The album is just kind of a lot of noise. It sounds like any other garage rock / 2000's White Stripes copy. Unfortunately, this album doesn't bring anything new or interesting to the table. It's weird that anyone would put this on a list of quintessential albums.

I couldn't get through it. I have no idea why this would be included in this list. It was very boring and unsurprising to me.

There's a reason that I usually give albums more than one listen, and Real Life is a great example. I found the first listen irritating and boring, but the second listen has made me love this record. The instrumentation is wonderful on almost all of the tracks, and it sets quite the tone for post-punk. I especially love the Bowie-like vocals on track 5. I can see myself coming back to this album just as much as I come back to Unknown Pleasures. Highlights: 1, 2, 3, 5, 7, and 9 (not including 2007 release with bonus tracks).

It's a Beach Boys album, so you know what it's gonna sound like. Why this album though? There isn't even a stand out track. It feels like a collection of b-sides.

This album was a 4 right up until "Small Hours." I've listened to it probably ten or more times in the last 24 hours. Easily becoming one of my favorite songs of all time. One of the most soothing, cleanest albums I've heard in a long time. Highlights: 1, 2, 5, 6, and 8.

Pretty good, pretty groovy. Really liked "Papa Was A Rollin' Stone" - that was the definite high point.

It's alright. I like what it will influence over the next decade, and track 1, 9, 13, 14 are my favorites.

Pretty good although I don't care too much for guitar noodling like I used to. Track 11 has some interesting ideas I wish was seen more of. Highlights: 1, 7, 10, 11, 12, 17.

I like what this album may have inspired, but overall I'm not really a fan. Track 5 has a really cool lick though. Highlights: Tracks 1, 3, 4, 12.

There seems to be a heavy Kraftwerk influence which I like. The front half of the album is filled with bangers, and the back half is filled with a whole lot of nothing. Highlights: 1, 2, 3, 4, 5, and 6.

I love it. Great album. While I would say that all of these tracks are highlights, the highlights of the highlights are: 2, 3, 6, 7, 8, and 10.

I like what comes after this album, but holy god I cannot stand this album. Highlights: 1.

I will always love a Ritchie Blackmore project. All of the riffs on this album are perfect, the anthems are anthemic, and Deep Purple continues to be one of my favorite rock/hard rock bands of all time. While all the tracks could be considered highlights, the abbreviated list is: 1, 3, 4, 5, and 7.

Yeah it's pretty cool and all to hear proto ska, but I cannot stand Elvis' voice. I enjoy the organ/keys that come in all the time, but there's not a whole lot to enjoy about this album other than it exists. Highlights: 1, and 4.

It's fine. I feel like it's a waste of space on a list of 1001 albums you must hear, but some of the first half has got some Joy Division-esque tracks which is nice. Overall lackluster. Highlights: 1, 2, and 6.

It's fine. There are interesting tracks here, but 70s instrumental albums aren't really my favorite. Highlights: 1, 2, and 3.

Review of the Original Album Version: I could go either way. There wasn't a whole lot that excited me about this album. I enjoy all of the parts of the album, but I doubt I will keep coming back to this album. Highlights: 1, 4, 6, and 9.

I actually like this quite a bit. I had pretty low expectations with a country record, but I was surprised by the songwriting and nostalgic feel of the album. Highlights: 1, 3, 6, 7, 9, 12, and 13.

While this album is more "experimental" than Siamese Dream, the experiments into other genres aren't really interesting. Most of the album feels like leftovers from Siamese Dream. There are several good tracks here, but there are a lot of rough patches. Mellon Collie has good slow songs, but I much prefer Siamese Dream. Highlights: 1, 2, 4, 6, 19, 22, 24, 26, and 28.

A great, classic album. Probably the most quintessential classic rock album of all time. There's nothing else to really say. Highlights: 1, 2, 3, 4, and 5.

There's a reason that I usually give albums more than one listen, and Real Life is a great example. I found the first listen irritating and boring, but the second listen has made me love this record. The instrumentation is wonderful on almost all of the tracks, and it sets quite the tone for post-punk. I especially love the Bowie-like vocals on track 5. I can see myself coming back to this album just as much as I come back to Unknown Pleasures. Highlights: 1, 2, 3, 5, 7, and 9 (not including 2007 release with bonus tracks).

I couldn't get through this one. I can relate it a lot to my feelings on Kanye: I usually like the songs, but there's always just something off about them. Tracks 1 and 2 start the album off strong, but the album becomes pretty boring to me after that. Highlight: 1, and 2.

The album is just kind of a lot of noise. It sounds like any other garage rock / 2000's White Stripes copy. Unfortunately, this album doesn't bring anything new or interesting to the table. It's weird that anyone would put this on a list of quintessential albums.

Definitely the best Nirvana album. The songs are catchy and raw, and the instruments are peak 90's grunge. Kurt's anger and energy throughout the album help solidify it as the best Nirvana album for me. The worst thing about this album is that it's their last (studio album, at least). Highlights: 1, 2, 3, 4, 6, 7, 9, 10, and 12.

For an album this old, the recording quality is very surprising. The horns at times can sound a little squished, but the mix is actually quite nice with nothing mixed too low. I've never been well versed in music before about the 70's, but this album makes me want to change that. The Genius of Ray Charles was much more enjoyable than I expected; however, I much prefer the first half to the second. Highlights: 1, 2, 3, 4, 7, and 12.

I am not really a fan of Crosby, Stills, Nash, and Young, and they (collectively) have like 17 albums on this list. This album is no exception to this rule. I'm not really looking forward to any of the 16 others. Highlights: 8, and 9.

This album was a 4 right up until "Small Hours." I've listened to it probably ten or more times in the last 24 hours. Easily becoming one of my favorite songs of all time. One of the most soothing, cleanest albums I've heard in a long time. Highlights: 1, 2, 5, 6, and 8.

An amazing introduction into progressive rock. I really enjoy the bass in the tracks because of how clear it is. There's nothing really else to say other than that it's one of the greatest albums of all time. Highlights: 1, 3, 4, and 6.

It's alright. I would rather just listen to a Bowie album though. Highlights: 1, and 4.

It was alright. The instrumentation was pretty good paired with Cohen's voice, but I just didn't vibe that hard. Highlights: 1, and 4.

It was pretty good. I loved the coherency of the album and how tracks lead in together. I can definitely see how it shaped the next twenty years of sampling in music. Highlights: 1, 3, 10, 13, and 17.

It was pretty good. A lot more enjoyable than I thought a 10cc album would be. The songwriting was really fun, and I enjoyed the instrumentation. Highlights: 1, 2, 4, 5, and 6.

Well. It's an album from the 60's which means it's likely to peak on the first song. It does. The album is fine, but it's nothing special. Highlight: 1.

A great surprise of an album. If "A Day In The Life" was an entire album, it would be Bookends. The instrumentation, lyrics, and songwriting on this album are phenomenal. All the songs here are highlights and I would highly recommend this album to anyone who hasn't heard it. I love the experimental nature that is incorporated into this album as well. What a pleasant surprise! Highlights: 2, 6, 8, 9, 10, 11, and 12.

This album felt pretty disappointing and not to mention creepy at times. I definitely don't think it's held up to the test of time because it feels incredibly average. There's nothing really notable or memorable. There are some songs that I may come back to, but it's not something I'd recommend to others. Highlights: 1, 2, 4, and 7.

Jethro Tull is the only band allowed to use the flute. Them and King Gizzard. That's it. This album still feels influential over modern music because these progressions are just so timeless. Aqualung really hit things out of the water and there are very few albums like it. All songs are highlights and should be required listening, but an abbreviation of the highlights are: 1, 4, 6, and 7.

I couldn't get through it. I have no idea why this would be included in this list. It was very boring and unsurprising to me.

It was cool, but I don't really care for it. It's not something I'm going to come back to, but it's pretty cool to hear early electronic music. Highlights: 2, and 4.

I like it for it's goth vibes. There are some annoying elements in it, but for the most part I like its repetitiveness. The lyrics are pretty good as well as the voice. Highlights: 1, 3, 4, and 6.

My biggest complaint is that it was a little boring. Sounds good, but I don't think I will come back to anything other than the title track. I'm not sure I'm the biggest fan of this kind of music either. Highlight: 1.

Words don't really explain how much this album sucks. Nobody in their right mind should put this on a list of 1001 albums to listen to before you die. A complete waste of time.

It feels like an important piece, with some definite classics that I didn't know were by Jerry Lee Lewis. I love his passionate voice on the record and the liveliness that the band plays with. I like it more than other live albums during this time. Highlights: 3, 4, and 7.

Pretty good. The recording quality is rough, even for punk. There are quality bangers on it though. A classic, to be sure. Highlights: 1, 2, 6, and 14.

I love how influential this album is. I hear so much Dylan inspiration that would go on to inspire Bowie to create many great albums. I love the ensemble production on these songs with their wide arrangement of instruments, not to mention that they are bangers as well. My only complaint is that the first track has an annoying bit at around the 4 minute mark, but a great album over all. Highlights: 2, 3, 7, and 9.

An album that would most accurately be described as a guilty pleasure. A lot of the songs are pretty bad to unbareable,, However, there are some songs that go hard and I will definitely come back to. Highlights: 1, 3, 4, and 6.

Talk about an underrated love/break up album. Genuinely some of the most beautiful melodies and movements on this short, grand album. Highlights: 1, 2, 4, 6, and 7.

It's a good, classic album. An influencer of heavy and thrash metal. It's not really my thing though. Highlights: 1, 2, 7, and 10.

Never been a big fan of The Who, and Who's Next is definitely not my favorite of theirs. There are some good tracks on this one, but if I'm going to listen to The Who, it's gonna be Tommy or Quadrophenia. Highlights: 1, 5, and 8.

An album that really hits all the notes on boring music from the sixties. An album that drags on for an eternity that has absolutely nothing to say.

Kinda felt like he wrote Nightclubbing and decided to call it an album. All of the songs just sound the same. Highlight: 2, and 6.

It started off strong, but it wasn't that great. It's not that it was bad, but it wasn't really my thing. I hear a lot of Bowie in the singer's voice, but it still didn't interest me. Highlights: 1, and 2.

Despite its length and its reliance on a joke, these are some of the most beautiful love songs I've ever heard. At least on Disc One. I don't care much for the second disc. The third disc didn't bring any new ideas to the table either. The abridged version of this album is to just listen to disc one, you'll get all the best songs anyways (with that in mind, my rating is based on disc one. As a whole, the album is a 1 or 2). Highlights: 1, 2, 3, 4, 6, 8, 10, 11, 12, 13, 21, 22, 26, 33, 34, 40, 41, 47, and 57.

Absolutely not. Paul Simon has nothing to say for an hour. There is absolutely nothing interesting or noteworthy about this album. Skip it. Listening to the rest of the album has ruined "You Can Call Me Al." Absolute garbage.

Why would I listen to DEVO when I can listen to Oingo Boingo? Any track off of Dead Man's Party or Only A Lad is miles ahead of this. The only good DEVO songs are on Freedom Of Choice anyways.

It's not my favorite Prince album, but that doesn't make it any less of a classic. I've always thought MJ was overrated anyways. Highlights: 1, 2, 3, 5, 7, 9, and 11.

There are a lot of compositions that I like on this album, I just don't like ambient music as a whole or on principle. Especially the first side had some great moments on it. The name confuses me, since airports are such a stressful place with hustle and bustle while this album is the complete opposite of that. Highlights: 1, and 2.

It's a Beach Boys album, so you know what it's gonna sound like. Why this album though? There isn't even a stand out track. It feels like a collection of b-sides.

Yeah. It's just another CSNY album. Who cares? There are like 17 of these on this list. Who in God's name cares about any member of CSNY to put them on this list more than once? This isn't even one of the more interesting albums! This list has been giving me quite a few duds lately.

Genuinely one of the worst things I've ever heard. It wouldn't be any less than 40 years for bands like Squid to pick apart the trash from this album and form it into something manageable. Any redeeming quality any song would seem to have would be immediately extinguished with awful noises for the ears. Save yourself the listen on this one and go listen to anything else. It will be a much better use of your time.

The most eclectic mix of genres and styles that I've ever heard. Never would I mix spoken word with disco tunes with jazz(?)-like structures. It's not something I'm ever going to listen to again either despite its interesting composition.

This album is not something that I would come back to. The songs scream the message "I am an artist, therefore I must be damaged" which created a pretty annoying listening experience for me. There were a lot of elements that just didn't fit together. It wasn't the worst thing I've heard so far, but it don't think it's better than a 2.

It's an 80's album. That's it's best descriptor. It's not my favorite 80's bullshit album, but it's fine. Pretty boring and predictable. Highlights: 1, and 5.

A boring album that tries to be artsy. The only reason that this could be considered art rock is because the singer sounds like Bowie. I don't mean to be too hard, but there is nothing of value or substance in this album. I liked two songs when listening to it, but after finishing it I'm questioning if it's even worth it to call them highlights. It's not that the album sounds bad, it's that there's no reason to listen to it at all. Highlights: 1, and 6.

It sounds pretty nice, but I don't care for it too much. The keys are really nice. It's good relaxing background music. Highlights: 2, 3, and 8.

One of my favorite psychedelic albums of all time. The drumming is excellent as usual for Flaming Lips, and the lyrics and themes still feel futuristic to this day. Highlights: 1, 3, 6, 7, and 9.

I really don't care about music theory. Maybe if I did, I would think this is cool, but there are so many points in the album that fall flat. I really didn't enjoy that the first song separated the instruments to left and right making it unbearable. The album was also missing my two of favorite jazz instruments, the drum and the piano. Jazz standards and key changes are not things I find interesting.

It's just one of those 60's albums, y'know? Sometimes you find something, sometimes you don't. As for ratings go, I like the voice of the singer as well as the instrumentation, even if I don't find it fancy. Maybe I would like a different project by Love more. Highlights: 1, 3, 6, and 9.

It's kind of a classic 90's album for me. This is the kind of music that I would listen to with my dad in the car when I was a kid, so it has a certain nostalgia factor to it. Same with The Offspring as well as some RATM. That being said, this one isn't my favorite. There are some quality bangers that go well with the Megadeth quality vocals that this album has to offer. Their version of War Pigs is kind of boring. Highlights: 1, and 2.

One of the better ABBA albums, but it may be because I just like ABBA. I might be biased because I'm gay, but it's just one of those things. I love how the album comes together and her voice is something that I can never turn down. The orchestral touches to this album are also quite nice. Highlights: 1, 2, 4, 5, 6, and 8.

It's okay. I'm not too interested in this album. Some of the elements come together quite nicely, but I really don't care for the skits. Highlights: 1, and 2.

I would give it a 4, but the last few songs lean way too heavily on The Beatles. I'm also guessing this is what chamber pop is, which has never really been that interesting for me. The instrumentation and vocals are nice, but it's overall not very interesting. Highlights: 1, 2, 5, 6, 9, and 10.

Incredibly difficult to get through. There are some musical aspects to this, but it sacrifices those moments for the sake of art. That being said, I don't like the art.

One of my favorite Metallica records. It's not quite my favorite, and I rated it a five probably due to nostalgia reasons, but the riffs on this are too addictive to rate it anything less. Of course, the bass could be a little more present, but that's Hetfield's problem. The lyrics on this are as poignant as ever and the drumming is brutal without sounding like garbage like it does in their later records. I highly recommend this to any metal fan that hasn't listened to it already. Highlights: 1, 2, 3, 4, 6, 8, and 9.

I liked it more than I thought I would. A lot of the songs on the second half sound really similar, but the dustiness of the drums and the guitar made for a great combination for this record. Highlights: 1, 2, 4, 9, and 12.

Very enjoyable. It was extremely catchy and forward thinking. I love David Byrne's voice and songwriting, and Fear of Music was a great step in the direction of Remain in Light. Highlights: 1, 2, 3, 5, and 8.

I was worried going into this album that this was just gonna be another album that has a strong female vocalist with a piano. Within the first minute, my expectations were subverted. Alanis' voice matches the chaos of 90's alternative rock and the angst that comes with it. Highlights: 1, 2, 4, 5, 7, 8, and 10.

Morrissey is one of those people I can't separate from the music. All I can think about when listening to him is how he sounds like a shitty version of The Cure mixed with Joy Division. The Smiths will always be what comes to mind when I hear the words "domestic abuser." Not that he's a domestic abuser, but if there were ever a soundtrack to domestic abuse, it would be The Smiths.

I liked it more than I thought I would like a Billy Joel album. I enjoy his storytelling in songs in this album. Highlights: 1, 4, 5, 6, and 7.

Mostly it was boring. The first two songs, however, left me wanting more. Celebrity Skin and Awful have been stuck in my head since I first heard them a few days ago. Awful feels like the perfect mix of angst from Nirvana and the production value of Smashing Pumpkins. For that, I'm rating the album a three just because I love these two songs so much. Otherwise, I find the songs to be boring and just more nineties songs. Highlights: 1, and 2.

What is there to say about this album that hasn't already been said? It's one of the most inventive pop albums of all time and it has some of my favorite synth riffs and arpeggios of all time. The lyrics and general vibe create such a beautiful everlasting summertime vibe. There isn't a time where I would decline listening to Merriweather Post Pavilion in its entirety. Highlights: 1, 2, 3, 4, 5, 6, and 7.

I like it for it's progressiveness. It's an incredibly forward thinking album and should most definitely be put on a shelf next to Revolver and Sgt. Pepper's, but that being said, the language barrier as well as some of the more avant-garde parts distance me from liking as much as I think I should. Highlights: 1, and 8.

This album is just another boring nineties album to me. I don't care for it, I'm never going to listen to it again, and I never really liked Hard To Handle.

I liked both the instrumental and lyrical songs on this album. Some of the sounds come across as annoying, but overall there are a lot of parts that are incredible. The lyrics can be a bit generic/unspecific in parts, but they at least pair well with the songs. Highlights: 3, 5, 8, 10, and 11.

It's very average, and I don't see myself listening to it again. It's more enjoyable than This Year's Model, but I really don't care for his voice at all. Highlights: 1, and 3.

The first song is really the best on the album. It showcases what every other song has to bring while also having the best lyrics and composition. The rest of the album pales in comparison to this song, so it's hard to rate this above a two because the other nine songs felt so disappointing. Highlights: 2.

I've always like Bob Dylan songs, but I never really go out of my way to listen to them. Despite his niche voice, his songs are very endearing when combined with his acoustic guitar and harmonica, and despite him being so influential on music, these songs still sound fresh which just goes to show how important good songwriting is. That all being said, I think that there are other Bob Dylan records that I will like more than this one. It's pretty good, but I have a feeling there is better Dylan out there. Highlights: 1, 3, 5, 6, 7, 10, 12, and 13.

Hands down the best country album of all time. Marty Robbins' Gunfighter Ballads And Trail Songs is an all time classic and anyone who says differently in unequivocally wrong. Highlights: all, they're all perfect.

Honestly, this is not my favorite Beatles album. I don't even think it's in my top three. It's always confused me as to why people like this one more than the other ones. It's got killer album art, I'll give it that, but I don't find it nearly as catchy, influential, or as captivating as other Beatles records. Highlights: 2, 3, and 6.

The most influential album of all time. It's almost undeniable. Every single metal band can be tracked back to this singular album. The title track is a harrowing descent into occultism, The Wizard is an amazing piece, and the bass throughout the album is incredible. There will never be an album that will change the landscape of music like this one did ever again. Highlights: 1, 2, 3, 4, and 5.

Pretty good. Not my favorite progressive rock album, but 2112 is a damn good song. The story is interesting, the music is incredibly tight, and the ending is phenomenal. Highlights: 1, 2, and 3.

There are aspects of this album I can really get behind, but there are a lot of songs that are just really annoying. Some of them feel really basic. Just not really a fan.

Incredibly influential and groundbreaking. The instrumentation and lyrics are great and catchy. I'm not too versed on the history of pop punk vocals, but I feel like this is a good place to start. Highlights: 2, 3, 4, and 7.

What's the hype about this one? I don't really get it. The instrumentation is incredibly frustrating and the lyricism feels pretty basic. The keys are enough reason to turn off any song of this that comes up. I don't really care for any of the hooks either.

The first song, Cherry-coloured Funk, is leagues ahead of this album. I don't really care for it other than that because the first track is way too good. The instrumentation and vocals are all pristine in the album and adds to the dreamy feel of the album. It's just unfortunate that the rest of the album is disappointing compared to the first song. Highlights: 1.

This is the soundtrack to a middle school breakup, and I mean that in the worst way possible. I don't mean to slam dunk on so many of these albums, but, Christ, there are so many of these that don't deserve to be anywhere near the discussion of this list. I hate the cringey, half-deep lyrics that are half-sung mixed with an instrumentation that sounds like complete dogshit. This album is incredibly pretentious with absolutely no reason to be. I am not a huge fan of grunge or 90's alternative, but I do enjoy a good Nirvana, Smashing Pumpkins, MBV, and even Hole. I get the whole meaning of a toxic relationship cycle that this album goes through, but if I want to listen about the ins and outs of love gone bad, I will listen to Rumours or Souvlaki or something like that.

A strong first album from Fiona Apple. I love her voice as well as the compositions of piano and drums. My biggest complaint is that the back half of the album kinda merges together and bores me a bit. Highlights: 1, 2, 3, 4, and 10.

Don't care for it. I feel like other bands do it better. The music is nice, but I'm probably never listening to this again.

Weirdly, I really like this. Conceptually, I feel like I would hate a rap concept album about a futuristic sex drug, but the variety and prowess of the rhymes feel futuristic even thirty years later. The production is really clean which is pretty anachronistic in terms of what was popular at the time. There are some duds in the middle of the album, but I like the rest of it enough to give this album a 5. Additionally, the comedic tongue-in-cheekness of the album and the idea of sex packets is very funny and adds to the futuristic tone and themes in the album. The skits aren't overbearing and are used pretty sparingly which is great for its replay-ability. I highly recommend this to anyone who likes hip-hop and conceptual albums. Highlights: 1, 2, 3, 5, 8, 9, 11, and 13.

Felt pretty boring to me. I don't really have anything else to say.

Kinda weird that this is the person who made the Toy Story and Monsters, Inc soundtracks, but all around it was alright. I like the satire in the first song, but beyond that it kind of peters out to be an average country album for me. Highlights: 1, and 11.

How can I not love the solo stuff of one my favorite rap groups? Q-Tip continues to show his eloquence for beats and bars on this project with its incredible loops, hooks, and flow from track to track. The Renaissance is incredibly cohesive, and there is a good variety of the more catchy and pop sounding rap to the more artsy side the genre. One thing that has kind of gone to the wayside, but is very present in more classical rap acts, is a booming bass sound that isn't overblown. And that is properly showcased in The Renaissance, along with a gradient of punch to dusty drums, and a multitude of keys to love. The one thing that seems to be holding this album back for me is that most of the songs are love focused, which is just boring to me for any genre. Highlights: 2, 5, 6, 9, and 10.

Talk about an album that has a huge nostalgia factor for me. "Oh Shit" is like the first rap song that I really liked since it was in some Saints Row game that I played when I was young. It felt so taboo because it's incredibly explicit for a kid to be listening to, but I had only really been listening to mainstream pop, classic rock, and heavy metal up until this point. I'm really glad it's on this list, because this album had kind of slipped my mind for too many years. I seriously doubt that other people will hold this as the quintessential rap album of the 90s, but for me it's hard to think of anything that I love more than this one. Maybe Low End Theory, but I feel like I'm leaning Pharcyde. It takes the shit out of a more pretentious side of rap while also being able to provide commentary on political/social issues, and have incredible storytelling. The skits are incredible, and the way the album is structured is incredibly theatrical which just adds to how much I love it even more. The group dynamic is amazing, and I don't think I can put into words the praise that I want to give this album. I also realize this review is just kind of me rambling about this album, and I can feel my friends just saying "who asked", but I hope you can enjoy this album as much as I enjoy it (or more!). Highlights: all of them. They're all amazing.

Looking at some of the stuff around this album, a lot of them refer to this album as intelligent and rocking like punk. This album is neither. I will not be listening to the second disc, and I could've done without listening to the first. This is like listening to The Clash's singer sing over Bruce Springsteen songs. The only song that I even find tolerable is "Train Train".

This one is kind of average. Deep Purple did better on pretty much all of their other albums. This probably only made the list because of Child in Time which is admittedly a banger. Highlights: 1, 3, and 7.

I actually didn't think I would like this when I was going into it. Mostly, I felt like it was going to be like listening to U2, a band I absolutely despise, but I really dig the presence of the instruments combined with the more subtle vocals. While the vocals are subtle, his voice is still very clear in the mix. Overall, it's kinda mid tier for me, but it wasn't grating to listen to. Highlights: 1, 2, and 4.

I cannot ever see myself listening to this album again. If someone puts it on or has a few songs on their playlist, I wouldn't complain, but this album doesn't really bring anything new to the table in terms of eighties music I like. Some of the songs kind of have the vibe of "I just did acid for the first time" which is definitely tired and done by the eighties. Also listener beware: the gated compression drums are on every track, and that only gets more apparent and tiresome over the 64 minute runtime. Conceptually, I think the album is kinda reaching a dystopia kind of feeling/vibe, but I think it falls short with how dated the instrumentation sounds. Funnily enough, I think "Sex Packets" by The Digital Underground has more to say about societal issues and dystopian themes than "Rhythm Nation 1814" does. Another issue I have is that there are a ton of interludes on the record, but none of them are really long enough to say or add anything to the album experience. Highlights: 2, and 14.

Honestly, this is a weaker Ray Charles album. I would probably rate it at a 2, but I want the 1950s to stop being my favorite decade on this website.

Never cared for this album, not in the redneck context nor the anti-war context.

While their earlier work is a lot more poignant and relatable, the first few tracks of American Idiot are pretty good. The thing about this point on in Green Day's discography is that they will write maybe 1-2 good songs and then phone it in for the rest of the album. That's pretty much what happens here. Most of the tracks are very vague about antiestablishment/anarchist views, but American Idiot, Jesus of Suburbia, and Holiday/Boulevard are some great doomer-minded anarchist songs. The rest of the album can really just be thrown directly in the trash. Wake Me Up When September Ends doesn't really feel like it belongs on this album, and I honestly thought it was on Twenty One Guns or Nimrod, but it definitely solidified that Green Day could phone in their earlier punk talents for radio bullshit. Oh my god... there's even fake clapping added to track 6. This band fell so hard. It's like Weezer, but at least Weezer has had redeemable moments in the last decade. Highlights: 1, 2, and 3.

I don't really see anything special about this, and I don't see why it's on this list. It probably is about a 2, but I'm rating it a 1 because it shouldn't be on this list. Aggressively mid.

The front half (or the first side of the album) stands up as some really great psychedelia from the 60s and the second half delves into a more progressive rock format with several songs coming together to make a long "medley" and tell a story. Using a bit of backwards logic, the front half has a bit of a Tame Impala sound, only except some of the mix isn't as perfect as other contemporary artists and artists of the 60s. Personally, I think there's a lot of heart to this album, and I will be coming back to this on a regular basis. Highlights: 1, 2, 5, and 6 (and 7-12 for those who want a combination of Yes and 13th Floor Elevators). Right after I wrote this, I went into the stereo versions. I should have started with them in hindsight, but sometimes mono can be cool for older stuff. I was already going to rate this a five, but I can't wait to listen through it again.

I am not well versed in music theory, or any of that kind of smart music. That being said, there are several jazz albums that I really like, and In A Silent Way is one of them. There's something so lively about the music and perfect about this album that fails to come through on a lot of other jazz "classics" in my opinion. While the mix isn't perfect, it makes the songs feel more lived in if that makes any sense at all. I want to liken it to a hole in the wall that you find walking downtown and enter the most beautiful jazz club with the best jazz you've ever heard. The gut reaction is to live in that moment and take it all in, but since its a live jazz improvisation, you want to get a recording of it, so you put your phone down on the table to maybe capture some of the magic of the moment. Words are difficult. I really enjoyed this jazz album, and I hope you do too. Highlights: 1, and 2.

It was pretty vibey. The artist's voice is pretty nice and soulful, but I don't see myself coming back to this record. Music is pretty good, just not for me. Highlights: 1, 2, and 4.

There is a lot of horny sounds going into my ears, and it's very uncomfortable. I've never been a fan of noise rock, and I don't think this album will change my mind on it. Also, why are all the albums on this list over fifty minutes? Nobody wants an unnecessary double lp.

The gimmick of this album is kind of lost on me as we live in a time that the 808 is seen all the time in popular music. While I understand that this is a very influential-type album for the 808, this is kind of boring contextually.

It's a pretty good sadboy album like something from Elliott Smith. I don't particularly like it over a lot of other albums, but I think it is at least worthy of being on this list. I also enjoy the addition of the secret track, even though with streaming services the idea of a secret track is dead. I may come back to this one because the vocalist has a nice voice and a pretty good range as well. The instrumentation is pretty complex and compliments the vocals well. Highlights: 1, and 4.

The punk undertones are heavy, but it is eclipsed by the mediocre sad/whiny 90s tone. Absolutely nothing of interest lyrically, and the 2 is only coming from the instrumentation being above average. That Mrs. Robinson cover is a nail in the coffin for this album. Christ almighty.

It's a pretty decent 60's psychedelic-ish album. That being said, that is my jam so I will rate it a 4. If you like Ogden's Nut Gone Flake, 13th Floor Elevators, Forever Changes, you should go ahead and give this one a try too. Highlights: 1, 2, 3, and 6.

My friend described this as backing music to low-rez skateboarding compilations, and I have to agree. Where I disagree, is where that is a bad thing. This kind of kicks ass. There are some lulls in the tracklist, but overall the sampling and overall beat centric, heavy metal/grunge electronic music is a great vibe and very enjoyable to me. This could be a single album is the biggest drawback. Hightlights: 2, 4, 5, 8, and 9.

Kind of an average album. Talking Heads haven't really hit their stride yet. Highlights: 1, 2, 5, 8, and 10.

Overdrive wasn't cool then, and it sure as hell isn't cool now.

I am not listening to a spoken-word album in "Fr*nch" about a 15 year old girl by a full grown ass man.

Honestly pretty boring. Nothing to really complain about, but the rhymes aren't really impactful or lasting on me. Highlights: 1, and 4.

The thing I love about Buzzcocks is that they actually kind of gave a shit about what they were making punk songs about. Their sarcastic tone comes across loud and clear, and their songs are much more musically complex than their contemporaries while being just as fast and aggressive. Going into this album, it was already one of my all time favorite punk albums, so it's a five in my book. I also love that the tracks lead into each other, which is a really weird thing for a punk band to do as that was more of a high production/progressive rock kind of thing to do. Buzzcocks were way ahead of the curve. Orgasm Addict has always been kind of an underrated classic. Highlights: 1, 2, 3, 4, 7, 8, 9, 11, 12, 13, 14, and 15.

I wrote this whole thing about how this is just another below average grunge band from the 90s. Honestly, I don't have the energy. This is fine. It's better than Pearl Jam, but that is an incredibly low bar. Some of the songs are fine, but I really just don't care for it. Highlight: 6.

I feel like Public Enemy aged a lot harder than other classics. There hooks weren't hooking, and the bars weren't hitting either. It acts like it has a lot to say, but that impact is really lost on me. The only redeeming song on this album is the one with Anthrax. Should have done a whole album like this.

Another classic punk album. To me, this lacks some of the rage and punk attitude of other punk albums of the time. I think this is more ska and mainstream, but its still one of my favorite albums of the 70s. The instruments and lyrics are incredibly catchy, and I could listen to "Lost in the Supermarket" on repeat all day. Highlights: 1, 2, 4, 6, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, and 19.

Kind of an average 60s album. There are some songs that I like on it but over all feels kind of mid. Highlights: 2, 7, and 10.

Yeah, babe, this music is really great. You're gonna love it. What do you mean that a whiny little bitch is singing all of these songs? You just don't understand good music, babe.

Most songs are pretty lacking of substance. Another album that is just plain and doesn't belong on this list. Highlights: 1, and 2.

An incredible combination of great songwriting with new wave/psychedelic sounds ingrained in the 80s. The lyrics are incredibly poignant and feel very fresh even almost 40 years later. Dear God is 80s equivalent of Pure Comedy from Father John Misty. Highlights: 1, 2, 3, 4, 5, 6, 8, 11, 12, 14, and 15.

Lou Reed just had a way of writing a great song. I don't want to get too pretentious about it, but I really like Lou Reed and the Velvet Underground. Highlights: 1, 3, 4, 5, 6, 7, and 11.

This is really early black metal, but to a point it sounds a little bit corny. I'm not sure if that was the intent, or that they're the inspiration for that sound. Guitars can be pretty dark and the drums get plenty heavy for an enjoyable black metal experience, but it's also not my favorite/most versed in genre. Highlights: 3, 7, and 10.

So much character. Incredible country music recorded pretty well all things considered. Johnny Cash Highlights: 1, 2, 4, 5, 6, 8, 9, 11, 12, 14, 15, and 16.

Was he drunk? I mean his voice just does not sound good or appealing at all. Also the mix is all kinds of jacked. The piano is incredibly loud and quiet, and a lot of the instruments have quick changes in their loudness which is really distracting. I think it gets better a bit into the album, but those early tracks do not make this approachable. Some of these songs are alright, but I don't see myself listening to it again.

I think I am not the target demographic of this. I wouldn't really care if someone had a song or two on their playlist on a long car ride, but I'm just not really a fan.

Willie Nelson isn't my favorite country singer, and I got through half of this album without noticing that it was my second listen. It's fine, but not my cup of tea.

There are a lot of interesting, very thematic with post-punk musical ideas here that blend right into the vibe of the music. That being said, I think other bands like Magazine and New Order did it better. I don't find this particularly exciting or new, especially when Magazine's Self-Titled came out the year before. These are just kind of punk songs that lack the grip, bite, and catchiness of predecessors & contemporaries such as The Clash, Sex Pistols, Dead Kennedys, and Ramones.

Feels like very casual music to me, and I like that about it. Sinatra's voice is really smooth, and the instrumentation is pretty lush. Highlights: 1, 3, and 7.

This is kind of a weird album. I've never heard an album from Madonna in its entirety, but there are a lot of songs that just seem off. This album seems to come from an odd time in Madonna's career, and there are other albums from this time period that I would rather listen to. Highlight: 5.

There are a lot of great moments on this record. The instrumentation is really great and the singing is incredibly smooth. I really enjoy the horns as well. Highlights: 1, 2, 3, and 5.

There are a lot of elements that I like about this album, but I think other bands have perfected that sound in my opinion. I like the sound, but its a bit stale to me. Highlights: 1, 3, 12, and 13.

Neil Young, you are the force that has ruined country music. I cannot stand this. I do not care. I will not listen to these again.

Weirdly, I kinda like this one. I am hearing a kind of Yes-like vocal and it just feels kind of right. I feel like I will come back to it as much as I have Magazine's Self-Titled. Highlights: 1, 3, 4, 5, 6, 8, and 9.

Not my favorite Kraftwerk album, but if you like their other albums, maybe you'll like this one too. Highlights: 1, and 2.

To put this bluntly, this is some white people music. This music is also kind of a different time, and I was a fan when I was younger, but I have definitely gone to other places with my music taste. It's fine though. Nothing too egregious to make a completely negative review. Highlight: 10.

Fine country music. I just don't find anything special about it.

I really don't care for this. I don't have anything else to say for this.

I like the female vocals on some of the songs like "F***ing in Rhythm & Sorrow", but I'm not a fan with the album as a whole.

Pretty good. The vocals are really nice. Not sure that I'll come back to this one over other Earth, Wind & Fire albums, but this is still pretty good. Highlights: 1, and 2.

This is a pretty good '60s album. I'm not sure if it's entirely my thing though because I probably won't listen to anything on it again other than the one that comes on the radio every once in a while. The singing is the highlight, with Janis Joplin giving an incredible performance on vocals. Highlights: 3, 4, and 7.

Not my favorite punk album. Highlight: 4.

I don't like U2. I don't know why I even listened to the whole thing.

This album has a couple of my favorite of all time Zeppelin songs, but I believe they become a more focused, better band on later albums than this one. Still a very good and deserving spot to be on the list. Highlights: 1, 2, 4, 6, 7, 8, 9.

Don't really have much to note other than that there have been a lot of ska/punk albums on this list. More than one would expect. Definitely not my favorite genre, but I can get behind some of it.

Although being one of the more pretentious progressive rock albums of the seventies, I believe this one still holds up as one of the best with a fresh take on the genre that was greatly picking up speed. Tarkus can stand up there with most of the Pink Floyd and King Crimson's discography as well as being one of the longer pieces in that catalogue. While other ELP projects were more successful, Tarkus remains my favorite. Simplistic in nature, complex in execution (which is where I think a lot of modern progressive bands, The Mars Volta, Airbag, Porcupine Tree, and Tool go wrong). Highlights: 1, 3, and 4.

Pixies were actually one of the first bands I ever saw perform live. First it was The Wombats who were opening, and then Pixies then Weezer. I didn't know Pixies at the time, but their live performance sucked so bad that it has tainted my perception of this band. I barely even like "Where Is My Mind?" and usually, I listen to covers of it instead. The Pixies just ruined any chance they had of me liking them that night.

A couple of notes before I get into the review of this album, Bob Dylan has had an amazing career both in terms of creativity and influence due to the vast amount of artists that he has inspired and inspired to cover him. Additionally, I prefer the other take of "From a Buick 6". This album is pretty heavy on the harmonica which is nothing that we shouldn't expect to see from Bob Dylan at this point in his discography; however, the mix is a little heavy handed which I didn't notice on my vinyl copy, so it could just be the Spotify version of it. This album is also really heavy on story-telling and bluesy tones. You can really hear the box riff (I'm sure it has a proper name, but if you know what the box riff is, you know what I'm talking about), but that isn't to say that it gets too repetitive. My favorite aspects of this album come from those bluesy sounds and the stories told, specifically the stories in tracks 1, 5, 6, and 9. Bob Dylan has an incredible way of bringing a story to a song and these tracks really highlight them. It saddens me a bit that Dylan sold his discography to a big label for them to do whatever they want with it (and that may not be exactly correct), but it excites me that it could allow new artists to cover his songs and breathe some new life into them. Highlights: 1, 2, 4, 5, 6, 7, and 9.

It's alright. The spoken word pairs well with the instrumentation, but I didn't enjoy it very much. The album kind of passed by without too many standout moments. Highlight: 1.

It's a live album, so you know what to expect. This didn't seem like a very daring one either, but it's not bad. The Death Grips reference is nice, and there is a standout performance on Ballad of a Thin Man, but otherwise it feels pretty unnotable for a live album. Highlights: 12, and 14.

There are some good grooves on this album, but as a whole it's pretty mid. It definitely doesn't feel important enough to be on this list, especially for such a recent album. There are a lot of indie artists (and mainstream artists) that seem to have been snubbed from the list that could take a spot like this. Highlights: 1, and 9.

There's so much to say. In terms of how this music has aged, it's so a 1. It's such an album from the turn of the millenia, and it just has that sound, but similar to my review of Devil Without a Cause, there's personality here. Something just draws me to this. I was going to rate it a 2 because of this and the fact that I like the song with Ice Cube, but I have to bump it to a 3. "All in the Family" with Fred Durst is very funny. There should be more of these kinds of diss tracks where the featured artist shits on the artist and the artist shits on the feature. That's absolutely wonderful. It has a lot of homophobic language, but as a gay man, I still think it's pretty funny. It feels very 2000s xbox live public chat lobbies and all around childish which made me snicker throughout it. The lead singer, Jon Davis, was also bullied a lot in his younger years because people thought he was gay (which I couldn't find to be actually true, he was married twice to women, and has children. Some names include "Pirate" and "Zeppelin" which is cool and funny in its own right. I apologize for this slight tangent). Korn is not my least favorite nu metal band either, I think they relied on hip-hop influences a little harder, and that personality improves it a lot. Korn knows what they are, and they play it well. The sound is dated, and it definitely doesn't feel like something that is going to make a resurgence. Highlights: 5, 8, and 11.

This one was a bit of a weird one. It was a punk rock style throughout, but right at the end they dropped a psych-rock/prog-rock track as well. It was fine overall, probably won't come back to it though. Highlights: 1, 2, and 4.

I went into this album thinking it was gonna be pretty cheesy, but it ended up being very enjoyable all around. I really liked the ballads they told through their songs. While I only have a few highlights, that doesn't mean I didn't like it as a whole. Highlights: 1, 6, and 8.

Another aggressively mid album. Doesn't really belong on this list because there is absolutely nothing special about it. There were people doing this in the 60s more creatively than this.

This album has a definitive vibe, and if that vibe is for you, then you should listen to it. It is both grandiose, and calming, and Cohen's voice fills out the space; however, I preferred "You Want It Darker" to this one. It's pretty good, I like a lot of elements from it, but I don't think I will return to it at all.

The issue with this one is the fact that Madonna made a really good single and then tacked a whole album behind it. Some of the songs are alright, I guess, but it's this kind of industry behavior that has saturated the market with mediocrity. This isn't Madonna's fault herself, especially since I'm sure there was industry pressure and influence. Some of the songs feel very strangely put together and some feel pretty coherent. This album is quite the mixed bag. Additionally, I couldn't find anything about this online with some brief googling, but "Express Yourself"'s chorus has the same chorus as "Born This Way" by Lady Gaga. It made me tweak out a bit when I was trying to figure out why it sounded so familiar (and I know that this is a backwards way of thinking about it, since clearly Gaga copied Madonna in this way, but I wanted to mention it in my review). Highlight: 1.

I have avoided Björk's music for a long time now because I feared that the "strangeness" that people talk about her music was much like Yoko Ono's strangeness; however, I am more than delighted that it isn't. This album is a love letter to electronic music while incorporating an undoubtedly unique sound that lands somewhere between alternative art pop and indie dance music. I can confidently say that I look forward to hearing where she takes this style and sounds in her subsequent albums (especially since I think some of these songs fall short of being perfection), but I thoroughly enjoyed this album. I lean between a 4 and a 5 for this album, but I think I will give it a five since it is years beyond a lot of this list and the mediocrity that spans it. Highlights: 1, 2, 3, 5, 6, 8, 9, 10, and 11.

This is a weird one for me. Beyonce's music is undeniably popular for nothing short of her amazing voice, powerful lyrics, and her magnetic personality, but this album doesn't speak to me. It's good and all, but I feel like I will never be coming back to this. It should be of note that I really don't like songs about love or sex. They really have to do something creative for me to like it, but this doesn't really do that. Partition almost does that, but falls flat. I think this album suffers from the Kanye-effect, where an artist kind of stagnates and puts out a bunch of mid songs with production that just seems a bit off, but people still go wild for them (see MBDTF for more). So I have a lot of conflicting opinions about this album. I get its popularity, but I just really do not vibe with it. Something is off about it. Also the extreme sexual detail makes me deeply uncomfortable (this applies to other artists as well, but there's something here that puts me off more so). This album has spectacular vocal performances, and mostly-great production, but it's just not for me. Highlights: 2, and 14.

The album definitely drags on in the middle. A lot of it is fine, but a lot of it feels bombastic just for the sake of being bombastic. It's just lacking something, but I am not sure what. Highlight: 1.

I was really looking forward to this one. I had heard that it was the "first" concept album, and the concept seemed pretty good and moody. However, it really just drags on. The songs just kinda drag on, and the idea runs thin early into the album. Frank Sinatra has an amazing voice, I can't discredit that, but it's just not that interesting of an album. Highlights: 1, and 2.

If every indie album was this good, the world would be a very different place. That said, I think I prefer some of their later works to this one just because I think they got a bit more unique with age (specifically with "Your Cover's Blown", that song is a masterpiece). The lyrics are very warming and intimate which is a hallmark of a great indie album. The instrumentation is also very dense and varied which is something a lot of other contemporary indie songs (and popular songs at the time) lacked. If In The Aeroplane Over The Sea is a little too /mu/ for you, this is a perfect alternative. Highlights: 1, 2, 3, 4, 5, 7, and 9.

I feel like I had this idea years ago where you could mix punk and new wave styles with a psychedelic flow, but I never found something that hit its mark quite like this. Magazine by Magazine was pretty good, but it was more gothic than what I had in mind. This is a perfect blend of new wave and psychedelia. The lyrics are on point for a new wave album, but they are heavily based in psychedelic music in their tone. The cadence is very new wave, but the subjects range in a more psychedelic style than most new wave projects which I think is pretty daring. The instrumentation has a lot of contemporary aesthetics in the drums and guitars. The addition of the keys to be that 60s style is a choice that I really love since I can't get enough of that sound. Definitely a stranger album, but I think I will only like it more and more with age. Highlights: 1, 2, 3, 4, 6, 7, 8, 9, and 10.

Ice T has an incredible lyrical prowess, but I don't connect with this album. A lot of my enjoyment comes from the jazz and old school instrumentals, but they don't fulfill the lack of enjoyment that I get from the album as a whole. There a lot of choices that fall flat for me on this album, and there is a lot of uncomfortable sexual tension that I feel coming from the persona that puts me off. Speaking about instrumentals, I think that the Black Sabbath one goes incredibly hard. One of my favorite musicians, Backxwash sampled the same song and did it in a very different way, but I really liked that. Other than this specific thing though, this album doesn't really do it for me, but I do understand why it makes the list. There also seems to be a lot of bloat. This album is LONG. Like really long. And it has a lot of songs. If this album had concentrated on some of its central themes more clearly, I think it would raise its score from me. Body Count's song is pretty good. I like this fusion a lot even though I think many people do not enjoy the fusion between rock/metal into hip-hop. Highlights: 14, 18, 19, and 33.

Seems like a pretty generic pop album from the nineties to me. It's not bad, but I don't see anything special about it.

A pretty classicly 'strange' 90s album. Beck has always been great at pushing the boundaries of contemporary music, and Odelay is nothing if not a great example of this. While some of the music does not speak to me, a lot of the album is wonderfully creative and showcases Beck's ability to create popular music without succumbing to the norms of the scene. Not only does this album push a lot of boundaries, it is incredibly varied. The songs range from eclectic, short bangers to longer, cozier suites. Although I am not rating this a five, I believe this is an excellent album for this list, and deserves more praise than it probably is getting. Highlights: 1, 3, 4, 6, 8, and 10.

This probably had its time, but by now the album is very thin. The first song had me bumping, but the vibe quickly dissipated. Highlight: 1.

One of very few albums that I can call lush without also calling it dense. The instrumentals feel very full and complete, but there aren't an excessive amount of layers. I think the front half is more captivating than the back due to its construction and its more serene ambiance and inclusion of nature sounds. This is one of the more niche albums on this list, but I thoroughly enjoy its inclusion. I am not sure that it is a must listen for everyone, but for anyone that likes instrumental songs or ambient music in general, I think this is a must listen. I am also not usually partial to the flute, but I really do like it in this. I wrote some of this review while listening, but now that I am nearing its end, I think I will give it a five. The back half, while less good, is still pretty great. Highlights: 1, 2, 3, and 5.

An amazing punk album. Even though they're drummer was probably their most competent musician, they made incredible music and Johnny Rotten's lyrics remain poignant and hard-hitting. I've seen a lot of things talking about how he's become a shill for the government lately and it seems like a lot of people talk about, but I haven't seen any of the receipts for it. The bass is lacking a bit, but its understandable as they didn't really have a bass player since Steve Jones had to record most of the bass parts. The guitar riffs are punchy, and the drums are really tight. An instant classic since its release and a must hear album for anyone. Highlights: 1, 2, 3, 5, 6, 8, 9, and 10.

Lennon was pretty good at writing piano ballads, even though I think the philosophy of the song "Imagine" eluded the man himself. The man had a knack for writing songs, and his sons aren't half bad at it either. I don't find these songs particularly captivating, especially when considering the Beatles discography. I don't understand why he put that effect on his voice for several of the songs because he had pretty good singing chops, but the effect just kind of butchers it. Highlights: 1, 3, and 8.

I got "Bummed" a couple of days ago and really liked it, so I went into this one thinking it would be on the same level of enjoyment; however, I was disappointed. The album cover is really cool, and I think fits the genre and style they were going for. The album feels like a mellowed down version of "Bummed," a more radio friendly version that takes a lot less risks. This album is still enjoyable, but I think this one is just not as good as "Bummed." The lyrics are a little more bland on this album, and the songs are more upbeat which, in my opinion, isn't an improvement over "Bummed"'s sound. I do have some praises over "Bummed" though. The flow of the album is much better. It is a much more coherent album, and it does this by taking less risks. The psychedelic tone still comes through on many tracks and (in most cases) done much better than on "Bummed." Highlights: 1, 2, 3, 5, 7, 8, 9, and 10.

The weaker Pet Shop Boys album. Actually feels like they're being held back by something that I can't seem to put my thing on, but the noises and sounds that give it that signature '80s feel don't hold up to the test of time. That being said, the best songs from this album are amazing. Highlights: 2, 4, and 7.

A pretty enjoyable electronic, samply, disco, trip-hop album, but I think some ideas run thin over the runtimes in their respective songs. Other than the highlights, I don't see myself coming back to this album as it feels pretty average. Although, I really do like Royksopp's Night Out. Highlights: 1, 4, 5, 7, and 8.

One of my and my mother's greatest regrets are not seeing Tom Petty and the Heartbreakers before Tom Petty died. Most of these songs are pretty alright with a few highlights. It's not my favorite album from them, but it is some of my favorite 70s rock tunes of all time. Highlights: 2, 3, and 10.

It's a mixed bag of an album. I find a lot of it unlistenable and unenjoyable, but that variety is a good thing in terms of showing the breadth of Todd Rungen's musical talents. I still don't like it very much though.

I appreciate it as a vibey album with a pretty wide soundscape, but it's a combination of sounds that fails to keep my interest for its runtime. I accept its place on this list and the things the album offers though I don't see myself coming back to it. Highlights: 1, 3, and 7.

It was good, Aretha was an amazing vocalist, but I don't listen to her music very much because I don't like it that much. I enjoy the singles a lot, but other than that I don't listen to her albums all too much. For me, there's a lot of bloat, and despite that bloat displaying incredible technical talent and ability, I'm just not that intrigued. Highlights: 1, 4, and 9.

One of the few albums on this list that made me add it to my discogs wantlist. I positively love every song on this album. Public Enemy created one of the greatest hip-hop albums of all time, possibly in my own possible top five. The first thing I want to talk about is how incredible the samples and production are. Despite having a lot of repetition and is more in-line with the mainstream at the time, I can't get enough of it. I usually prefer a more jazz style from this era (Low End Theory and Bizarre Ride II), but this tended to lean more metal in it's influences and I found that absolutely fantastic. The production, from a purely audiophile view, is kinda rough. In my opinion, this is the perfect duo. The metal, the rough production, but classicly produced hip-hop beats makes this album bombastic in all the right ways. I don't know much about the group itself, but I think that will change soon enough because I think this album is incredible. The rhymes, bars, and wordplay on this album is top-tier, combines activism, anti-authority, and insight to the group in way that is rarely seen in popular music. I don't know what else to say other than that you SHOULD LISTEN TO THIS ALBUM. I think the biggest detractors are the "rough-around-the-edges" production and the metal snippets, but it would be a shame to go one's entire life without giving this one a chance. Highlights: All. But my favorites were "Welcome To The Terrordome", "911 Is A Joke", "Anti-****** Machine", "War At 33 1/3", and "Fight The Power."

I think it's an on-par 80s pop album. The hits do hit, but other than that it leaves something to be desired. I do really like the hits, so I think that bumps it up to a three, but overall it's not something I'm probably going to be listening to a lot. Highlights: 2, and 4.

I'm not an old head. It's not for me. I always have preferred the jazz style rap from this time. Sure, it's technically proficient, but I still really don't care. Highlight: 2.

As much as I like the first song, the rest of the album doesn't really live up to it. I think it's got a great groove and style which was probably very influential. Highlight: 1.

I am not totally sure how I feel about this album. It's got pretty good highs, especially on the covers of "Hurt" and "Personal Jesus" and it has "The Man Comes Around", but other than that it just feels like generic sad cowboy. I debate between a 2 and a 3 since the best songs are really good, but as an album it doesn't really hold well. Highlights: 1, 2, and 7.

Most certainly not my favorite Radiohead album, but it is certainly creative and pushes boundaries. I think the electronic incorporation is cool, but it is better done on In Rainbows. Not to say that it isn't good, it's just not the best and not nearly my favorite. Highlights: 1, 12, and 14.

This album was one of my undisputed favorites in high school, and it continues to be captivating. The lyrics come through crystal clear, and the guitar has some of the best riffs of all time. Despite the guitarist being a bit of dick, I thoroughly enjoy his work from the sixties. Of course the drums and bass are fantastic as well, but it's clear who they thought the stars of the show were in the mix. "Strange Brew," "Sunshine of Your Love," and "Tales of Brave Ulysses" are some of my favorite songs of all time, so I feel obliged to give this one a five. Bruce's voice is incredibly elegant, especially for other contemporary psychedelic rock (love Syd, and his voice, but Bruce definitely takes the cake). It's unfortunate that they only had a few albums, but they were all really solid. Highlights: 1, 2, 3, 4, 6, 7, 10, and 11.

It was alright. It was pretty folksy and all, but it wasn't anything special in my opinion. Highlights: 1, 2, and 4.

It's a pretty nice electronic album, but this is also not one of my favorites. I don't think I will listen to it again or anything, but I didn't hate it. Highlight: 10.

Dear God, no. I haven't really listened to a Pearl Jam song since I was in high school. Re-listening to this album really shows why. I hate his "singing" voice, the wild changes in tempo and pitch, it's just a combination paired in hell. The lyrics that he sings are just as boring/saying nothing, but the delivery makes it seem like there should be something there. This isn't even their worst album, but it's still a slog to get through.

I hear "Bang A Gong" on the radio. And I always confuse it for "Spirit in the Sky" and I'm always disappointed that it's T. Rex. I just don't care for this at all. It feels really bland. Everything about T. Rex feels bland, stale, and past expiration. I'm going to lose it if there's another one on this list.

The thing that I don't like about a lot of LCD Soundsystem is that they often use the trope of repeating chords quickly to make dance music, and I really dislike this approach. There are a lot of ways to create compelling dance music, and this is one of the lazier approaches. On the other hand, they employ a lot of compelling aspects in pretty much every other facet. I think that the last song, "New York I Love You, But You're Bringing Me Down" is an all-time high for the band. All this being said, I get why this is an essential album, and LCD's influence can be seen throughout contemporary music. Highlights: 1, 4, 5, and 9.

Honestly, this is a pretty weak Aerosmith release. They definitely had more creativity on things like their self-titled and even later releases like Just Push Play or Get A Grip. This one is pretty average for them. Even Aerosmith being probably my favorite "Hard Rock" band (this excludes Led Zeppelin, Deep Purple, and BOC because I always think of them as "Rock and Roll." I don't know the actual difference, I just know feel this way in my brain). Anyways, this definitely feels like a weak release. I just think a lot of others appeal to me more. If you like Aerosmith, then you should give this one a shot, but I'm not all too jazzed about it. Highlight: 1.

This is very much past The Beach Boys prime. People talk about how The Beatles were overrated and they're tired of the sound, but that's actually how I feel about The Beach Boys. They were really innovative for their day, but I just do not care about 99% songs. This one has some cool lyrics and storytelling in it, but overall I just find it really bland.

A lot of the notes, specifically the bio about Rod Stewart on Spotify, says that he competes or rivals The Rolling Stones. Whoever wrote that is off their rocker. That take is absolutely nuts. He has nice vocals, but the Stones had much, much better songs than even the best song on this album. The album is fine, it doesn't feel particularly special. "Maggie May" is the obvious highlight of this album, but that really isn't saying much at all. Feels like a worse Joe Walsh, and that's an incredibly low bar. The instrumentation on this album is well done, but it's nothing exciting. In conclusion, this is just another boring 70s album on this list.

I'm only 30 seconds into this album, and I can already tell its banger. It's the best kind of country music. Her voice is absolutely incredible, the way it slides over notes is gracious, while also being consistently dynamic. The instrumentation is upbeat, and rather immense for a country album. Just looking at the credits on Wikipedia, over 20 people worked on the album which seems odd for a country album. The effort was well worth it because the result is consistently amazing and heartfelt. My only complaint is that this is more of a sad cowboy album where I much prefer to yeehaw. Highlights: 1, 2, 3, and 4.

I really dislike the mainstream pop production. It irks me a lot. This early 2010s sound is something I yearn to escape from. Every once in a while, somebody will bring it back and I don't like it. I really hate the drum machine in this as well. This is all to say that I knew a lot of the words to this album before listening to it in its entirety, so that must count for something. Something that has continuously been proven by Taylor and her blockbuster career is that she does have a great voice. I just have never really cared for her music, especially her mainstream corporate work from early in her career. Highlight: 3.

This is just a lamer Piper at The Gates of Dawn. It might be sacrilege to compare the two, but this is just really lame compared to that album. The mix is pretty bad, and it's all around not for me. A lot of this is just annoying. Very disappointing.

Like a friend in my group said, I was not expecting this to be half instrumental. They were nice ambience, but I don't really care for it. This is a pretty good Bowie album, but it's really not my favorite and I think it's fine. Highlights: 1, and 3.

This one was pretty good. Although the style is not quite my cup of tea, the music was pretty good. There is something very grandiose about this album, but it doesn't sully that feeling with anything cheesy or overdone. Highlights: 1, 2, 3, 4, 5, 8, and 10.

This was actually pretty good. It was corny, being an entire concept album about love and incorporating religion, but it wasn't bad. I was scared since most of the double albums on this list go on for far too long, but this album actually was pretty varied and indulged in many different 80s sounds. This all being said, I probably won't listen to the album as a whole again (especially because some songs are dreadfully repetitive), but there were several songs that I'll hear every once in a while on my liked songs on Spotify. It was really weird to hear a fully 80s pop song be 13 minutes long, but I enjoyed it. This album brings a lot to the table, and does it pretty well. The thing that really irks me is "The Power of Love" which is a 5 minute song with no? verses and feels like only a repeating chorus which felt like it dragged on forever. Highlights: 2, 3, 5, 13.

This is going to very pretentious. In my eyes (probably due to my father and mother's influence), Def Leppard has always been the poser's arena rock band. This ruins any enjoyment I may get out of their albums.

Of the four Led Zeppelins, I think this one may be the weakest. To me, there are a lot of songs that are pretty good, but are not the pinnacle of what Led Zeppelin had going on. Obviously, the radio classics are certified classics and amazing songs, but I think this may be the weakest of the anthology. Highlights: 1, 5, 6, and 7.

Going into this album, I already knew it was a five. This album is one of my favorite albums of all time, with Pink Floyd being either my #1 or #2 band. Everyone on this album showcases a mastery of their instruments and vocal talents, and great introspective lyrics. The only thing holding this album back is the lyrics are kind of melodramatic and childish, but contextually they are great. Coming from the psychedelic music of the sixties, they always had lyrics that were a bit childish. Here, they are choosing their words much more carefully as a tribute to Syd Barrett. This is an extraordinary album with classic production that will remain a classic for the foreseeable future. Highlights: 1, 2, 3, 4, and 5.

This is an audiobook, and not a particularly good one. I was expecting more from Tom Waits, since everyone talks so highly of him, but I could not stand this one.

Honestly, a pretty middling album. This is probably only included because it's a Beatles album, and while I think the Beatles were really important, it doesn't make their earlier work any more enjoyable.

You can call me nuts, but I much prefer Muswell Hillbillies to this album. Another just kind of mid album on this list. Highlight: 9.

To me, this album is definitely worse than their first album. Unknown Pleasures was groundbreaking and paved the way for the goth 80s sound, but this seems to just rely on some of the tropes of that album and ends up sounding like a bunch of b-sides from Unknown Pleasures. Highlight: 2, and 9.

I didn't go into this one thinking I would like it that much, but I actually really like the front half-ish from this album. Would recommend if you like metal. Highlights: 2, 3, 4, 6, 9, and 10.

To me, it sounded nice, but it wasn't anything special. I would never turn it off, but I would also never put it on to begin with.

While this isn't my favorite Abba album, this one has some certified bangers. Knowing Me, Knowing You, Money, Money, Money, Dancing Queen, Fernando are all amazing songs. The instrumentation is tight as usual, and the vocals are strong (as usual). Highlights: 2, 4, 5, 6, 11, and 12.

This is my favorite album from this list in a long while. I will have to keep coming back to this album. Amy Winehouse bridges the gap from vocal jazz to neo-soul and trip-hop in such elegant ways throughout the album. Additionally, she has really beautiful lyrics. Highlights: All. Listen to this one front to back.

To me, this album was fine. Nothing egregious, but also nothing really memorable about it either. I don't think it belongs on this list as something truly groundbreaking because I think other albums that were made around or before this time had more influence on the folk rock sound.

I mean, it's an Elvis album. I didn't find this one especially special, and it's certainly something that I wouldn't listen to again.

I had to listen to this one several times before I was ready to rate it. I very much like it, although my initial thought was "this is kind of a rip-off of Flaming Lips." Little did I know that this is a side project by one of the Flaming Lips' members. Anyways, I think the three songs at the beginning of the album are perfect. There are some other good ones, but the first three are fantastic. Somber and psychedelic, this album brings a spacier sound to the neo-psychedelia of the time. Additionally, "Goddess on a Hiway" has some clever lyrics that I think is a pretty interesting way to make a song (two verses that are homonyms of each other making them seem like choruses). Anyways, if you like psychedelia or the Flaming Lips, you should give this one a try as well. Highlights: 1, 2, 3, 5, and 9.

Justice was able to make one of the greatest electronic music albums of all time by incorporating micro samples with a heavy and dark sound. To this day, there hasn't been an electronic album like it. Moreover, the drums are some of the best I've heard ever, and I can't get enough of the weird 'flipping' noises on the album. Highlights: all, but 1, 3, 5, 6, and 11.

This album was okay. I was excited on the first song because I thought it was going to be an interesting 60's psychedelic album, but the songs all have a pretty samey feel that makes it uninteresting. I was hoping for some more diversity in the songs that went beyond the surface level of 'including weird sounds in the songs and that makes it psychedelic.' Anyways, the instrumentation on the album is pretty good, and the singing is pretty good and not washed out. There are things to like, but it's not all that. Highlights: 1, 2, 5, and 6.

I feel like I've been throwing out a lot of 5s lately, but Thundercat is one of my favorite bassists so I feel compelled to give a 5. Thundercat is a true professional at the game of not overstaying a welcome. The songs are all pretty short, but all have great basslines and comedic lyrics that would detract from how good the album sounds if it weren't for the personality that comes through. Anyways, I'll stop yapping and give you the highlights: 2, 5, 12, and 15. But you should listen to all of them. Fantastic album.

If there are going to be like 5 more Sinatra albums on this list, I am going to lose my mind. I'm done listening to this crooner. He has an amazing voice, but as for listening in the year of our lord 2024, it really doesn't feel important or like a 'must listen.'

While I think this album is pretty mid, I can see this one making the list. The Weight is a classic song, and Chest Fever has a guitar tone that I wouldn't expect on an album until several years later. Otherwise, the album is alright and I don't like it that much. Highlights: 5, and 8.

Funk rock is a weird thing to mix with ska, but Fishbone did a fun job here. The album definitely has a funky sound, but it is definitely still a ska/punk ska album. I would recommend this one as long as you like ska or at least don't hate it. Highlights: 1, 2, 5, 6, 10, and 12.

It's absolutely fantastic. This album cemented Prince (and the Revolution)'s fame. It has everything, and is everything anyone could ever want out of an 80s album. Highlights: all. Listen to all of it.

This album sucks. There's no other way to say it. It's not always a good thing to be different, and this album is different from other 80s albums by going for the classic, super clean, pop sound of the 80s but absolutely sucks shit at production and mastering. The production is so tinny and crackly I can't decide what to make of it. The lyrics, dear god. The lyrics are a bunch of nothing burgers with no consistent cadence or rhyme. I'm pretty sure its not even on beat for most of the album. Absolute garbage. Have no idea how it could make it on to this list.

There is a reason this album surpassed OK COMPUTER on rateyourmusic. Album is perfect, has the best lyricism of the past decade, and incredible production. This is a must listen for everyone. Highlights: all, but favorites are 1, 2, 3, 11, and 16.

I would have rated this a 3, but the album is just so damn long for no reason. A lot of the songs in the middle just slush together. Beth Orton's voice is good though, it's just an overall boring album. Highlights: 1, 10, and 11.

I've talked about 'poser rock' before on my reviews, and this is the album I always think about. A great band that just completely lost its way. Jump is such a fing stupid song. The only redeeming part of this album is 'Hot for Teacher' and 'redeeming' is a strong word here because the song is so pervy. 'House of Pain' as well, but it just feels like a D-side song from Led Zeppelin. Highlight: 6.

It's a classic American album with great psychedelic rock/blues rock sound. Plus Jim Morrison was pretty good at writing poetry in song form. I also really appreciate the focus on piano/organs throughout the album. Gives it a more unique sound compared to other contemporary psychedelic rock at the time. Highlights: 1, 3, 5, 6, and 11.

I don't have feelings either way on this. It's nice, but I don't think I'll come back to it or really listen to it again. George Michael (especially solo) isn't my favorite, but I understand its popularity.

Garbage, trash, a 0. Soulless reproduction of hip hop to be available to a white suburban youth. Everything about this album is childish. The best song "King of New York" has the worst hook of all time: "La di da di, la di La di da di, free John Gotti" Like, seriously? You couldn't rhyme Gotti with anything? The only reason this album is even remembered at all is for the ripped lines from Pulp Fiction in "Scooby Snacks."

This is in the running for 'Most Pretentious Album' I have ever heard. It's baroque, it has Latin singing, it's backed by old money, biblical references, its got it all. My only real complaint, however, is that the microphone peaks on almost every song. How does Rufus come from old money, yet his microphone sounds like that will remain a great mystery in my life. If you are into Picaresque, then you will probably also like this one. It has a lot of similar qualities, as well as having the most Thom Yorke voice I've ever heard that wasn't Thom Yorke. I would have probably rated this a 5 if it wasn't for the terrible microphone used to record this. Highlights: 2, 3, 5, 6, 8, and 12.

This is a fantastic neo-psychedelia, psychedelic pop album. MGMT are masters at creating hit songs, and they do it really well. The back half of the album tends to be worse than the front half, but the front half is so strong that it demands to be heard. Despite it being almost twenty years old, it still sounds fantastic and new. Highlights: 1, 2, 4, and 5.

I had to try multiple times to get through this album. The top review for this album is right, but there are some okay songs. I won't listen to them again, but they didn't make me want to turn it off. Those songs were "Visions of You" and "Erzulie." Other than that though, this album was grueling to get through. Plus this guy is connected with Johnny Rotten. Fuck that guy.

This album would be perfect if it weren't for the last eight or so minutes of "Moonchild." I know a lot of people share this sentiment, but it really is frustrating how great the rest of the album is compared to it. If you haven't already heard this album, you should give it a try. Highlights: 1, 2, 3, and 5.

This rating is a double edged sword, with both edges pointing at Elton John. I am not a huge fan of his, and this album is just one song in nine different fashions.

I went into this album thinking it was going to be corny, but I was surprised that I came out of it really liking it. I feel like this reggae album bridges into trip-hop which makes the best songs feel a lot better and more interesting than I find traditional reggae. There are a couple of duds towards the end of the album, but overall it was quite good. Highlights: 1, 2, 3, 4, 5, 7, 8, and 9. (Which could be abbreviated to 1, 3, 4, and 7).

Honestly, the best 50s album on this list yet. Can certainly see it's influence. Beyond the couple songs that I liked though, there wasn't much for me here. Highlights: 1, and 7.

This sucked. Surely there are better examples than this album in this genre. In fact, I know there are, but the question remains why is this in this list at all?

One of my favorite albums in high school, no questions asked. The Cars made a perfect pop record and I just love Ric Ocasek's voice. Highlights: all, fantastic album.

While I'm glad this album is in this list, I have already listened to it. I relistened to it today, and it was still fantastic. I don't know whose quote it is, but the one about 'it wasn't about the commercial success. it only sold 30k copies. but everyone who bought it started a band' very rough paraphrasing but it encapsulates what makes this album great. Highlights: all, but choosing 3, 4, and 7.

He is way too British, and altogether too horny, for this album to be good. Across a forty minute runtime, he may have sung four different notes and none of them well. I hate that this mediocrity plagues the 1001 albums list when there are so many albums and artists that deserve the recognition. Here, it's just another horny British artist that can't sing backed up with vaguely psychedelic instrumentation that ends up being way more post punk, not that the recategorization makes it any more intereresting.

I'm done. I got to "We Hate It When Our Friends Become Successful." I don't know how anyone can listen to this dreck because Morrissey is the epitome of that kid in high school who thinks he's deep and empathetic but he's really just an asshole. Anyways, 0 stars, as with anything attached to Morrissey.