'Flight Tonight' really got on my nerves and ruined this listening experience for me. It was grating and obnoxious in the middle of what was otherwise a fine album. Aside from that glaring problem, the album is good background listening, not really something that you need to focus on or pay much attention to.

Not sure what this being live does to make the album better. There's not an extra energy that the lead singer seems to bring; in fact he doesn't really sound excited at all. Apparently, it also isn't even all live, as the sound has been "cleaned up," which I don't understand. Again, what's the point of this being live?

High energy throughout. Nothing to complain about, but nothing that grabbed me and kept me enthralled either.

I get the point and the musicality of the album, but Tom Waits is just not the singer for me, unfortunately.

Quite a surprise of an album. Fully instrumental, I could feel the raw emotion throughout. Will definitely be a repeat listen.

The songs are fun and great head-boppers, but they don't build up to/don't stand up to the highs of the album, which they need to if the album is going to come together as a whole. It sometimes feels like the other songs are just filler for the killer hit of "Sweet Dreams," or the less killer but still really good "Love is a Stranger." That's not to say they're bad, just secondary.

I actually like how the album starts, just listening to the sounds of the city as it slowly moves into a beat. Good transitions between the songs; good background listening music.

An amazing voice and great background vocals that carry an otherwise so-so album. The songs feel a little too similar, but they're not bad.

What an unbelievable energy right from the start and boy does it carry through the album. It's hard to believe this album came out in 1993; it holds up incredibly well. That's due in equal parts to Bjork's voice, the wonderful instrumentals, and the interesting variety between songs.

This album starts out with a bang with "Chocolate Cake;" It's catchy, light, and fun. The album sags a little bit in places but never breaks, carrying that fun and lighthearted tone throughout. The vocals work really well together and the backing instrumentals are different enough between each song that it doesn't ever feel like any two songs blur together. Some of the songs are even beautiful and solemn, like "Four Seasons in One Day," but they don't detract from the positive feeling the album gives you.

One of the greats at his best. A relaxing, rocking joy to listen to.

Initial thoughts: the singer's voice is a little monotone and sometimes too soft, but the subdued instrumental backing carries the vocals through. The lyrics and tone are dark and depressing and sometimes too repetitive but I suppose that's the point. Not the kind of music I enjoy listening to most of the time, but it has its place. It just doesn't feel special in any real way; like there's nothing groundbreaking there.

It's bad when the first song has me looking at the time left to make sure I don't have to listen to it for too long; "Time Becomes" is a terrible opening song to this album. The repetitive lyric thing gets old real quick, and I was dismayed when it happened again in the second song, which actually had some interesting beats, and the final song. As the album went on, however, I found my attention waning; the songs and the beats just didn't grab me, certainly not enough to enjoy listening for over an hour. Perhaps it's just dated, because I can see why people would have liked it at the time; I just can't get into it now. "Halcyon and On and On" was probably the best song on the album.

Repetitive and grating.

I thought for a long time that Tom Waits was not the artist for me and that I would not enjoy any of his works, but that was before I heard this album. Unlike the problems I had with Heartattack and Vine, this album I believe showcases where Waits' voice really shines. Abstract and weird in the best ways, this album was a colossal, strange, wondrous ride through Waits' mind. He doesn't let himself get shoehorned into that deep gravely voice that he is known for, and there are some quieter, smoother songs that showcase a range I didn't know he had. Sometimes you just get some quiet instrumentals or tracks where he just speaks, which is a nice palate cleanser between songs. Overall, an album that shocked me with how great it was.

A wholly interesting album that screams "rock opera." The album is at times catchy (Pinball Wizard), at times disturbing (Fiddle About), but on its whole it was a joy to listen to and a feat for The Who to accomplish. Following Tommy throughout his life, I suppose it would make sense to visit all of the ups and the downs, because that is what makes up all of our lives. Parts of it put me off, but in the end the album won me over.

Bland and not exciting in any way. An underwhelming album about love.

A beautiful jazz album. Relaxing and pleasant. Maybe the best jazz album I've listened to.

Feels very spacey in a good way. Easy to listen to while relaxing or working.

A great hip-hop album. At times the songs feel like they can blend together and that might have to do with the beat, but I have no real complaints about that. Ice Cube has some important things to say, and they're still relevant to this day.

A deep, sometimes hard hitting album. John Grant has a great voice and his lyrics are wonderful.

An interesting psychedelic album. Some fun tracks to listen to but unfortunately some meh ones that just don't really strike a chord as well.

The album starts off incredibly strong with "Thunder Road" and keeps up the energy and strength as it moves, hitting a crescendo with "Born to Run" before coming down to prepare you for the end. I won't claim to know everything that Springsteen is trying to say, but his lyrics speak volumes and his voice just works with the words he sings, kind of like Dylan.

Hit after hit on this album. Sometimes the songs blur together but that's not necessarily a bad thing since it's so high-energy.

It's a catchy album and it starts off that way from the beginning of the first song and continues with hits like "Does Anybody Really Know What Time It Is," and "I'm a Man." A wonderful mixture of rock and jazz with the instrumentals, and the variety of vocals, gives the album a lot of range.

I wasn't sure what to expect going into this album, and the first song caught me a little off guard; louder and more in your face than I was expecting from an album titled "The Lexicon of Love." Overall it wasn't bad, though perhaps a little dated. The instrumentals blend together a bit so it's hard to tell when you're moving from one song to the next. Overall, an enjoyable listen though.

A fantastic hard rock journey. It's easy to see why this album but Pearl Jam on the map. Haven't listened to Even Flow since I played it on Guitar Hero when I was a kid, but the song is still magical.

There's not a lot to say about this album aside from the fact that it's pleasing to the ears. Easy listening with chill instrumentals and soft vocals.

A decent hip-hop album that ultimately doesn't leave you with much that's super memorable. I think it's mostly because the album feels dated, but I can see how it was something special when it came out.

Nice and short, which actually isn't a great thing to say about an album, is it? You should want to listen to more of it when you're done. Unfortunately, Olympia 64 is just mediocre. Brel's voice is nothing to really write home about, and the music just doesn't pop.

Strange and unique, but man was this album full of life and exciting new things. Never having heard Sparks before, this was definitely the hook I needed to check out their other music.

As someone who is not a fan of country music, this album was enlightening. I always knew Dolly Parton was something special, but this album reinforced that knowledge. She manages to take what I often times feel is a tired and repetitive genre and produced songs that are poignant, sweet, and funny. An absolutely fantastic album.

A bit too dark for me in some places. The albums starts off on a high note with 'School's Out', which is a jam, but begins to kind of fall flat as it goes along, with nothing really standing out.

Not all what I was expecting when I started to listen. I was pleasantly surprised by the album. Sone really great Celtic rock.

Before this album, I didn't think of myself as a Prince fan, but I have to admit that every song on this album is a catchy thrill. These might not be the songs he's known for, but that doesn't really matter; the songs come together to make a full and complete experience that will make you want to listen again and again.

I can't think of better words to describe this album than 'calm' and 'comfy'. Joni's voice and instrumentals and lyrics all combine to make this album a joy to listen to. The time flew by, and I can see myself listening to this again when I need something smooth to relax to.

The first song with its slow build gave me a chill up my spine, which is a hell of a way to start an album. Unfortunately, the rest of the album fell short of the expectations it set up in the first song. From then on, the pieces range from bad to mediocre. The songs don't have anything to them that makes them stand out from one another. Disappointing.

This was a really good, calm, and soothing experimental album by the Grizzly Bear. It didn't completely suck me in, but it is something I'll definitely listen to again.

A catchy album. The vocals kind of drifted into the background for me, but the instrumentals were where the whole thing really shined.

This album starts off strong with 'Around the World' and then just keeps it rolling with 'Parallel Universe' and 'Scar Tissue'. It's hard to find a song on this album that isn't a banger; even the softer songs hit hard. This is arguably the Red Hot Chili Peppers at their best.

Not sure what I just listened to, but it wasn't all bad, I guess? I see people comparing it to Bowie and I'm confused because this is nothing like Bowie unless you just think everything weird is 'like Bowie.'

An upbeat, mellow, album that goes down smooth. It feels almost mystic at times. I wasn't sure about the album when it started but by the end I was enraptured. The album made me happy, and I don't know that there's higher praise I can give than that.

A surprisingly enjoyable album to listen to. Mostly calm and melodic, the album doesn't feel samey in any place and the lead vocalist has a great voice.

Alright. Nothing extraordinary. Some of the songs were monotonous which detracted from the experience.

I must not understand this album. The lyrics at times feel nonsensical, Elvis Costello's voice is okay at best but it's hard to even understand him sometimes, like he's putting on a slur for show. The tone of the album goes all over the place and doesn't flow at all. Disappointing.

If I could describe this album in one word it would be: cringey. The vocals aren't great, the lyrics go from awkward to terrible, and the melodies aren't anything to write home about. It's like the group thought they were these tough gangsters but they're just kind of a mess. Overall a really underwhelming album.

At first, I was pretty harsh on this album, but as I listened more, I started to soften to it. The soft reggae rock vibes it puts out are pretty great, and though I initially thought it was just a mediocre voice combined with mediocre lyrics, I found myself being carried away by the melodies. Sometimes it was too heavy, and I think those moments take away from the lighter ones, which really make the album.

Funky. Most every song has a good beat that catches you. The album really shines with 'Groove is in the Heart', and the rest unfortunately suffers a bit because of the strength of the one song. Nothing really has the same complexity and vibrancy as that one song.

'Stay With Me' had me moving, but other than that, the album felt rather bland. Good for some background listening.

A little overproduced in some areas, but Janet has an amazing voice and some poignant lyrics that make this a catchy and enjoyable listen.

I could listen to Bob Marley \"wail\" for days at a time. His voice is just that iconic, and his songs are the right ratio of catchy to saying something. When you're in the mood for reggae, you can't do better than Marley.

The album starts off weak. I don't know why people think that just repeating the same lyrics over and over makes for interesting or fun listening, but it doesn't. Maybe I'm just not in the mood for an electronic dance album, but none of the beats stood out to me in a way that made me excited.

'Take on Me' starts the album off super strong, from the first notes that make you want to bop your head. 'Hunting High and Low' is another really great piece from the album. It seems like the album suffers from the plague of all albums that have a really standout song, and it's that the other songs don't live up to the expectations set by the stellar song. All in all, the album is enjoyable, but the experience doesn't feel like it's complete enough to fully stand out.

I listened to the entire album and realized once I got to the end that I hadn't formed an opinion on it at all. Thinking critically about it, there are some great songs on here that are a joy to listen to, and it starts off great with 'Bodhisattva', but the middling parts of the album are just so middling that they left almost zero long-term impression. Great vocals; they definitely are talented, no question about that. So, in short, good vocals, good instrumentals, low remembrance.

A lot of the songs were hit or miss for me, not really standing out in any special way. There was a lot of muddling together in the songs that appeared in this album. The songs with guests were the strongest. 'Tokyo' had some great instrumentals if not lyrics, which I feel like encapsulates most of the songs on the album. Overall, I'd describe this album as "bizarre but in a kind of good way?"

Hey, one I already own! There's a rockin' start to this album with 'Roadhouse Blues'. The album keeps it up mostly, though it stalls at times when it gets slower and more contemplative. Overall, however, the album comes together as a cohesive vision, which I really appreciate. So many albums feel fragmented and broken apart from song to song, but this one maintains a steadiness throughout that makes it an engaging listen from beginning to end. I also really like that it doesn't linger longer than it needs to. It's a little bit of a shorter album than some of the other's on here, and I can appreciate getting in, making your point, and getting out.

Unoffensive and uninteresting. Decent enough for background listening when your focus is elsewhere, but really it's nothing more special than that.

All I could think while I was listening was wow, what a strong debut album. I feel like the opening lyrics to 'Mother - Sister!' really encapsulates this album in the best way. "Er, what's this thing about? Er, nothing." I feel like the artists didn't worry about hitting you over the head with a message or conforming to what might have been expected from a debut album, they just created a series of rocking songs from start to finish. Some might dismiss it as sounding like drunken rambling at times, but I think that's what makes the album special.

A good metal album that paved the way for better metal, and which has been overshadowed by those better albums, unfortunately.

I've listened to this so many times, it's hard for me to come to it with a fresh, untouched opinion, but I think that this is a masterpiece of an album. Normally I don't like albums that are just instrumental, but Miles Davis et al. really show their mastery of music here. Some of the best jazz out there, no question about it.

Weird, loud, and at times nonsensical, this album was actually a fun, interesting, wild listen! A good album filled with wonderful glam rock that reminds me of David Bowie. I want to listen to more, however, unfortunately it's just missing that little something special to push it up to five stars.

I was worried when I got this album generated for me. I knew the song 'Take Me Out', and it's fantastic, but I was worried that, like with most albums that have a super popular hit, the rest of the songs were going to not stand out in comparison. Nothing ever reaches the high of 'Take Me Out', but there are still a number of fantastic songs that make this album a complete experience, and not something you listen to just to hear the one hit.

Good beats and a strong energy, but that's about all there is to be said. Glad I listened to it, but I probably won't ever listen again.

A powerful, beautiful blend of musical styles. Despite what the lyrics are talking about, which is important and serious stuff, the instrumentals were soothing and just a joy to listen to. The piano work in this is amazing. And damn, 'H2OGate Blues' is such a good, poignant, powerful song.

I wish that I loved this album more than I did. I think I have the capacity to love it, but it just didn't click with me today. It was some great rock, but I either just wasn't in the mood or something was missing and I'm not sure what it was.

Ah, heavy metal. I recently found out that the genre, for some reason, calms my anxiety, so I'd been dabbling in Judas Priest which I've greatly enjoyed. This album is, however, my first time listening to Metallica. The production, the instrumentals and the lyrics, which are sometimes meh in heavy metal, are all top quality. As can be a problem with metal, the later songs did start to feel 'samey' and I found myself losing interest. Solid start and a solid 4 though.

I like prog rock because you never really know what you're going to get, and that was certainly the case with Tarkus. Unfortunately, things were a bit too all over the place and nothing really clicked for me. Some solid sounds, but for me the finish wasn't there.

Some of the things in this album... don't age well. A lot of misogyny, homophobia, etc. Not great, but that's what you get most of the time with gangster rap. But, that being said, this album is an important piece of music history, and a lot of the other themes that run rampant through the album are still important today. If you can get past the problematic parts, the album really has an important message. Unfortunately, I just got tired listening to it after a while.

Some good, ol' fashioned country music. If there's one thing that I've learned from this album generator, it's that I don't hate country music, I hate modern country music. The songs go down smooth and don't overstay their welcome. Hadn't heard of Merle Haggard before, but I'll definitely be listening to him more from here on out.

A sad, soft album. I liked that it never screamed at me about the things it was trying to say, just let the lyrics and his soft-spoken voice do the job. A pleasant listen that I think will grow on me more with age.

I don't know if it's my headphones, but the mixing on this is awful. The instrumentals drown out the vocals entirely. Loud and obnoxious, at times I had to take off my headphones because the sound was just horrible. The droning eventually became too much and I couldn't make it through.

A nice, sweet, romantic album with a medley of musical influences. Hawley's got a great voice and a nice assortment of lyrics that make this a joy of an album to listen to.

Ella's voice is enchanting, and the songs compliment her voice beautifully. This album felt like a comfy dream that I didn't want to wake up from. Will definitely be listening to this album again.

Very fast, very energetic, very mediocre rock. I get that it inspired a lot of other groups, but the album itself just felt bland to me.

Don't know what I was expecting but it wasn't a nearly full instrumental album, but then again, I really know nothing about Frank Zappa. This album has been described as a "movie for your ears," and I get the description after listening. Smooth jazz fusion that tells a fun and engaging story.

An interesting, up and down album for me. Some songs were really great, while others didn't resonate. Maybe it was just how I was feeling when I was listening, but even though I enjoyed the rough gravel of her voice, I couldn't get lost in her songs the way I wanted to.

My first introduction to Radiohead, and I have to say, it sadly didn't leave a lasting impression. Solid rock music, but nothing stand-out for me.

Quite a fun album; Numan makes some good synth-pop. Some of the songs dragged on for too long, such as 'Conversation,' and when the songs drag on for too long you can really feel the repetitiveness of some of the music, which detracts from the experience. Interesting and a great demo for what it spawned, but I don't see myself listening to the album again.

It's an... interesting album I guess? The woman has a good voice, but the guy sounds so full of himself when he's talking that it's almost insufferable. I'm just not sure how to even begin wrapping my head around this album. It's not inherently bad, but I struggle finding points that stand out at all. It ended without me feeling anything at all, which is a bad sign.

This album had me enraptured from the opening minute. Space gospel, space rock, whatever this is, it's great. It's really unlike anything I've heard before, and that uniqueness carries you through the album, making you wish there was more to listen to.

Some decent rock music. Didn't know Neil Young had this phase in his career. I'm not really sure what about this album makes it "one you have to hear before you die." By the end, however, I was kind of waiting for the album to be over. Not Young's best.

An enjoyable album. The main vocalist's voice went from nice to grating depending on the mood I was in, so it's a fine line. Relatively calm and relaxed, overall a nice album.

Not a big Coldplay fan, but the album was okay. Mostly I just have a hard time getting past the lead singer's voice, but it wasn't wholly unpleasant like I was worried it would be. A bit melodramatic and slow, the backing instrumentals are pretty plain. I think I would have cared about that less if the lead vocalist was stronger.

Some lovely, lovely psychedelic rock. This is the album I think of when I think of Cream. It's just a joy to listen to. Calming at some points, rocking at others, Eric Clapton's guitar work is superb. I don't think there's a bad song on this album. The last song, 'Mother's Lament' is a bit weird and dark, but its an... interesting way to end the album? Nevertheless, a fantastic album that I will be listening to again soon.

Not what I expected from Madonna. Not that I was super familiar with her breadth of work, though. This was a chill techno-pop album. It had an interesting blend of influences and I enjoyed the listen. Nothing really super remarkable though that would make me want to listen again though.

Wow, what an introduction to The White Stripes for me. Don't know how I never listened to them sooner, but it feels criminal. The album just made me smile like I haven't smiled at an album for a long time. It was a warm, comfy rock album, and every song managed to hit all the right notes with me. Super impressed and will be checking out more by The White Stripes.

A comfy blanket of an album. It wraps you up and makes you feel at home/loved. Excellent work by Norah Jones. The soft piano on 'Come Away With Me' is enchanting and uplifts her voice and the song so much. 'Painter Song' also stands out as a wonderful song on this album. They're all wonderful!

Just a slog to get through. Repetitive and uninteresting. Really disappointed in this one.

Decent R&B, but nothing that really stood out and screamed "I'm a great album!!" It was just kind of there. I'm not disappointed I listened to it, and I'm not ecstatic I listened to it.

Early, unrefined ska revival. I think that the album is good, but there are better ska albums out there, so I don't know that I'd listen to this one again.

Wow, I'm kind of shocked to say that I've found an album by The Cure that I really like. Music from The Cure was, I thought, not really my thing: too dour and depressing. But apparently I hadn't been listening to the right albums/songs.That's not to say that some of the songs don't make me feel a little down, but it's not a wholly unpleasant experience. The beats and instrumentals are really, really good throughout, and songs like 'Lovesong,' 'Plainsong,' and 'Pictures of You' stand out as exemplary music. Hell, I'm having trouble finding a song on here I don't like. The album, however, does feel a bit front-loaded. It's not that the second half is bad, but it just doesn't stand out as much as the first half.

An amazing voice. Lovely songs. A great album to get lost in or to use as background music.

This is not the Kinks album I was expecting, and indeed it was a nice surprise! This album gets off to a rocking start with 'Victoria' and carries through with an interesting story. Not my favorite Kinks album but an enjoyable listen nonetheless.

Not a lot for me to say about this album. Some good punk rock, but that's about all it was for me.

This was an album that I had to check the Wikipedia for to try and figure out why it was on the list. I just didn't get it at first. However, the longer it went on the more I liked it. 'Hospital' is where it started to turn around for me, and I think the album shines especially bright in its quieter moments. By the end I was actually wanting more, which is a complete 180 from where I was when I started listening.

A comprehensive, intriguing, soulful, masterpiece? I don't know a masterpiece when I hear it but this might be one. It gave me a feeling of awe as I listened, like I was consuming something far bigger than myself. That is thanks in part to the power of his voice and the elegant use of the instruments and backing vocals. Everything feels big and bold. A really wonderful album; give me more Kiwanuka!

I mean, it's Michael Jackson. A really great, funky album that hits the highs of 'Thriller,' but doesn't maintain them as well. The last few songs on this album were just okay and it sort of detracted from the overall experience.

Another record I own! Little Richard's first, and what a first album it is! I don't know if there's a song on here that won't get caught in your brain when you listen to it. I know I had 'Tutti Frutti' going through my head for most of the day. I also appreciate that it's a quick listen and doesn't outstay it's welcome. A really solid, important first album.

Looking at the production of this album, it's amazing. Overall, however, the songs don't stand out a ton to me. I really love the ambient stuff far more than the lyrical pieces, and so that's where I feel the album shines.

I'll admit I was surprised to see this over his album at Folsom Prison, but after listening to it for the first time, I get why it's included (though I hope they're both on this list somewhere). Incredible energy from Cash and the audience alike. Plus, Cash's laid back attitude with regards to people telling him what to do is hilarious. I have massive respect for Cash for his series of prison performances. Just an outstanding, fun album.

Some really good, recognizable cool jazz. Would pop this on to relax.

Some good beats and social commentary, but it just never clicked properly for me. I'm just not a big fan of this kind of hip hop/rap.

A great Santana album. I really appreciate the use of vocals in the album. Without any, it would feel a little dry, but they use just enough to keep things interesting while still letting Carlos Santana's guitar work speak for itself. Some instantly recognizable songs on this album. Would definitely listen again!

This album is just screaming at me for no reason, Jesus. What a God awful beginning song with 'Germfree Adolescence,' but then somehow it gets worse? What is she saying, and why does she have to scream it constantly? Please stop. I like punk but this is ridiculous. The quieter moments where I don't feel like someone has a megaphone to my ear save this from being a 1 star.

5. It's a 5. The album is a 5. Everybody knows it's a 5 even if they're too afraid to give it a 5. I've listened to this album before and I remember when I first saw it in my parent's album collection. I thought it would be okay, I mean it's Stevie Wonder after all, but I never expected (before I listened to it) that it would be so impactful, creative, and masterful. It was album of the year, it's his bestselling album, and it's a 5. 'Love's In Need Of Love Today' as an appetizer, moving into 'Have a Talk With God,' just, how can you listen to those two opening songs and not fall in love with this album. And then it hits you over the head with 'I Wish' and 'Pastime Paradise.' And that's just the first half. Incredible. 5/5. It's just a 5. Get over it.

I had never really gotten U2. The songs when they came on the radio sounded samey, and I wasn't overly impressed with Bono's vocals. Because of this, I avoided listening to much of the band and skirted around challenging myself to listen to an album. Then 'The Joshua Tree' came up in this generator, and I put off listening to it for the longest time. What a mistake. Now I certainly understand why this album is on here. I gave Bono's vocals undue criticism, because I think they're perfectly fine here. It's the lyrics, the instrumentals, and the production that really blew me away, however. The album starts off super strong with 'Where The Streets Have No Name' and 'I Still Haven't Found What I'm Looking For.' Apparently Brian Eno helped out with this album? For a guy I knew nothing about, he has a wide-ranging musical career and has done some really miraculous things. Anyways, I really felt like this album had some genuinely interesting things to say, and it said them in an musically entertaining, catchy way. I think I'm starting to 'get' U2.

Kind of creepy with the whispering at some points... but it's not a bad album. Some enjoyable artrock or whatever genre you'd put this in. I never got tired of listening to it, which is more than I can say for some of the albums on here. Dude's got sex on his mind all the time though, and it becomes a little comical by the end of the album.

A great, easy listen by Clapton. Could see myself relaxing on a beach in Florida listening to this. The guitar work, as many others have pointed out, is phenomenal and adds another layer to listening. I actually think the album starts on a lower note with 'Motherless Children,' but picks up dramatically from there. By the third song, 'Willie and the Hand Jive,' I was completely bought in to the album.

Eh. There were times it was okay, and there were times I was wondering what the hell I was listening to. '4 Better of 4 Worse' is complete garbage. Being weird and gross doesn't make for interesting listening. Really wanted this to be over unfortunately.

Some great hip hop. Solid beats and lyrics without the blatant misogyny that has permeated a lot of the other hip hop albums I've been given so far! This is really good to just have on in the background as well. Nothing, unfortunately, that really stood out to me, however.

Kind of a slog. Repetitive and not very interesting, the lyrics are droll. That's unfortunately all I really have to say or even can say about this album.

A pretty decent indie rock album. Chill vibes emanated from the album, and I found myself pretty relaxed listening to it. Where some albums I've gotten recently have been harder rock or more intensive listens, I enjoyed the mellowness of this.

Vocally... wow is this all over the place. I wasn't a fan of the lead singer's voice from the first song, but as the album progressed and he did other, weird things with his voice, I was shocked that my opinion of his singing got worse. Honestly, the backup vocalist who took over in 'All The King's Men' was so much better than the lead. Give me more from him. The lyrics didn't do anything for me. I don't know, were they supposed to evoke any emotion at all? 'Hooting and Howling' was just... bland. I got it. He's hooting and howling. The instrumentals are the only saving grace to this, frankly, mess of an album. Still not enough to save it from a 1 star.

What's special about this album? Is it the lyrics that don't seem to get anywhere interesting or introspective? Is it the instrumentals that feel bland after the first song? Is it the vocals, which sound like every other generic folk, or country, or Americana, or whatever the hell this is, singer? It's nothing special and it doesn't break the mold, which is a real shame.

Killer instrumentals on the opening track set the expectations high for this album. Unfortunately, it doesn't fully live up to those expectations. Still an enjoyable listen, just not a stand out hit.

Hmmm... a little weird... Reminds me a little bit of Bjork but without the good instrumentals and special something that Bjork's voice has. Midway through the first song I was already starting to get sick of her voice. Not good. To her credit, she seems to have mostly dropped the weird thing she was doing with her voice after the first song, but it's still just meh. Then the man's voice comes in and I... what's happening? What are these lyrics?

I was really expecting not to like this album but, surprise surprise, it was actually really enjoyable. Brimful of Asha was great of course. Some of it was a bit weird and seemed like filler, and maybe it went on a little too long, but overall an enjoyable listen!

Noisy, not in a bad way, alt rock thats really strong. Much prefer the female vocalists songs to those of the guy's, but that's more my taste in alt rock than a reflection of his singing, which is still pretty good! Give me that slightly disinterested, monotone, yelling female vocal performance, I'm a sucker for it.

Really enjoyed the beats in this album even if I couldnt understand the lyrics. I wasn't sure how to describe the kind of music until I read the Wikipedia and they called it "desert blues," which really fits. Knowing their story makes the music all the more impactful. Great album.

Generally extremely catchy and entertaining. Some of the lyrics may be a bit silly or repetitive, but it really, strangely, doesn't take away from the enjoyment I got from listening to this album. Of course it has the absolute masterpiece of 'Don't You Want Me Baby,' but I think it starts with a sleeper hit with 'The Things That Dreams Are Made Of.' The energy in the song is easy to catch, and it carries through the majority of the album. 'I Am The Law' unfortunately slows things down a bit, but leaving the big hit for the end makes sure you're left on an upbeat, positive note.

Overall it was okay. Kind of weird sometimes, but that's not necessarily a bad thing.

Ah my love/hate relationship with prog rock back at it again. By all measures I should love this album: impressive instrumentals, interesting lyrics and vocals. But then the first song has to be titled "2112: Overture/The Temples of Syrinx/Discovery/Presentation/Oracle/Soliloquy/Grand Finale (Medley)" and I just want to tear my hair out because it just screams excessive and pretentious. I have no clue when these transitions happen in the twenty minute song, nor do I really care. Like I said, the first song is twenty minutes. It's just too weirdly long. I suppose I should just appreciate it the way it is, but it's hard to digest. I like when it gets weird, but it doesn't get weird nearly fast or long enough for my tastes. Despite this all, it's still a good album. As mentioned at the beginning, the vocals are unique and the instrumentals are killer. Love/hate relationship.

Vaguely knew about Peter Tosh, but I had no idea he was a part of the Wailers until I got this album picked for me! Absolutely wonderful Reggae. Calming and catchy, just like it should be, and a nice break from the typical Marley dominated Reggae I'd been listening to. There were only a few places where I felt the album faltered a little, but overall it was a joy to listen to.

'Come on Eileen' is one of my favorite songs, so I was excited to see more from Dexys Midnight Runners on here, because I really wasn't familiar with them other than the album with that one song. Some really enjoyable songs, but also some unenjoyable ones, unfortunately. Love 'Geno' and really disliked 'I'm Just Looking.' Kind of a hit or miss album for me.

A bit repetitive to start out. Luckily that seems to change as the album progresses. Some nice music, but nothing that stands out as "I must listen to this before I die."

I always thought I felt pretty middling about Neil Young. Something about his voice and his songs just never really clicked for me. That being said, this album really blew me away. Maybe his lyrics just hit me in the right way for once; I'm still trying to process it really. What I do know for sure is that this is an album I could listen to again and again. Hard to pick a standout song because I like them all, but I really enjoyed 'Vampire Blues' as well as 'Walk On.' The minimalistic, toned down instrumentals are an interesting choice, but I think they really do a service to the album. A great first half that's bolstered by a strong second half.

Ironic this album should be called 'Entertainment!' because it provided almost no entertainment value whatsoever. Okay, thats a little harsh. Repetitive and grating to start, this album got off on a bad foot, but I think it grew on me over time.

Not usually a fan of electronic music, but man did this hit all the right notes for me. Made me feel like I was floating in space a lot of the time, and the vocals sprinkled here and there did much to break up any monotony there could have been.

A band I'd always meant to listen to more, but never found the time to. The album starts off fire with 'Finest Worksong' and keeps on rocking from there. I think I actually like the other songs on the album more than 'It's the End of the World,' which is still a certified banger.

A wholly okay album. Inoffensive to the ears, there are some moments that stand out, but it never really gets past its 'easy listening' stage.

I'm a sucker for some good non-electronic piano in my music, so the first song pulled me in and set the mood for the album. Soft, gentle, sweet, this was a joy to listen to. Perhaps not something that you have to listen to before you die, but something that you won't regret listening to at least once.

Hell yeah! That angry female grunge/punk rock always gets me. It's a surprise to me how I've missed out on Hole, though, thinking about it, I realize I am familiar with the song 'Celebrity Skin,' but that's been the extent of my exposure. A strong start, with 'Violet' setting high expectations for the album. Love goes from the softer notes to the complete ear-ringing shouting so well.

One of those albums I can appreciate even if I don't really like it. This is definitely an album, and maybe just a band, for someone other than me, and thats okay. It wasn't hard to get through, but I didn't really like the lead singer's voice or the instrumentals. Still okay though.

It's... some kind of hip hop. Unconventional, I'll give it that. It's unashamedly immature. Like, really immature. Maybe if I was younger I would have liked it? But then I wouldn't have been allowed to listen to it, so I'm not sure who the intended audience is. He doesn't have a great voice, but I guess that's not necessary to enjoy, or try to enjoy, this album. It's just that at times he sounds disinterested, which kills any excitement I might have had. Ultimately, I had to sign off early. It just felt like boring, uninterested rambling after a while.

It's sadly pretty boring. Nothing really engaging happened in this album. The lyrics didn't hit me in any real way, the instrumentals were bland, and though it's undeniable that Crosby has a good voice, it doesn't do anything to save me from nearly falling asleep.

A great, laid back listen. Perfect blues to have on while working or reading.

Wow. It's... edgy? I don't know another way to describe this album. From the first song I felt like it was just trying to be crude and weird for the sake of being crude and weird. There just didn't seem to be any point to the lyrics, at least to me. Not my cup of tea at all. But maybe it would have clicked more if I was an angsty teenager when I listened to it for the first time. I really tried to listen to the whole thing, but it just wasn't in the cards for me.

Strong, strong start with the titular song 'Born in the USA,' which is great for reasons that most people unfortunately don't realize. A scathing review of America and its policies, the lyrics hit hard and are where the song really shines. It's the kind of song only Springsteen can sing, and he does it so well. Then the album keeps it going with 'Cover Me:' catchy and high energy. And actually, high energy is what I'd call the majority of this album. It's pretty impressive how he manages to keep the beat and spirit going throughout, even when he gets to a song like 'Downbound Train,' which slows things down a bit. Some songs are just certified hits, like 'Glory Days' and 'Dancing in the Dark.' Ultimately, it's not as fantastic as his 'Born to Run' album, but 'Born in the USA' is still an amazing album that solidifies Springsteen as a lyrical master whose voice is perfect for his words and themes.

Far better than the last Neil Young & Crazy Horse album on here that was a weird grunge experiment. I like how the album comes full circle with its opening and closing songs. A bit weird in some places, but overall enjoyable.

The beginning didn't really suck me in. It just felt like mediocre hard rock. And then it just continued. Nothing stood out, nothing fell flat. The guitar-work was good, but it felt repetitive, and the vocals did nothing to impress. Felt lifeless.

Thoroughly enjoyable and nicely varied for a punk album. I didn't feel like I was listening to the same slurred song for thirty-five minutes like I often do with bad punk. There's also just a lot of great songs on here. 'Kill the Poor,' 'California Uber Alles,' 'Holiday in Cambodia,' I could go on. This was a great introduction to the Dead Kennedys!

Mediocre metal, and if that's the best I can say about a metal album, that's a bad sign. I honestly forgot I was listening at one point and just let it fade into the background. I really wanted to like it more, but it just wasn't happening.

Huh. Well, the intro didn't catch me, but the second song, 'The Rockafeller Skank,' did. I liked the playing with sound clips the artist did. The longer the album went on, however, the more tuned out I became. It really should have been shorter than an hour, that's just too much for these kinds of albums.

Unfortunately the mixing was a big problem for this album. It was way, way too soft in some areas, and way, way too loud in others. Which is a shame because the vocals and lyrics were entertaining and engaging. This was a good album, hindered by some bad choices.

With no knowledge of The The and just seeing the title of the album, I was expecting this to be a completely unpleasant listen. Color me surprised when I actually enjoyed the first song, and then the second and third songs. It's a little weird, but not in a bad way. It felt unique, and it's nice to find something like that.

A not-bad country album. Good background music, but there wasn't anything that made me go "Wow, this is some great country music!" To be fair, it's rare for country to make me say that, but still.

I could just say "it's the Beatles" and give it a five, but I don't think that would do service to this album because it isn't the most well known Beatles album, and indeed it doesn't have... well, any of the songs that they're traditionally known for. But the thing is, every song stands tall on this album. They're not hits, but they're not mediocre either. They put the work in on the songs they wrote for this album, and chose the others that they covered well. It's a fantastic rock album of mostly love songs, and only the Beatles could make it as engaging as it is.

Is there a better punk album than 'London Calling?' I haven't heard it yet if there is. The titular song is obviously the standout hit, but every song on here is a banger and worthy of a listen. Some might say that it could be a little shorter, but what would you cut out? Sure, some of the song's aren't as great as others, but there's not a bad one in the list. In a landscape of obnoxious and over-the-top punk albums, 'London Calling' is a shining beacon that's always worth a re-listen.

Catchy, influential, and really enjoyable to listen to. It's Wu-Tang's first album: I feel like everyone knows about it already. Hip-hop is not something I'm always in the mood for, but when I am, this album's always good to scratch that itch.

Usually I'm all in on these all-female punk/riot grrrl bands but there were points that got a little grating and repetitive. Not terrible, but there's better riot grrrl music out there.

Definitely not in the right headspace for Radiohead right now, but I'll try to put that aside for the sake of the album. It's dark and sad from the vocals to the instrumentals, which shouldn't be a knock against it, but be warned that's what you're going to get when you listen. It's good music, just an album that you will need to listen to a couple of times to fully appreciate, I think. The lead singer's voice doesn't really do anything for me, so it's not something I would seek out just for that. I still don't really know how I feel about Radiohead, honestly. I know I need to listen to them more, but it's hard to get into the right mood.

I was not familiar with Slipknot. I'm sad that I now am :( I'm not sure what the point of the album is. It starts in maybe the worst way, in that it's high-pitched and ear-bleeding. A good hint of what's to come. I could have gone my whole life without listening to this album, but unfortunately I'm now initiated. I want out.

Oh my god. From the first Overture I immediately thought, "This is beautiful." I was worried to have high expectations so early; little did I know that the rest of the album would exceed any expectations I had set up. Janelle Monae has an amazingly beautiful voice, and the album is simply electric. She mixes genres as styles flawlessly intermingle with one another. The energy burns you from the inside and doesn't give you a break. Production is top notch. What is there to criticize about this album? It feels like a real work of art.

My second Byrds album, and I'm already enjoying it a lot more than 'Sweetheart of the Rodeo.' Interesting that they pulled the titular track from Bob Dylan, along with several others. Would have liked to hear more of what they had to say, but Dylan's stuff was great of course. I didn't realize that this album was instrumental in popularizing folk rock, but I can see why. It's really solid.

This is my third Byrds album. It also happens to be the first Byrds album that doesn't rely on any of Bob Dylan's songs. He may not have his songs featured, but the influence is still heavily there, at least early on. Better than 'Sweetheart of the Rodeo,' not as good as 'Mr. Tambourine Man,' 'Fifth Dimension' was an interesting, sometimes psychedelic ride with the Byrds that ultimately didn't really wind up anywhere super noteworthy.

One of Queen's best with a lot of songs that I think should have been bigger hits than they were. The big standouts were 'Brighton Rock,' 'Killer Queen' obviously, and 'Stone Cold Crazy.' Amazing that Queen could put together such an astounding album with great lyrics, vocals, instrumentals, and production and it's not really one of their most talked about.

I know, I know. Another Springsteen album, another 5/5. But this one really deserves it, maybe more so than 'Born in the USA' and 'Born to Run.' It's a little harder to say this one is better than 'Born to Run,' but damn is this album good. 'Darkness on the Edge of Town' just has that Springsteen feel to it. You know it's him and you know how things are going to progress, but not in a bad way. After the success of 'Born to Run,' it feels like Springsteen wanted to put even more of himself into this album, and boy oh boy, does he belt it out when he sings. There's serious weight behind his voice and his words, and you can feel it when he delivers harsh words like "Adam raised a Cain." A fantastic album from start to finish.

Not really very psychedelic if I'm being honest. A little grating on the ears, at times weird and uncomfortable, I'm not sure what this album was going for.

Where heavy metal sometimes falters, in its inevitable sameness that overtakes most albums, Judas Priest I think shines. Every song on this album was a joy to listen to, some obviously more than others like 'Breaking the Law' and 'You Don't Have to Be Old to Be Wise.' Judas Priest just does something for me that other musicians don't. They're strangely calming in their intensity, and British Steel is perhaps the best showcase of what they offer. Fantastic album, fantastic band. 5/5.

Are we just reaching for that 1001 number at this point? Okay, not painful to listen to, which is how I dictate what gets a 1, but not much fun either. It's just mediocre. Mediocre voices, mediocre backing instrumentals, mediocre lyrics. I suppose they all match each other nicely that way. Is this the kind of music you put on for your kid to entertain them? That's what the first song felt like for sure.

Far, far better than their debut album, 'Isn't Anything,' this album solidifies their sound in a wonderful way. I was really put off by getting the other album first, but this one might have turned me around on My Bloody Valentine. dreamy in the best ways, the music made me feel like I was floating in air. The ethereal nature of the songs are just that good.

I was listening to this and thought, "huh, the lead singer is really doing their best Bjork impression." Cue me being surprised to learn that this was the band Bjork was in before she made it big! Listening to Bjork is an experience, and look, realistically not everyone's going to like that experience. I happen to enjoy it a lot. I think her vocals are unique, weird, and strong. So for me this album was totally enjoyable, but I can see why some people are turned off by it.

Hard for me to describe on my own. Luckily Wikipedia has my back! Some really interesting psychedelic funk/New Orleans R&B. Can't say I've ever listened to an album quite like this one, and for that I'm grateful that this came my way. Weird and sometimes creepy to listen to, it was a unique experience that left me smiling.

Okay R&B but not something I'd consider to be one of the greatest 1001 albums of all time. Really wanted this album to be over quicker than it was. Nothing stood out and nothing grabbed my attention. Guy's got a good voice, but sounded bored through most of the songs.

Oh boy. More synth-pop. Mellow, bland, poor lyrics, too-quiet voices. Apt that the first song is titled 'Being Boring.' This just isn't for me. Couldn't make it through a full three songs.

Listened to 'Document' before this one and was really impressed! This album, however, blew me away completely. 'Everybody Hurts,' which I knew of but hadn't really listened to in full before, is a haunting, painful, beautiful song that just completely enraptures you. Add onto that 'Nightswimming,' and you have two really standout ballads that elevate this album to something special. A solid 4/5 that is almost a perfect score. I just felt as though some of the songs didn't click this listen, though that might change as I listen to the album again in the future.

You can't be serious. 2 hours and 19 minutes? I can't actually listen to this album to judge it in its entirety. Maybe if it was a quality album, but just from the time I listened, it felt outdated. Eh. Some of the beats were okay, but man was it repetitive. Good on the people who made it and got a Mercury Prize! But that doesn't necessarily translate to quality listening today. Clearly.

Wow, does this albums start off super strong. 'I Wanna Be Adored,' 'She Bangs the Drums,' and 'Waterfall' are all fantastic songs that set a strong tone for the rest of the album. The other songs don't quite live up to what was set up, but they're still great to have on. This is one of those albums that introduces you to a band and makes you wonder, "How have I never heard of these guys before?" I don't know if the rest of The Stone Roses albums are of the same quality, but I will definitely be listening to more from them in the future.

It's Dylan at maybe his best? At the very least this is up there with the rest of his works as one of the best. The lyrics are pointed and hit, and Bob Dylan's maybe the only person who could sing them and make them work. On top of that, the songs are just plain good. Good melody, good instrumentals, good everything. There's a reason why Dylan is/was as influential as he is/was, and it's on display perfectly with this album.

Beautiful but haunting at times. Don't know how I never heard of Nick Drake before but I'll definitely be giving his other two albums a listen even though I know they'll come up on here sooner or later. His voice is quiet and airy, and a lot of the compositions, though rooted in folk, have a jazzy quality that makes this feel more upbeat than I think it really is. Overall a really wonderful album.

Unoffensive listening. It doesn't really do much for me. Wikipedia calls it soul or R&B, which I can see, but it just feels like pop to me. Nothing really stood out and some of the guitar-work was repetitive and grating on the ears. I wouldn't avoid listening to this album again, but I wouldn't seek it out either.

Amazing songs (NOT written by Elvis) that are sung by an amazing performer. Looking at it strictly from an entertainment and enjoyment perspective, this is a solid 5/5 album. The vocals are just so solid, energetic, and magical. The songs as originally sung by their respective artists are great as well, but Elvis' voice is just something special.

Man, there's just something about this album that made me fall in love with Lou Reed. So many great songs that are just catchy and meaningful and... comforting? His voice sounds totally disassociated from what he's singing, but he makes it work. The instrumentals are nice and varied and used perfectly. Just one of those albums that comes together in its entirety and clicks on every level.

Gave me an experience I wasn't expecting. A little all over the place. The first song is good psychedelic rock, and then it feels like the album shifts. The second song onward are mostly these comfy, soft compositions. This isn't a bad thing, and I enjoyed the style of music played with here. Unfortunately it shifts again with 'Season of the Witch,' which is a good song, but again, it just felt a little all over the place.

Another R.E.M. album, another album that leaves me unimpressed. The music is good, but so far none of R.E.M.'s stuff has left an impression on me, and that's something that I really want my music to do. It doesn't matter if it's weird or pushing the boundaries, but I want it to be unique. Murmur didn't feel like it was pushing any boundaries nor did it feel like it was doing much different from the band's other albums. I know some people have said that it clicks different after numerous listens, but I don't see myself wanting to really go back for another listen.

Loud and weird and unapologetic... but maybe it should apologize. Not terrible, decent rock, but nothing that really stood out. Sometimes the weirdness became too much to deal with and I was just like, 'No thanks.' Definitely not better than School's Out, and that was only a solid 3. I think Alice Cooper just isn't for me. It ends on a solidly terrible note. Thanks, edgelord.

I think I'm either in a bad mood or I'm feeling more critical today, I don't know. Decent enough rock, but man does everything just blend together, which I hate. I want these albums to leave SOME kind of impression, bad or good. It's almost worse when they feel like they lack any personality at all.

Probably the band's best album. It's got most of the band's hits, and they're great, but it also shines with its lesser known songs. The album is just a great listen from start to finish. Debbie Harry has a wonderful range, from a little rasp that shines through when she gets louder to the soft whispers in the quieter moments.

Such a unique voice the lead singer has, and it carries the album along with some great instrumentals. 'Come on Eileen' is obviously the standout hit, but this album is just such a joyous romp from start to finish. Listen to it on a bad day and your mood is sure to improve! The album would have been 4 stars if not for the fantastic 'stick-the-landing' ending that is 'Come on Eileen,' which bumps it up to a 5.

Catchy and cool, but the songs started to blur together as the album went on. Really enjoyable as background music though. 'Wild West End' and 'Sultans of Swing' were standout songs, however.

After getting 'British Steel' by Judas Priest on here, the bar is set pretty high for me when it comes to metal, and unfortunately this just didn't live up to expectations even though it was more metal/rock. It was hard at times to understand what the artists were saying, and at other times it was just... boring, which is a bad thing to say about a metal/rock album. Nothing in this was terrible, but it just didn't stand out as anything special in comparison with better metal bands.

My second Dire Straits album in three days, and I'm left to wonder how in the world I haven't listened to this group before. The guitar work is top notch, the songs are catchy, the vocals are superb, it just all comes together to make a noteworthy and memorable album. Mostly rocking, sometimes jazzy, sometimes soft, the album dips into different genres and tempos with the instrumentals and has a nice variety. The only negative I can come up with is that I hadn't listened to this album sooner!

I've listened to this one before, but I think I forgot just how perfect of an album this is. Everything hits just right, and it honestly feels like Led Zeppelin flexing for 45 minutes straight. They prove with this album that they're masters of the craft of rock, and it's hard to hold a candle to them.

Elton John's second best album behind 'Goodbye Yellow Brick Road,' with many amazing classics like 'Tiny Dancer' and 'Levon.' The lyrics are sometimes weird, but more often are they whimsical and carry you away to some strange place you didn't know you wanted to be in. I could listen to this album many times over before getting tired of it.

Starts off with the lead singer just screaming. What an immediate turnoff. Then it's whispers to screams to whispers to screams... Until the third song, I wasn't sure if they were aware there is a section in the middle of those two extremes where better music tends to be. The album is at its best when it calms down, which isn't nearly often enough.

For someone who isn't a huge fan of punk, I gotta say that these guys know how to make a punk rock album. The songs don't overstay their welcome and things don't blend together like I was worried they would do. Just a great, high-energy time.

Beautiful. Strange. Haunting. A masterpiece. One of those albums that just might change your life. To me, this felt like an amazing dry run for Pink Floyd's next album, 'Wish You Were Here,' which I think is slightly better/tighter. But 'The Dark Side Of The Moon' stands on its own as one of the greatest albums ever made. God, if only other artists could experiment and toy around with sound like Pink Floyd did. One of the best albums you'll ever listen to if you give it a proper chance. What else can I say that hasn't already been said a million times? An album I'll go back to time after time.

Cheerful and upbeat start. Then it's just kind of there. Good music, but nothing that makes me excited, except maybe 'Down,' which had some real life to it. 'Without You' is downbeat but I can definitely see why it was a hit. Also 'Coconut'... okay, maybe there's more to this album than I initially thought.

I mean, it's undeniable he's got a great voice, but there just doesn't seem to be much life to the songs. Dull and kind of uninspired, most of the best songs are the ones from the Great American Songbook. Also, how many times can he sing 'The Girl From Ipanema?' It's a great song (written and first performed by someone else), but I mean come on. Get some variety in there. This album lost the Grammy to 'Sgt. Pepper's Lonely Hearts Club Band,' and rightfully so.

It's hard to say a lot about something that's perfect. It just sits there and overwhelms you with its quality and you can't help but be in awe. Miles Davis is one of those genius creators who's made multiple perfect pieces, this being just one of them. Loved every second of this album.

Wow, I really hated this guy's voice. It just sounded nasally and whiny. The instrumentals and synth were okay, I guess, but they didn't do much of anything to redeem the album. I listened to the whole thing and I hate myself for it.

Hmmm. This album started out not really doing anything for me, but 'Crystal Days' got my attention. I feel like it should have been the beginning of the album; it feels like there's life to the song. A lot of the other songs just feel deadened. They're haunting, but at times there doesn't feel like a point behind them or much emotion. I don't know if I just can't relate to the main singer's voice, or what. It wasn't terrible, but it's not something I would probably seek out again.

Never heard of Aimee Mann before, but wow, the album really sucked me in. Her voice is nice, light, and airy. The songs feel like just the right mix of rock and pop. It might not stand out next to other albums, but it was a really enjoyable listen.

Some decent hip-hop, but man when it gets repetitive it gets REPETITIVE. At times nice to listen to, at times grating, it just felt all over the place quality-wise. And when you hit a song that's bad it really drags on too long and hits you over the head with how bad it is. Not an album I'd go back to again.

Understated is the best word to describe this. I need to listen to this again more carefully and not as background music, because I only just realized halfway through that there's a story to the lyrics. I was expecting typical country nonsense, but I was pleasantly surprised. So far not my favorite Nelson album, but it's still very good.

I normally like unique voices but I just can't get into Patti Smith. My third time listening to this album and it still just feels like loud wailing and wavering from a voice that isn't super great to begin with. I get that a lot of people really love her, but it isn't for me unfortunately.

A wonderful album that started to lose me towards the end. At the front, however, it was a great mix of vocals, instrumentals, and production. Everything felt very understated and it allowed her voice, which is the real selling point of the album, to shine through.

Strange and I suppose unique, this just wasn't for me. I thought it would be a solid 3, but then I got to 'Knight-Errant' and the sound of the song made me realize how much this album put me off. Wish I could have enjoyed this more.

I have to be honest, the album didn't start to capture me until 'Criminal.' It was that song which made me start to appreciate Fiona Apple's voice and lyrics. I'd listened to 'Fetch the Bolt Cutters' once before and didn't really feel much, but this album felt like it had more passion and zest behind it. 'Slow Like Honey' showcased a broader range which I appreciated. 'The First Taste' is mystic and... man I'm starting to feel like I'm listening to a masterpiece honestly. She has such a quiet way with words that shines through on a full listen. I wasn't impressed to start, but Apple not only won me over but completely wowed me by the end.

Drifted into background noise as the album went on. Highs were high but the lows were low. Some really great songs in the mix though. Great voices and instrumentals. My mood might just not have been right in the moment for this to really stand out.

I have yet to listen to a bad David Bowie album; I don't know if one exists. This one is certainly up there with some of the best. I'd heard the eponymous song 'Young Americans' and 'Fame' before and they're just pretty much perfect songs, but the entirety of the album is fantastic R&B/soul from a guy who wasn't, at the time, known for it. Bowie just has the talent to take in a new genre and roll with it, making some of the best music ever. Geez, what I would do to have that kind of talent.

Loud and triumphant, the instrumentals really do a lot of work for what I feel is a mediocre voice and okay lyrics. It just feels like the guy has a generic male singer voice, which is a shame. Everything jumbled together by the second song. Also it just gave off a depressing vibe. Not my cup of tea.

Unfortunately, all this reminds me of are the 'tough' kids in middle school who would just scream out the lyrics to Beastie Boys songs like they were some kind of badass. It wasn't badass, it was cringe. This album isn't badass, it's cringe.

The main vocalist kind of drones on, which is an immediate turn off. I don't know if it's just his voice or if it's overproduction, but whatever it is, I don't like the sound. Too moody and boring for my tastes.

Some of John Lennon's best solo works, and then there's the rest of the album. It was sure nice of George to lend his services to some bland music. Where's the life and vivacity? Why does it sound like John's phoning it in for half of these?

Supposedly super influential, but just loud and hard to understand.

This was a solid, solid blues rock album by the doors, but 'Riders on the Storm,' which I'd heard before and loved, put it over the edge. It's just the perfect ending to the album. The rain falling and the thunder overlaid gives a sense of finality that I don't think I've experienced from another album.

My second album from Sonic Youth, and overall I think I think I might like it better than 'Goo,' which is probably a controversial statement. It's some solid punk rock music that's not obnoxious or too in your face. 'Goo' was very different, and I can't help but compare this album to it. I liked a lot of the softer lyrical stuff on this album.

What a ride of a listen. I saw someone post that Kate Bush is a literary musician, and I really think that fits. She has a beautiful, haunting voice that carries the album far, but it's in her lyrics that you can really get lost. Some of the songs are weird, but they add to the overall aesthetic of the album. It's unique, and in a really, really good way!

Led Zeppelin's sixth studio album, and their sixth hit. Do these guys not know how to miss? The album builds up with some just classic, amazing rock songs, until it gets to 'Kashmir,' which is just on a whole other level. But wait, there's more! That's only record number one, which ends on a fantastic note, and could have been the closer. But Led Zeppelin decided to grace us with another entire record where they proceed to flex for another thirty or so minutes. It's some of the best hard rock and roll you'll hear from a band still in its prime.

My second time listening to 'aja' by Steely Dan. The first time I wasn't very impressed, especially after having had it hyped up for me. In the end, I think the hype did more damage that good. I still don't think I completely get it, but I can appreciate the technical stuff more. It's generally a good listen. Not the most amazing thing you'll ever hear, but solid enough that it didn't feel like a slog to me. Maybe I should be giving it two stars, but it's a solid three for me. The lyrics make no fucking sense though.

Interesting. A little too much for my taste, but it was still good.

Just a great rock album, with the standout hit being the cover of The Kink's 'You Really Got Me.' I don't think there was enough amazing material to push this to a five, but it was still consistently, extremely good. A great show put on by Van Halen as to what you could expect from them.

The best Aerosmith record, hands down. Rocking, catchy, and it doesn't overstay its welcome. The real hits are divvied up throughout the album nicely so you're never left in a lull. Steven Tyler's vocals are top notch and probably the best they were in his tenure with the band. When I'm looking for quality rock, this is one of the albums I will always turn to.

Good punk, good cover of 'Under the Boardwalk,' good all around listen. I liked that it was a little more subdued and quieter than most punk albums I've listened to. They didn't feel like they had to scream to get the vibe across, and I appreciated that. Nothing that blew my mind, but nice for a listen.

Starts off with 'Baba O'Riley,' and I mean, really, what more needs to be said? It's a perfect song to kick off the album. It's possible, then, that you think the album can't get better, or at the very least can't keep the quality that it set up with 'Baba O'Riley.' But you'd be wrong. We move straight into 'Bargain' and then 'Love Ain't for Keeping,' two more absolutely great songs. And then buckle in, because the album doesn't let up. 'Behind Blue Eyes' and 'Won't Get Fooled Again' show that the album never dips, and maintains a consistency that most bands only dream of. This is The Who's best album, which is saying a lot, but it certainly lives up to the hype.

Give me that good progressive rock! This album first interested me after I got into Pink Floyd and was experimenting with different genres of music than what I was normally familiar with. 'In the Court of the Crimson King' was one of those albums I tried out, and I will admit that it befuddled me at first. There were definite highs and lows to this album, but I wouldn't ever say that it became a slog to get through. The highest of highs was definitely the closing song, which is monumental and grandiose, and the album builds to it nicely. Overall, this is a special album, one that I'm not always in the mood for but one that is always there waiting when I need a good bit of prog-rock. It's weird, it's a marvel, and it's just a great album.

I mean, it's not literally the worst thing I've ever heard... but... it's not great. His falsetto sucks and the whole thing felt bland and boring after the first song. That being said, 'Shit, Damn, Motherfucker' is clearly the pinnacle of songwriting and no one should attempt to surpass it. I like how he said the three words over and over and over and over. Quality stuff. This album did help me find religion, though. I didn't think at the beginning that I would be praying for it to be over, but here I am.

There was a time when I didn't like the song 'American Pie.' I heard it all the time and tuned it out every time. Then I listened to it and realized it was actually a beautiful song despite its length. I then figured that, on the album 'American Pie,' it would be the only good song. A one-hit record so to speak. Then I listened to the whole thing and realized it was actually a beautiful album. I'm sure people will complain that it's kind of a tone shift after the titular song, but if you embrace the slow, quiet nature of the rest of the album, it's a fantastic, calming listen.

A pretty good album. I enjoyed the instrumentals and her voice. There wasn't a ton of substance to the songs, but I don't really think there needed to be. I really enjoyed it while I was listening, but now, a couple hours later, if you were to ask me my thoughts on it, I wouldn't really be able to come up with much that was memorable.

Man, after reading what happened to the guy, I really wanted to be able to give this a good rating but this... it's unlistenable at times. He's completely off-key. There are certain notes he can't hit but goes for anyways. It sounds like every instrument was assigned to play a different song during some parts, and during other parts it sounds like he hired people who didn't know how to play the instruments. I can appreciate the weirdness even if I don't like it, but a lot of this is just dreadful to listen to.

An interesting and powerful album. Ultimately, the music wasn't anything super special to write home about, but the message made up for it in a lot of ways. A little repetitive after a while, though.

Q. Shit, what am I listening to? A. Nothing good. Scream or pontificate all you want, John Lydon, it won't make the album impactful or decent in any way.

It's the Beach Boys, which is great, don't get me wrong. The Wikipedia page says that this was the album that solidified them as "album artists" instead of just a singles band. Maybe for the time that meant something but, I mean, it's just more Beach Boys. If you were expecting something more than love songs and harmonizing, you'd be sorely disappointed. Luckily they do both of these things very well.

Ahhhhhhh, what am I listening to??? Gritty, angry yelling in French? This is a hard album to get through, but I thought there was maybe just enough charm to keep it from 1 star. Unfortunately, it was 54 minutes long, which is entirely too much of this album. It never changed or got better, just stayed stagnant and blah throughout.

Stop, Bowie! I can only handle so many amazing albums from one artist! Still waiting for that Bowie album that I don't like, but I don't think it'll ever come. 'Low' is one of Bowie's best works, which is saying a lot. Wasn't familiar with this album before I got it on vinyl a few months ago, and it shocked me when I listened to it. Bowie experimenting with different sounds and styles might be the best Bowie you'll find, and he certainly does a lot of experimenting with this album. I thought the orchestral section would be a turn-off, but the otherworldly sounds, classic Bowie, kept me enraptured. Came for the catchy hits, stayed for the overarching magnificence.

A bit of a chaotic mess at times, but Miles Davis makes that work. Somehow a bit too long and a bit too all over the place to compete for top spot with his other albums on this list.

Another Metallica album, and where does it leave me? Unimpressed with this beloved band and sad. Sad because I don't get it. I feel like I'm missing something. I like heavy metal but this is just repetitive. The lead vocals do nothing for me. It's long and doesn't feel like it goes anywhere, like every other Metallica album I've listened to. Maybe one day I'll get it, but that day isn't today.

Queen's second album, an improvement from the first, which was a sign of things to come. Though it's not a perfect album, it's respectable and good. 'Seven Seas of Rhye' is probably the best song on the album and feels the most lively. I'm a little surprised to find this album on here because, though it was important for the development of Queen's amazing sound, it doesn't necessarily stand out super well on its own. There are some solid songs throughout, but I feel as though later Queen albums did what this album tried to do but better. A solid 4 though.

A beautiful voice, overproduced. Some of the songs were enjoyable, but as a whole the album didn't really do much for me.

A joyous, energetic, fantastical romp of an album. Starts with 'Turn to Stone,' which is great and a hit, but the rest of the songs somehow manage to live up to the bar the first song sets. And I mean, come on, who doesn't like 'Mr. Blue Sky?' It's one of the most feel good songs I've ever heard. ELO made an amazing album here, and it shines bright all the way through.

First and foremost, it's got a damn good sound. The album is just a joy to the ears, a pleasure to listen to. 'Get it On' is obviously great, but the whole album feels amazingly packaged. Great guitarwork, great vocals, great production to make everything feel cohesive even when the vibes may be completely different, like when you move from 'Lean Woman Blues' to 'Get it On.' Leaves you wanting more, which is both a good and bad thing. I feel like an album should be a complete experience, with a climax and a resolution, like a story, but there's something to be said about an album that makes you want to listen to it again immediately. And that's the feeling 'Electric Warrior' left me with.

A really good synth-pop album that is firmly rooted in the 80s. Unfortunately it doesn't wholly stand up to modern scrutiny, but it still holds its own. The beginning set up weird expectations because I didn't think it was all that great. Overall, the whole album won me over, but it took some time.

I don't know what happened? I like The Allman Brothers Band, but this just felt aimless and boring. 'You Don't Love Me' is TWENTY MINITES, and unfortunately that's, like, 18 too many. Same problen with 'Whipping Post.' It's all too much of them just jamming, which I guess makes sense since it was over 3 nights, but still. Not feeling it.

Boring, uninspired, at times stupid, Beck sounded uninterested throughout the entire album. Add onto that the occasional loud screaming and screechy instrumentals, and it all makes for an unpleasant listen. I don't hate Beck's other works, but I absolutely hated this album, and while I can normally understand why an album I didn't like received critical acclaim, I can't with this album.

No rest for the listener in this fast-paced rush of an album. Culturally significant, lyrically poignant, and catchy as hell, this is some great hip hop. I can easily see why this blew up and made such big names of the band members.

This was... a weird album. The distortion on many of the songs was just disorienting and unpleasant. There was nothing on this album that really stood out or made me excited to listen to. Just wanted it to be over.

Honestly thought I would hate this album, mostly based on the cover art. Being uninitiated with Soundgarden, I thought it was going to just be bad screaming and obnoxiously loud instrumentals, but wow, did I wind up loving this. Great, great vocals on this album, and the entire thing was just what I needed this morning: some fantastic grunge rock and roll. Even though it was over an hour, I never got tired, as the quieter moments intertwined nicely with the louder sections. Great variety that shows these guys know how to make a comprehensive album.

The first two songs had me a little worried, because they felt meh and were missing significant guitar sections. But it definitely picked up by the third song. Not his most impressive album, but still magnificent from a musical and enjoyment perspective.

Creepy vibes, weird instrumentals, jarring transitions. I get what the album was going for, and it isn't enjoyable to listen to. Each song has a theme and they all suck. The music is painful to the ears, and the vocals sound stagnant and bland throughout. I thought maybe the premise alone would keep it from a 1 star review, but the longer it went on, the clearer it became that wasn't the case. I certainly won't be going back to this anxiety inducing melodrama anytime soon.

Ethereal and otherworldly, of course, because it's Bjork. I have a strange fascination with her and her works. They poke at a part of me I didn't know was there and they make me feel exuberant. 'Debut' is the standard she set, and she set it high. I've listened to some of her other albums before, not this one, and felt like they didn't completely live up to the expectations of her first. However, 'Vespertine' felt like a return to exceptional form. There's a purpose to each of the songs, and you can feel the emotion and time put into each of them. Some people might just dismiss the songs because of how she manipulates her voice, but that doesn't give Bjork enough credit. Inventive, strange, and exceptional, I loved this album.

I thought the Beach Boys were little more than just singing about the ocean and relaxing on the beach, not that there's anything wrong with that, but boy did this album prove me wrong. There's an actual message behind these lyrics, and, without being too preachy, it nails the balance between message and good music. The vocals might be a bit different than usual when one thinks of the Beach Boys, but they are still bright and wonderful. This album shows that the Beach Boys aren't just a one-note band, and that they can branch out and make meaningful music.

Urgh, what am I listening to? This is dated in the worst way; it just doesn't hold up. The vocals are weird and all over the place. There's no depth to the lyrics besides 'rock the party,' which gets old and tedious quickly. The instrumentals are boring and uninspired. Overall, this was not an impressive album.

Smooth, calming, and melodic at times, a little more rocking at others. Sometimes the songwriting is okay, sometimes it's just weird. This is a completely middle of the road album.

What a ride the Arctic Monkeys took me on. I had pretty low expectations; I'd never listened before honestly because when I was younger I thought the band's name was stupid. Turns out 'I' was being stupid! A fantastic, rocking romp by this British band. You can listen for the lyrics, or listen for the instrumentals, or both! It's one of those albums that excels at all the pieces it tries to nail. Will definitely be listening to it again.

I really had low expectations going into this album, but a couple of songs in, I was already hooked. The instrumentals are just out of this world and very unique, which I suppose makes sense since this was a movie. Wish I could have understood what was being sung, but it was entertaining even though I couldn't.

I wasn't into much music in the 90s (too young), but still this album feels like a great reminder of that era. This album had everything I wanted and more. Angry, badass, rocking female vocals and lyrics, great guitarwork, and a feeling of nostalgia. Hole didn't have enough albums for my taste; I wish they had stuck around longer, but I understand why they didn't. Some of my favorite grunge (even though this is less grungy than the previous albums) out there.

Had high expectations for this album. Never listened to a Kendrick album, but the way people talk about him, how could it be anything but amazing? And then I started listening. And I hated it. And then I didn't hate it, but parts of it still put me off. Let's start with the sexist, boring, dick-heavy lyrics. Nothing says lyrical genius like talking about having a giant dick and fucking the world. Pinnacle of songwriting right there. That's the stuff that put me off. Some songs had a good/important message, but it felt like Kendrick thought he had to hide the message between typical lyrics about sex and murder. Is the album about growth? Yeah, maybe, but where's the line between reflecting on your misogyny and shitty behavior and glorifying it? You don't see the reflection and criticism until far too late in the album. This is especially problematic when the problematic songs are the ones that become singles. When those are the ones that resonate with people. Maybe that's the problem. It's the people listening to this who aren't getting the message. I don't know. Kendrick wrote the rap equivalent of a rock opera, he told a story, an unsavory story about being a little shit and then growing up, but a story nonetheless. I think I'm just tired of the casual misogyny and hyper-sexualization of women in rap. But, maybe, so is Kendrick. I'll have to listen to the next album to actually know for sure. A complex album that drove me through a wide range of emotions and feelings. I went through the process of thinking this was a 1 to thinking it's a 4. I don't really know how to rate it right now, so I'll just stick with the 4.

It's good salsa, but it doesn't really do much for me. Some good background music, but there wasn't much to actively hold my attention.

Might not have been in the right mood, but this was entirely too long. I enjoyed the beats and the groove, but it wasn't enough to carry it for over an hour.

The first thing I thought when I saw another Todd Rundgren album on here and looked at the length was, "Oh god, he's putting another too-long, over-the-top album on me." And to a degree, that's true. Todd Rundgren likes his double LPs. You can charge more money that way! And woo boy, this is another weird one. Weirder than 'Something/Anything.' But is it bad, you might ask? Well, um, I don't know if I can answer that. The album got off to a great start, I thought, before really delving into the ear-ringing weirdness with 'You Need Your Head' and 'Rock and Roll Pussy.' It's weird, but having just listened to 'Lust For Life' by Iggy Pop, I certainly can't just dismiss weird as bad. There's a lot of merit to this album, a lot of choices that work out in Rundgren's favor, but there's a lot of stuff that just felt excessive or unnecessary. As a total package, taking the good with the bad, I think this album does succeed. Maybe a little shorter next time, and it'll be five stars.

Fantastic album by Iggy, definitely his best. I can feel Bowie's hand on the whole thing, which is definitely not a bad thing. Hell, in some places it almost sounds like Bowie's singing (and I'm not talking about the parts where Bowie is ACTUALLY doing backing vocals). I was most familiar with the songs 'Lust for Life' and 'The Passenger,' but I'd have a hard time picking out a weak song in the album. 'Sixteen' somehow manages to keep the pace after 'Lust for Life.' 'Tonight' starts out with this triumphant, choir-like music that makes it feel larger than life. 'Turn Blue' is weird but, like Bowie, Iggy makes weird work in his favor. Just all around five stars outta five.

Immediately, I'm struck by how quiet the vocals are compared to the instrumentals, unless they're high pitched and screeching. Beyond that, the instruments just feel like they blur together, unfortunately, and man are they shrill. I wouldn't really say the band covered any topics, because they barely even mentioned anything in passing. The lyrics are really minimal and the music just doesn't carry the rest of the record. Cool album art, but that's about the best that can be said.

A really wonderful album. Even though I'd heard the song 'The Weight' before, I couldn't remember it until I heard it again and I never associated it with this band. Though the song is good, there's a lot more to love about the album. The instrumentals mix in with the raspy vocals really well. Not all the songs are originals, like 'Long Black Veil,' but I feel like they all went well together.

I just... have a hard time getting into Sigur Ros. The music is undeniably good, but it doesn't do much for me. Maybe it's because I can't understand what's being said, but something takes away from the overall enjoyment of what is an expansive and impressive musical feat. Not the biggest fan of his voice either.

I was a little confused over what version to listen to because all I could find on my music app was the version by Rahul Sharma, which is MILES different than the version I found on YouTube. From what little I heard of Rahul's, I liked it a lot, but Shivkumar's was another experience entirely. I actually wished that I liked the album more than I did. It was a unique listening experience, but that's all I really got from it. It got a little tiresome after a while just listening to the same instruments over and over. It just began to sound samey. I think I prefer Rahul's version.

Jefferson Airplane's best album by a wide margin, with some of their greatest hits. 'Somebody to Love,' and 'White Rabbit' are just fantastic songs, and even though the other songs on the album aren't necessarily hits like those two, they all carry a great energy and tune that makes this a worthwhile album to listen to again and again. Also, Grace Slick is a hell of a singer.

I guess I didn't expect this to be so... boring. Everything felt over-produced, and based on how much critics liked this, I expected something groundbreaking, but ground never broke. I've never been one to listen to Beyonce, and I can see that was the right decision.

Sometimes enjoyable. The biggest problem is seven songs shouldn't take seventy-six minutes. I don't care who you are. Somebody stop the drummer. And the part where the lead singer was mimicking the guitar? Urgh.

An enjoyable album that never really reached the heights I was hoping it would get to. The first two songs, 'Beetlebum' and 'Song 2' are really great, and I also enjoyed 'On Your Own,' but the rest of the album feels a little dull in comparison. Also the only thing I could think after a while was, "Wait, is that the guy from Gorillaz?!" And it is!

I really thought I was going to hate this when it started, but it actually had a good beat throughout. Catchy and futuristic, this album is great for casual listening when you're in the mood for electronic music. 'Aquarius' was weird though. "Orange!" "Yeah, that's right!"

A good Madonna album. A little more subdued than I was expecting, but I liked that. 'Like a Prayer,' is obviously a banger of a song, but virtually everything was upbeat and catchy. It never really hit the highs that the titular song set, but I'm not sure it needed to. Not my favorite Madonna album, but definitely a quality one.

It felt like nibbling on crackers. You might be eating something, but there's very little in terms of substance. For Kravitz, the ideas were there, but he failed to go into any real depth to make them meaningful.

I'd obviously listened to dream pop before, but I never knew that's what it was I was listening to. This was a good introduction to it. It was comfy! I think that's the best way I can describe this album. By the end it got a little samey, but if you're looking for this kind of music then that's not necessarily a bad thing.

My first experience with Beck was... not great. I absolutely hated 'Odelay,' so I was hesitant when this started. But it wasn't that bad. It wasn't great, but it certainly didn't hit the lows I was expecting. A little too mopey and depressing for my taste, and I still am not a huge fan of Beck's voice, I guess. The longer it went on, though, the less I liked it and the more grating it became. Should have stopped while you were ahead, Beck.

I know it's not most people's favorite Led Zeppelin album, but man is it still so good. Starts with 'Immigrant Song,' which is just catchy and fun and iconic. Most people's favorite Led Zeppelin song is 'Stairway to Heaven,' and for good reason, but 'Immigrant Song' is mine. Then we move into something new and the pace slows down a bit with 'Friends.' It's acoustic, it's different, but that doesn't stop it from being a great song with a sweet message. 'Since I've Been Loving You' is bluesy and powerful and really hits home that you're not going to get the same ol' Zeppelin throughout this album. They play with different styles and it makes for a colorful and unique experience. This felt like Led Zeppelin knowing they were at the top of their game and doing what made them happy, and it comes across through the music. It's not the fastest pace Led Zeppelin has ever been, nor the hardest rock, but to me it's some of the best music they've put out there.

Depressing and tiring lyrics, but I guess what did I expect based on... I don't know, everything I knew going into this album? Luckily the instrumentals carry a LOT of the dead weight of this album. But man, does it go on for too long.

This is my third time listening to this album, and as I started going through it again, I thought that three would be too much. Though the album is an experience, I wondered if it would hold up to having experienced it over and over again. As the music started and grew louder and more bombastic, I realized I was going to be sitting and listening through the whole thing again. It's good. It's great. It's strangely operatic and an amazing performance by Meat Loaf. Even if it feels kind of juvenile sometimes, it manages to raise itself up to be something more. I honestly don't know how Meat Loaf and Jim Steinman managed to make this whole thing work, but man did they make it work.

The only Clash album that I was familiar with was, of course, London Calling, but this was a nice, catchy batch of songs that were pleasant to listen to. Not as frenetic as I was expecting, but I liked it being a little more subdued. Not to say this album is quiet by any means, but it doesn't overwhelm you. A good first album by The Clash.

Reading some of these reviews, I was wondering if people were listening to the right album, because the album I listened to first was a nice, tight, 43 minutes with only 13 tracks. Then I did some research and found that it's only half the album? The second half was... excessive. Unnecessary. Cut it, it doesn't need to be there. It's not all bad, it just doesn't add all that much. I felt like I would have liked this a lot better if it was broken up into two different albums, keeping the styles separate. Piss Aaron is a work of songwriting genius. Just kidding. What the fuck.

This album is really weird, because it hits three really problematic notes for me. First, it's dark. And I mean it feels really, really bleak. Second, the lead's voice isn't that great. And third, it's not what I would consider to be something I'd choose to listen to again. Normally, taking into consideration all three of these things, I'd give the album a low rating, but I can't bring myself to do that. Dark, haunting, hopeless, this album is hard to listen to, but it's also beautiful in a lot of ways. It felt like I was listening to poetry at times, not music. Ian Curtis was good with words, even if they were hard to take in. I don't know that this is an album I would want to spin regularly, but I might want to have it in my collection just for its artistry.

Good jazz. I don't really know what else to say about it. It's a pleasant listen that you can go back to over and over again. Perfect lounge music. Doesn't break any barriers, but it doesn't need to.

Inject this straight into my veins. There are apparently people who think Billy Joel is a hack, and to them I respectfully ask: what are you smoking? Regardless of whether you like his music or not, I don't think it's being honest to say that Joel can't craft a tune, that he can't write compelling lyrics, that he can't bring everything together to make a complete listening experience. This album is an example of everything coming together and working. It's tight, it's catchy, it's just plain fun, and isn't that the point of music? It's hard to pinpoint a single song that stands out as towering above the rest in this album, but if I had to pick, I'd have to choose 'Vienna.' Beautiful, sad (depending on your state of mind), optimistic, this is a song that elicits an emotional response. It shows that Joel is more than just a 'catchy song generator,' as if that was ever up for debate. I could listen to 'Vienna' for hours and never get tired of it. The biggest crime, in my personal opinion, is that there aren't more Billy Joel albums on this 1001 list. Streetlife Serenade. 52nd Street. Piano Man. An Innocent Man. Joel puts out good to great music time and time again. When I started collecting records, I fell in love with his music, and I'll defend it until I take my final breath.

A classic album. 'Only Happy When it Rains' is what got me into Garbage and girl grunge in the first place, so of course this is going to be a five star listen. The best part is that it isn't just the only good song on the album. Start to finish, this album is full of bangers. 'Queer' is delightfully strange, 'Stupid Girl,' 'Vow,' and 'Not My Idea' rock, and everything else from beginning to end is just as engrossing and bewitching. I don't know what I expected the first time I picked up 'Garbage,' but it wasn't such a pure gem of an album.

Some good old fashioned country, not the pop/rock country that we get these days. It's nice not hearing about 'the good ol' USA,' and 'my pickup truck,' and 'starin' at the bottom of a bottle' that permeates every modern country song. It's not as good as Dolly in her prime, but it's a solid, enjoyable country album.

As others have said, this is like listening to a new David Bowie album without Bowie's vocals. Delightfully weird, it has that Bowie charm throughout. It doesn't overwrite 'Lust for Life' as my favorite Iggy album, but it's a great predecessor.

This made me say, "What the fuck am I listening to?" but in a good way??? I can't say I've ever had quite the experience I had while listening to this album before. Everything worked, strangely enough, when it should have fallen apart. It really should have fallen apart, but it just kept going strong through sheer force of will. Rock Lobster rocks. Everything on this album rocks. Count me in as a new fan of The B-52's.

Are these... words? Is the lead singer speaking or just screaming random syllables into the microphone? I honestly can't tell; he sounds like the heavy metal version of the Swedish Chef. The best thing I can say for this album is that it's only 33 minutes long, which is about all I could stand. Not the worst thing I've listened to; it could have been much, much worse. But definitely not anywhere near the best I've listened to either.

Man, how have I slept on Talking Heads for so long??? What is wrong with me? '77,' their debut album, was good, but I'm glad it's the first one I listened to, because everything I've listened to since, including the fabled live album 'Stop Making Sense,' has been fantastic, and this album is no exception. Weirdness accentuated by David Byrne's unusual voice, the album strikes a great balance between the weird and the catchy. 'Heaven,' 'I Zimbra,' and 'Life During Wartime' were standout songs for me, but the entire album rocks from start to finish.

Smooth electronica. Cool electronica. Not groundbreaking electronica. It was enjoyable to listen to, but I don't see myself ever coming back to it. At least it wasn't grating to the ears like some music in this genre can be.

I was familiar with Supertramp, but less familiar with their early prog rock. 'Breakfast in America' is obviously their most well known album, but this is a super solid, enjoyable prog rock album. The songs blend together nicely and the lead singer's voice is unique and brings an interesting sound to the album. Nothing too over the top to turn me off like with some prog rock, I can see myself coming back to this again and again.

One of the best Christmas albums, and probably the best variety Christmas album. It's always in the family's music rotation for the holidays. What more can you say? It's near perfect at what it sets out to accomplish. An easy 5 stars.

Yes, more rock with female leads please. Honestly there's not enough female-led rock groups in this list, probably because there's not enough popular ones in general. Siouxsie has a tremendous voice that, before today, I'd never heard before. This album was a shocking, pleasant surprise. I'm not super familiar with post punk as a genre, but if this is what it's like, then I clearly need to delve into it some more, because 'Juju' is all kinds of haunting, fantastic, and brilliant.

A collection of some songs she took from others and put her voice to. Like Elvis! Based on that, the only real way to judge the album fairly is to judge her voice, because that's the only thing original here. Her voice is good. I don't know, that's all. Honestly, the song choice could have been better tbh.

Wow. Had low expectations going in. It's not that I dislike Sinatra, but often his music isn't for me. But man, the first song pulled me right in from the get go. Even when he's singing about heartbreak, there's something comfy about his voice and the music. It all comes together and covers you like a warm blanket. One of the first concept albums, and even if the concept gets a little tired by the end, it's still great.

I know T. Rex only for their hits, so this album was an entirely new experience for me. I'm not totally sure how I feel about it. Good rock, but very little stood out to me. I enjoyed Baby Boomerang, but I can't name another song looking back. They just felt repetitive, especially the last one just repeating the same lyrics over and over.

Not as enjoyable as 'Toys in the Attic,' but boy is Aerosmith back in the saddle again. Some solid rocks here. Did I make all the obligatory jokes? A shame Steven Tyler was sleeping with a child at the time and felt the need to write creepily about it in his autobiography years later like a total pervert. His pervertness does give the album some flavor, but after everything, it's kind of a disturbing flavor and I want it out of my mouth. Luckily the album doesn't overstay its welcome, and it's certainly aged better than Tyler has! TLDR: Steven Tyler is a creep, the album is good.

"The British Jefferson Airplane." I can totally see it. A little more folksy than Jefferson Airplane, but that's not a bad thing. Every song felt new and unique, which is quite a feat. Too often albums get bogged down with one theme and can feel repetitive, but this never got tiresome or tedious. Everything felt fresh and bright. A real nice surprise of an album.

Sad sounding country is just not my cup of tea. Decent vocals, I just couldn't muster much enjoyment out of this.

Hooked me with the first, titular song. Nice transition from there to the second song. From there, things began to fall apart. The album started to feel bland and boring, like it didn't have anything new or novel to say or show. This is probably a personal problem, but I don't think I'll ever understand Arcade Fire. Repetitive instrumentals and mediocre, generic vocals; it just doesn't do it for me.

Weird and... weird. Not bad, just bizarre. I kept fluctuating between thinking the album was overrated and thinking it was unique and interesting. Nowhere near my favorite The Who album, but there's merit to what they were trying to do. It's ambitious. Maybe not super successful, but ambitious nonetheless. 'I Can See For Miles' is a banger.

Perhaps a little too front-loaded (aside from 'Victim of Love' in the back half), but I think that's the only bad thing I can say about this album. And if the worst thing you can say is the opening of the album is too good, then you don't have much to complain about. I didn't realize they were so divisive until I read some of these reviews, but I love the Eagles and I love this album. It goes from rocking to soothing so effortlessly, and it's just really good, enjoyable music.

Dreamy, relaxing rock. There's nothing wrong with it, but nothing that pulls me in either. If I had to listen to this again, I don't think I'd complain, but I wouldn't be clamoring for the headphones either. It does go on a little long. The album would have benefited from a little more liberal cutting.

A nice album. I lost my focus about ten minutes in, so it became mostly background noise, but what I heard was pleasant.

Come for Elvis' voice, stay for the song selection. Maybe not as strong as some of his other albums in that department, but it's still an enjoyable, fun listen. I don't mind that Elvis doesn't write his own music; his voice is strong enough to carry other peoples' songs for an entire album.

Knew The Police coming into this, but I was really unaware of most of their music. Though I liked the band, I never felt the pull to go and listen to an album in full, and man, can they put together an album. 'Synchronicity I' starts the album off on a really strong, high-energy note. The entire album goes from rocking, to mellow, back to rocking with a kind of ease that seems hard to achieve, but The Police managed to do it. It's cool, it's smooth, it's fun. What more is there to say? Besides, or course, that 'Mother' is pretty freaking weird.

Too loooooong. I knew an hour was going to be too long from the moment I clicked on the first song. If they had cut this down, getting rid of some of the weaker songs, to a nice 37 minutes, it'd be a better album. Doesn't age particularly well, at least that's my opinion. Some of this is just stupid and dumbed down. Like the emergence of "MC Blowfish." Give me a break, please. At times it feels like these people just learned that words can rhyme, because they came up with some of the most basic and boring rhymes I can imagine. Couldn't stand it after about 30 minutes of listening.

A soundtrack for a movie that doesn't exist, but if it did, it would be bad. Is the novelty the reason why this album was included? Because I'll be honest, it's not doing it for me. Movie soundtracks work when you go back and listen to them because you have something visual in your memory to associate the music with. It plays on the emotions you felt watching the movie. Here you don't get that, and it just doesn't work.

At first, I wasn't sure how I felt about her voice, but it grew on me as the album went along. And then it got annoying. I don't think I've ever experienced such a shift in my opinion of a singer's voice before? Certainly not over the course of one album. It might have been some of the repetitive lyrics she falls back on in a lot of songs that made it grating. Then again, it might just be her trying to hit those high notes. Either way, it wasn't a very fun listen.

The vocals are a little rough at times, but the songwriting makes up for a lot of that. It's enjoyable, really enjoyable. Simplistic, but there's something comforting about that. Reminds me a little bit of John Prine, but not quite as entertaining.

My expectations were pretty damn low for an album titled 'Screamadelica,' so there was no other option than to be pleasantly surprised. I thought this was going to be hard-core, screaming metal, but it was a nice psychedelic trip instead. Meandered a bit too long in the middle and failed to draw any emotion. Overall, it wasn't revolutionary for me, but it wasn't offensive. Quintessential 3/5.

Depressing, but in a good way? Bleak from the start. Traced the lyrics for a few songs because sometimes it's hard to hear exactly what he's singing, and all I can say is geez, are ya okay there Bruce? Are we certain Springsteen didn't accidentally murder someone in the early 80s, cover it up, and this album is his way to atone?? Picked this up on vinyl a little while back not knowing very much besides the fact that it was Springsteen. Not My favorite Springsteen album, and not my least favorite. It's somewhere in the middle (I think my taste in his music is a little backwards from what is traditional). Still a really strong album. Just... talk to a therapist, Bruce.

Taylor's a gifted songwriter, that's not in doubt. She can spin words and craft a meaningful song better than most contemporary artists. But I've always thought this album was missing something that made it 'catch.' It's not boring; I think saying that would be too derisive. It is, however, an album I forget exists, and one that I can't name any songs off of. I feel like there could have been a better mix of lyrics and strong instrumentals. As it stands, the instruments feel really secondary; they don't add a lot, and as a result this just feels like spoken poetry. Warm with feelings of a soft, quiet fall day, this album evokes certain feelings that are important to note. I'm just not sure that it's one of the best albums to come out of 2020. Maybe one of the most popular, I guess, but not the best.

Impossible to dislike. Putting this album on here is like cheating. Absolutely fantastic mambo music. What else is there to say? This is amazing no matter what mood you're in.

Wholly uneventful. Seriously, nothing happened during this album. It started and stopped in the exact same place. I was checking my watch over and over to see how much longer I was going to have to listen to this. Boring, tiresome, and just a bad time.

Admittedly, I'm not the biggest Smiths fan, but this album hooked me right away. Enjoyable to listen to, but a lot of it sounded pretty similar, so nothing really stuck out for me. Not a bad thing, as it was enjoyable enough for me to listen to again, but not 5 star material.

I've got a big soft spot for The Kinks, and this is a fantastic album. So great that I listened to it twice. It may not have any big hits on it, but there's a great energy from start to finish.

Call me old fashioned, but listening to somebody lazily explain how they murdered someone isn't my cup of tea. Especially not for an hour. The singer sounded bored, which, surprise, is what I was after two minutes! Who is this for? Why does this exist? We may never know the answers to these questions.

Some good hardcore punk for when you need to get a little aggression out. An album that doesn't overstay its welcome by droning on about the same stuff for an hour. Twenty minutes in and out. Glorious. Maybe I was just in the mood for this sort of thing today (a wrong side of the bed kind of day), but I felt like yelling right along with the band.

I like Mariah Carey but... yeah, this really didn't do much for me. Pretty bland, unfortunately.

Lorde help me, it's a Lorde album. Oh boy. I had not listened to this one. Somehow, I missed it coming out between 'Pure Heroine' and 'Solar Power.' In terms of enjoyment, 'Solar Power' is at the top of my list, but I really see why this album was so highly praised. 'Green Light' is maybe the standout song for me, but it's not a hit-heavy album, which frankly I didn't want it to be. It was nice and solid throughout, the strength coming from the uniqueness of her vocals and the lyrics. A really great album from Lorde.

Talvin, are you OK? So, Talvin, are you OK? Are you OK, Talvin? This album is exactly what it advertises itself to be: OK.

Can't speak a lot to the impact of this record because I'm pretty in the dark, but I enjoyed it! Maybe it started to sound a little bland halfway through, but I guess that's because people have copied what these guys were doing. So props to them for doing it first, I guess! Also, they rock that cover!

I still blame Oasis for bringing 'Wonderwall' into this world, but I'll try not to hold that against them for the duration of this album. I guess my first question is: does Oasis ever begin to not sound whiny? Like, does it take a few listens to 'get it?' Because so far the lead singer just sounds like he's obnoxious moaning about everything the entire time. I guess I do appreciate this album for helping me realize I'll never like Oasis.

"It had a large impact on the psychedelic folk genre." As in what not to do? Okay, now that I got the joke out of my system, this isn't nearly as terrible as I was expecting based on the reviews. I was expecting a complete mess, but it was actually, often, pretty and relaxing. Some places were weird, yeah, and you can just write off the lyrics (which is what I did), but it wasn't nearly as off-putting as other comments are saying, at least to me. Okay, fuck it, I actually unabashedly love this album. I was sad when it finished. I laid back and closed my eyes and it was as great of an experience as some of the top psychedelic albums I've listened to. The nonsense lyrics, the warm instrumental variety, everything worked. So, long story short: expected to hate it, fell in love. 5/5.

Starts off with a kind of cyberpunk-like sound, and I gotta admit, I dig it. Album kept going, and my love only grew. I thought I would dislike the songs with vocals, but they're actually pretty unironically good. Even 'TTHHEE PPAARRTTYY,' which, yeah, was a traditional party girl song. I dug it. Maybe a little grating towards the very end, but still a really solid album.

Smooth, smooth, smooth as silk. I'm not the biggest hip hop fan, but this was cool and fun.

Hey, I've heard most of these before! At least parts of them. They're okay songs, but not something I would write home about. Ultimately, too long. I got tired of this album fifteen minutes before it ended, which is always frustrating.

Love prog rock, love the musicality of this album, can't stand the vocals. It's frustrating, but it started with Rush's other album '2112.' I could never get into it because it just felt too shrill for me. Because of that, I never got into Rush or tried any of their other albums. So I was a little excited when this came up. I thought, maybe, that things would click a little better with this album, but in the end they just didn't. The vocals were still off-putting to me, and made the album unenjoyable to listen to.

Led Zeppelin IV. Maybe the most beloved Zeppellin album, and, after really listening hard to this album this time, I can see why. Personally, I enjoyed the experimenting with styles that went on in Led Zeppelin III more, but this is just the perfect straight rock album (though I love the bluesy song 'When the Levee Breaks'). Also, I'm sorry, did he say 'Ringwraiths' in 'The Battle of Evermore???' First time I listened to the lyrics and it's about the freaking Lord of the Rings?? Hell yeah!

My 2nd PJ Harvey album, and the better one. I think this is just mixed a lot better than 'Rid of Me.' Really reminds me of Patti Smith, but a more accessible Patti Smith. Struggled around the midpoint to stay engaged and fell off. Maybe this just needs a few listens to click.

Hey, you can't just take an album title from the Beatles! Especially if you sound nothing like them! But really though, this was a good album. I'd never heard of this band before, but I quite like their sound. Catchy, peppy, full of energy. And then they made me cry with 'Androgynous.' Wtf, how dare they. Great album.

Yehaw! How is this composed entirely of bangers from start to finish? Not just good country music, but GREAT country music. Marty Robbins, damn it, you did it. You not only made a country album I enjoyed, but you made quite possibly my favorite country album. Cash at the various prisons are fantastic, but man, this one is great. Smooth voice, great lyrics with catchy rhymes, and nice, soft instrumentals. Also, side note, I thought 'Cool Water' was made up for 'The Ballad of Buster Scruggs' movie, but nope! I know it wasn't written by Robbins either, but still.

Apparently a new Gorillaz album came out two days ago? What the hell, where was I? Ah, Gorillaz. When I first listened to you, I didn't get you. I didn't like you. It took me, what, a decade for me to give you another chance? And man, am I glad I did. Gorillaz is one of those bands that I think hit for a lot of people in their teens, but that wasn't the case for me. I was musically stunted during my teens, and only remedied that several years later. The idea really shouldn't have worked. A virtual band? Who in their right mind would listen to that? As it turned out, a lot of people would, and for good reason. The music, just fundamentally, is catchy. Now, this isn't my favorite album by the band, 'Plastic Beach' holding that title, but you can't deny the sheer enjoyability of the music. The beats seem effortlessly catchy, the instrumentals mixed together in a super satisfying way and lyrics that sometimes seem weird, and sometimes seem profound. Depends on the mood and the song, I guess. Speaking of mood, I'm in a terrible one today that doesnt fit this album and it still hits. Impressive. Final thoughts: I guess I should go listen to that new Gorillaz album, maybe?

Cool. No idea what they're saying, but cool. That's it. It's inoffensive. Its okay. It's music.

Sometimes, an album's truly special. Sometimes, the words feel like they REALLY mean something. Like the artist knows something we don't. Like the artist knows they're going to die. And we're privy to their last hurrah. Their last call. The last songs they want to sing. Even though it's covers, this album makes me feel the weight of life and the weight of death. It's sad, like you want to weep, but the album feels kick-ass enough that you know that it's an okay kind of sad. The man uses his voice and his song choice to say more than I think he could've done with original songs. Shit, Johnny, I wish you could've lived forever. I wish we all could. But then it all wouldn't mean as much.

'Solid Air.' Mumbling, that's the first thing that hits me. Then... more mumbling. Okay, what the fuck, is this a joke? Who is this guy and why is this album listed? It's got some smooth instrumentals, but that's it. Second song is better. More enunciation. Louder. I thought things would stay good, or at least tolerable. Then 'I'd Rather Be The Devil' came on and we were back to step one with the mumbling and moaning. I don't want to put in this much effort to listening. There's also not great falsetto. Just a mash-up of things I don't enjoy.

Started to fall asleep in the middle of the first song. Ugh. Repetitive and nothing noteworthy! Rock isn't just good because it's rock. Give me something to write home about, please.

Not sure what to make of this one. A cacophony of different sounds. At times the album seems discordant, but at other times it's fine. The album just doesnt flow very well. I wish it was a little more novel, because I think it could have been a really good album. As it is, I'll have to settle for mediocre.

Stevie. Stevie! You can't keep producing these bangers! It should be illegal to hog this much talent and skill! Literally enjoyed everything Stevie Wonder I've ever listened to, though he does have a ton of albums I haven't gotten to yet, mind you. Anyways, great work.

Wha- what is she saying? I mean, the vocals are unique and kind of nice, but I can't understand the lyrics at all. Ethereal, dreamy, nice, but that's about all there is to be said, unfortunately.

Carole King's 'Tapestry,' the vinyl so nice I own it thrice (two were from my parents' collection, but still). What is there to really say besides this album is a masterpiece? It's a fun and worthy listen everytime it's on. Hard to keep a sour mood when King's singing. She has this effortless and airy quality to her vocals and instrumentals, it feels like I'm flying in the clouds. Tha album just feels kind. Asking you to be kind to yourself and the world. You don't get that feeling from music very often. It's a warm hug.

'Rich' is a great starting song, really showcasing the great vocals that are to come. Strong, angsty, fun, I feel like I have to stress that this album shines in large part because of its vocals. Not enough girl rock on here, and this shows why we need more. The songs just wouldn't pop if it was another punk rock guy singing. 'Maps' was fantastic. Actually, the entire second side was great, which is always shocking. Just a fantastic album.

'Halfway Home' just feels like a really bad song to start with, so I probably deducted more points than usual for that. It was just slow and tiring and uninteresting. The vocals were also a little hard to get behind in general. Besides all that, I do think I like this band and this album. There were just some creative choices that didn't gel with me. But 'DLZ' was on Breaking Bad, and that scene was amazing, and that song goes so hard, so it probably got saved from a lower grade because of that.

I know the joke is that this record is in every vinyl collection out there, but personally, I've never heard this album before! I was pretty excited to get to finally experience it for the first time, and it did not disappoint! Just a great, unique sound from the get-go that made me realize, yes, I have heard this band's songs before. I can imagine the fatigue some people felt with this album based on how many times I've heard 'More Than a Feeling,' but I think this is a standout record if you don't have that fatigue. Great vocals, great guitar, great drums, great everything. Just a classic-feeling album. Oh, and the album art slays even after all these years.

Fun and funky! Not a big hip hop fan but this made me question that assertion. This is some seriously good hip hop. A nice mix of screwing around and having something to say, it didn't take itself too seriously but didn't seem like a joke either. Also, I just got that the line from Hamilton "sometimes it makes me wonder why I even bring the thunder" is an homage to 'The Message.' Brilliant.

I've had a love/hate relationship with the Pixies before this album. Some of their stuff was pleasant, while other stuff just didn't click with me. That being said, I had a pretty good feeling that I was going to enjoy this album right from the get-go. The opening was energetic and lead in nicely to the second song. Maybe not the biggest fan of the vocals in 'Rock Music,' but they got better in subsequent songs. The lyrics are sometimes pretty simplistic, but they always work. Wild. "Is she weird, is she white, is she promised to the night?" I don't know why it works, but keep it up.

Can someone please inform the Grateful Dead that they don't have to be boring when they're playing music? I really feel bad for the audience, this must have been terrible to sit through.

Feels like I'm just listening to more Steely Dan, which isn't necessarily a bad thing or a good thing. I guess I wanted something more than what I got. This was fine and easy enough listening, but nothing was striking about it.

More electronica. More of the same. More boredom. More- wait, what is happening on that album art?

Okay, at first I thought "it's not bad, but the man only included this because there are scantily clad women on the cover." Full stop. But after listening to the album, I enjoyed it! And it had nothing to do with the near-naked women on the cover! Got less cohesive and less good in the second half, unfortunately.

I was okay when this started but lost when it finished. It felt like a marshmallow: good enough but not very substantive, and gone quickly.

VERY sixties, and I love it. Just a comfy album to strap in and listen to. Smooth, catchy, and enjoyable, I don't know what else to say about this album that hasn't already been said. So nice, I played it twice (mono and stereo). Just a rocking, great listen.

I don't hate Randy Newman's voice, but I think it's best consumed in small doses. Just too much Newman for me all at once. Also it just felt like ranting from an ignorant person at points? Some of it was poignant, but some of it was just... performative? I don't know.

This was... really bad. I could leave it at that but I think this album deserves a bit of explanation. The vocals are nothing spectacular, but that's not necessarily a deal breaker. After all, Bob Dylan doesn't have a voice to write home about. And speaking of Bob Dylan, the contents of the lyrics are similar to Dylan's work. There are stories being told, but they're all laid out so explicitly that there's nothing interesting about them. You lose something when you're just retelling a story from beginning to end with no room for inference. Then there's the instrumentals, which at times aren't noticeable, and at other times sound discordant. Ultimately, not as interesting as Ackles probably wanted this album to be. Bored me into not finishing.

A revelation for someone not usually into hip hop. Starts fast and hard and doesn't stop or let up. Just maybe pure perfection in the form of a hip hop album??

Just a fun album. It feels like Lauper had a great time making this, and it makes for a really special kind of listen. I wish I got as much enjoyment out of my job as Lauper seems to get out of hers! Great hit after hit that, since I wasn't around when this album came out, I wasn't oversaturated with by the radio. Allows me to actually enjoy the songs for what they are now.

A side of reggae that I'd never been introduced to before. Not as enjoyable as the traditional thing, but not terrible. Maybe a little slow and boring at times. The vocals were a little soft, too.

Haven't listened to a lot of George Michael in my life, which right now seems criminal. Just a phenomenal showcase of musical talent on this album. I don't know if it's just me, but at times it sounds like Freddy Mercury singing. Not a knock against it; if anything it just goes to show how great Michael's voice is. I don't have anything bad to say about this album, it was a joy from start to finish.

Good, but blurred together as the album went on. Would have liked a little more variety just generally.

Hell yeah, more of The Kinks! Not my favorite album of theirs, but still immensely enjoyable. A joyful forty minute romp through The Kinks' strange, wonderful minds.

Literal raw power with that Bowie tune up.

The best Steely Dan album. I've got a scratched up copy on vinyl that plays super well, and it's gotten a lot of use. Fantastically smooth soft rock. Music I could see myself listening to while sunbathing on the beach. Honestly, I cant believe this is their debut album. It's too good. Amazing.

First and last impressions: whiny. Really, really whiny. The vocals are tough to get through, and though the instrumentals are good, it's not enough to save the droning that goes on.

Hella funky.

More Bowie! A record I don't own, but one that I really, really should. First song is long, but damn is that beat catchy. 'Golden Years' is a triumph. 'Word on a Wing' is an electric, spiritual bop. 'TVC15' is groovy as all hell. 'Stay' is great. And 'Wild is the Wind' may not be Bowie's baby, but he MADE it his. Inject this shit straight into my veins.

A few good songs, a few that felt like duds. Pretty middle of the road.

Banana album good. But really though, it's simple perfection. It seems almost too basic to be good, but that's where it really shines. I know this might sound stupid, but you don't have to work too hard with this album. It feels almost musically accessible to everyone, which is part of the reason it works. Maybe it's not for everyone, but at least it's ACCESSIBLE to everyone. That's in large part due to Lou Reed's poetic lyricism dealing with some mundane, some risqué, topics. I think the album grows as it goes along, with the first half being a lot more manageable than the second. Still fantastic, though.

The beginning of Dylan's absolute songwriting tear. Showcases his ability to spin lyrics like no one else. Maybe his voice isn't the best, but that's part of his appeal. He's rough, jagged around the edges, just like a lot of the things he sings about. An easy five stars.

One famous song that doesn't really hold the album together.

Never heard of this band before, but the album's pretty catchy, which was a definite surprise!

Add another one to the 'Country Boomer Doesn't Understand Why Women Don't Like Him' pile.