It's about damn time. 136 albums and I finally get a Beatles album. I calculated the probability and there was supposed to be a nearly 2/3 chance I should have already got a Beatles album by now. But finally. This album is underrated. I said it. Why? Just look up people's reviews on this page or on reddit or wherever. They'll say, "Oh well I prefer this later Beatles album" and of course you do, the innovation in instrumentation, songwriting, and production spirals out of control following Rubber Soul. But you can't unfairly give this a lower rating cause you have to compare it to something entirely different. Anyway... This is my favorite pre-Rubber Soul album. No covers. Full on McCartney-Lennon pop songwriting genius from start to end. There's something to love about each track. Let's start with the songs I think are perfect. "A Hard Day's Night", "If I Fell", "And I Love Her", and "Can't Buy Me Love". Between superb vocals, complex chord progressions, impactful lyrics, and a fistful of energy and punk, these songs reflect exactly why they're so loved. It's hard to even come close to mimicking these songs, even if you knew their secrets. There are some interesting quirks here and there, like how in "Any Time At All" it feels a bit empty, and yes it is supposed to have more lyrics, but it doesn't detract the power in Lennon's voice, McCartney's high pitch support, and catchy melodic tune. Even "weaker" songs like "I'll Cry Instead" have interesting chord changes and instrument choices that don't make for a dull experience. The Beatles are a pop sensation, and I swear it's really hard for me to write what I love about Beatles albums. I discovered the entire Beatles discography when I was 10, and I never listened to any other album until I was in college. I kept playing those same albums on repeat for years, and even now they're my most frequently visited. I can sing along to every song in their discography. So how can I tell this is worthy of the 5 stars? I can measure how much I like each song but how excited I am to sing along to each of them. So a song like "Dizzy Miss Lizzy" I don't feel much a push to sing along to, and likewise "I'll Cry Instead" I'm the least enthusiastic about. Is this a bias toward catchy pop songs? Well, after knowing all the lyrics to the Abbey Road Medley or the unusual picks in Sgt Pepper or White Album, I don't believe that's the case. Just the ones that really grab my attention. And with this album, more so than any other pre-Rubber Soul album I can belt all the lyrics with some degree of intense enthusiasm. There was nothing that even came close to The Beatles in the early 60s. At least later in the decade you had rock albums by Rolling Stones, Beach Boys, Pink Floyd, Love, etc... but not this early. You were dealing with the likes of Bobby Vinton and Andy Williams... who cares? This album more so than the other pre-RS displays their incredible level of innovation that everyone would follow and adapt to. It's important not to disregard these early Beatles albums. When I'm looking for classic rock n roll, early Beatles albums will always be the first place I look.

For so long I was trying to determine whether to rate this 4 or 5. But then I realized I was trying to determine how whether it could match or surpass Nevermind. Nevermind is a masterpiece but is polished and poppy from start to finish. But this album is raw and punkish. Sure, the more popular songs have the sound and genius songwriting we're used to, as in "Heart-Shaped Box" and "All Apologies", but the majority is more personal to Cobain. Overall, the songs flow together as a whole better than Nevermind, but the comparisons stop there. There is a dramatic contrast between pop and punk, and you can never tell what the next song will sound like, it's that unpredictable. Take "Dumb" for instance. It sounds like it should be one of those poppy songs, and like "Heart-Shaped Box" or "Rape Me", you'd expect grungy soft sound followed by a loud and guitar-heavy chorus... but it never comes. And of course, this works perfectly with the subject matter and makes for a memorable experience. But even with these pop songs, there is a rawness found in the recording you would never find on Nevermind. This is all an attempt to sound more like the indie albums Cobain admired, like Pixies's "Doolittle." Most songs get real personal to Cobain, dealing with his partner, his daughter, his drug use, and the media. Beyond a few bands, I always found the grunge genre to be dull and uninspired, but Cobain is one of those few who can remind us what the genre is about. Not just being a social rebel, but finding a medium to express the grimy elements of our lives, both the happy and sad parts of it. I admire Cobain's determination to take total control of this album and produce something they truly want, instead of what the public expects. It doesn't end up as garbage. Instead we have an album that, despite all, holds itself up as one of the greatest albums of the decade.

One of my favorite albums of all time. "Mannequin" was my most-played Spotify song this year (2021). This is the album that got me into punk music. The concept of this album is a suite of 21 minimalistic tracks that come and go in a span of just over a half hour. You just get a taste of each track, each unique idea, before moving on to the next. Album starts off with a memorable and exciting build up in "Reuters" that explodes in punk madness. I love the madness in the verses (both the vocals and the distressing apocalyptic description) followed by the chorus and the melodic screaming repetition of the word "rape" that slowly mellows off. Next track, "Field Day" demonstrates one of my favorite punk techniques. Burst of explosion for 4 seconds then STOP. Explode again for 4 seconds then again stop. Happens two more times then boom next track already. Not sure who invented this, maybe the Sex Pistols, but the "fuck this let's start over" attitude is all over this album. Things like this make each of these tracks, no matter how short, memorable. "Three Girl Rhumba" starts off with a memorable yet reptitive riff, and continues with the same riff the whole track, except when it deters randomly twice in the middle then at the end. It's so unexpected and surprising. Love the "go underrrr" at the end. Invites the audience to sing along even for just a brief moment. "Ex Lion Tamer" one of the best songs, complete and lengthy. Kicks off at 12 seconds, explodes at 24 for the chorus, starts over at 48 in a perfect transition, only to do the exact same thing one more time before extending that ending for another minute. I love that technique where they repeat the melody and one lyric, like "Stay glued to your TV set" with the back vocals but change the loudness and tone, throwing in some grunts, before ending it with a satisfying decelerated conclusion. Same reason why I liked the end of "Three Girl Rhumba," and a theme we'll see again many times. "Lowdown" is the easiest to hear the very punk lyrics. Another thing I noticed is the grunge-like bass. Not sure if there's any connection to the later movement or how common it was in punk, but it really sticks out here. That halfway break following "That smell of you" is orgasmic. Then there's the other type of ending I love. Also repetitive with the same melody and lyric, but less spooky and more energetic, usually ending so suddenly before starting the next track. "Start to Move" and "Brazil" are examples of this. Still invites me to join in and burst out. "Surgeon's Girl" is my favorite of the <90 second tracks. Love how they make fun of their mumbling vocals by diverging the "go insane" into something intentionally incomprehensible. Reminds me how they often sing so much it's hard to sing along, so this gives me an excuse to just go "yayayayayayayaya." "Pink Flag" closes off the first side, with the same type of build-up intro as "Reuters." My god that when they start going "How many dead or alive" and it devolves into intense chaotic screaming, dying down only to build up again, die down then one last yell. Intense and the perfect way to wrap up the first side. An instrumental piece bridges the two sides. "Straight Line" continues the themes I love. "106 Beats That" is the first of a string of more avant-garde tracks that could be labelled as post-punk. Starts off lofi and abrasive, almost like later hardcore but not as aggressive. Then it gets weird and spooky near the middle with the use of ever increasing synths and fuzzy guitars, ending before it gets any stranger. "Mr Suit" is my other favorite short track, absolutely love the fuck you lyrics. Then we jump into our second post-punk track. A more complete piece, this sounds like something straight off their next album "Chairs Missing" (which is a crime not being on this list). Spooky and atmospheric, perfect for any Halloween playlist. Love the clinking at the end. "Fragile" is another strange one, jangly and could fool people as an alt rock track of the 80s. Stands out like their masterpiece "Outdoor Miner" in their next album. Years ahead of the scene... I guess you could call this post-punk, but it's not very punk at all besides the "fragile" vocals. "Mannequin" is my favorite song off the album. Another post-punk entry, it's the most melodic of the songs, with a perfect bridge, a lovely three part harmony, savage lyrics, with an accompanying vibrant sound. Next three tracks are good. The album ends with the highlight "12XU" which has my favorite bass, ending on a satisfying note. This album is a unique experience with nothing like it, yet parodoxically is a perfect introduction to get people into punk or post-punk, perfectly utilizing an agglomeration of techniques only found in punk-like music. This is also the most accessible of their albums. You can instantly fall in love after just one or two listens. Even the weaker tracks one can grow to appreciate. Highly influential and with nothing bad to say, it not only goes down as a 5 star rating, but as one of my favorite albums of all time.

Appetite for Destruction encompasses one of those conglomerations of genres that include hard rock, glam metal, and arena rock, making up mainstream rock of the 80s and 90s (would compete with "alternative rock" following grunge's popularity). For the years prior to this album, most of albums in this realm were fairly generic and full of filler beyond a couple great hits. The big names were doing ok. Def Leppard and Bon Jovi were doing alright with just a few filler. But Van Halen got a new singer, Motley Crue hadn't come back from their debut yet, Poison relied on just their singles for album sales, and then there are the hundreds of other long haired hard rock bands that would produce one generic hit that would get a ton of Mtv rotation and then the rest of the album would try to sound exactly like that one song. The subjects were drugs, women, money, fame, whatever. Rock star junk. But Guns n Roses changed everything. They made the transition from "glam" to "hard" in mainstream rock. It was less about catchy pop hooks and riffs, and more about cohesive songs where intense emotion and engagement was supported by the vocal style, melodic shifts, and direct or confrontational lyrics. And in this album in particular, Guns n Roses mocks the traditional rock star subjects. "Paradise City" is the perfect example of both of these points. The subject is looking back, not forward, and longs for this nostalgia of a once better time. You can hear it in his voice, his pleas, his cries. I think it's genius how this song incorporates the solos, the faster pace, and stripped-down chorus at the last two minutes to enhance the desperation. Oh and I love how some of these songs just end on a bang like this. So satisfying. The album is full of great tracks. "Welcome to the jungle" is a very fitting opening that is also a very good example of everything I described above, and also eases the audience into what the album will be about. The next few tracks are all superb. Love how every instrument has its moment. No one gets left behind. Some softer songs like "Mr Brownstone" and "Sweet Child O Mine" keep the flow going, diminishing the oversaturation of the hard sound that would otherwise feel repetitive. The latter song in particular has one of my favorite guitar melodies of all time. If you play me any two second incerpt of this song, I'll immediately know the song and how the rest of the melody goes. The track ends with another great track, "Rocket Queen." Love that shift in melody and subject in the second half of the song. Weaknesses? Yeah, I said the softer ballad-like songs help diminish the feeling the repetition, but yeah when you have so many hard songs back to back, it becomes a little exhausting. And besides the two I talked about, the second side is full of duds. "My Michelle" is ok but the other three are pretty generic and don't offer much if anything to the album. Do these two points detract from a perfect score? No, honestly I don't. The first point is intrinsic with hard rock and metal albums in general, and grows after several listens. And the second point, all albums have some fillers, and it's not like they're horrible or anything. This album is highly influential and innovative, and one of the best hard rock of the 80s and 90s has to offer.

U2's other perfect album. This album completely reinvents U2 from the traditional arena rock that reached its peaked in Joshua Tree. But just like Joshua Tree, U2's innovation and creativity sets it apart from anything else from the era. Now there is influence from the prior shoegaze and Madchester movements that dominated the UK in the years prior, but there truly is nothing else that ever had or will sound like this album. And yet U2 still delivers a product that can appeal to the pop audience... it just takes a few listens to really get into. "Zoo Station" is the perfect intro that slaps us immediately with the new sound, with the industrial sound and distorted vocals and guitar riffs (you can really see the influences here). The next song is another amazing track and is probably the best blend of their new style and the U2 pop we're used to, which explains why it's the 4th single. The third track "One" is one of their most famous songs, and yes it is a great song. I'm just not into that kind of song. Next two songs are again amazing. Love the subject and production of "Until the end of the world" and "... Your Horses." I also love how the guitar goes from complete distortion to a gradual clarity in the latter song. Next song "So Cruel" is pretty good, but I'm not crazy about it like the others, probably since it's less exciting and also the longest track at nearly 6 minutes. I do really like the production value, especially starting at the 2 minute mark. Also love the emotion in the vocals that align so well with the instrumentals. Next we have my favorite track, "The Fly." Note this was their lead single. Not "One" or "Mysterious Ways" which would have appealed to pop audiences and old fans... but this lunatic piece. When this single dropped on radio and MTV, everyone blew their shit. Between the industrial sound, distortion, and darker tone, this was nothing like they had ever made, and a perfect message about what this album would be about. I absolutely love the sound. The next track is their other famous funky pop track, "Mysterious Ways," which you are likely to hear on any modern rock station. You can dance to it. You can sing to it. I love where the song turns around the 2 minute turn with the amazing Eno production touch. Next track "Tryin to throw..." is the weakest of them all, and is one of the flaws preventing this from being absolutely perfect. Album picks up again with "Ultra violet" which goes back to their Joshua Tree roots and has an optimistic message in contrast to the grim undertones among the rest of the album. Next track "Acrobat" uses an Irish time signature and has my favorite lyrics. The last track "Love is Blindness" is also a tad bit weak, but it's slower pace makes it the best canididate to close off this masterpiece. As you can tell, I absolutely love the album from front to end, which just one really boring track, and the others with all sorts of highlights that expose the zenith of U2's talent and creativity. I'm not sure how influential this album was due to how different it was to the other rising genres out there, but it stands out as a work with its own identity, standing the test of time 30 years and on.

Each track is able to invoke a certain kind of strangeness in my imagination that is controlled just as equally between the lyrics, the vocals, and the melody. The latter of which due to Eno's excellent production work that compliments Byrne's style. "I Zimbra" is a great opener that gives us a taste into the type of experimentalism we're dealing with. But it is "Mind" that establishes this constant anxiety and desperation in the protagonist. Someone who is helpless to change his lover's mind. Someone frantically looking a place in the city. Someone obsesses with some urban unrest. Someone stuck living in the highlights of his past. Someone at the mercy of air itself. Each song's lyrics and music builds up to an increasing level of disorder. And then we reach "Heaven" to calm us down in self-reflection. But not for long as we jump into what I find to be the strangest track, "Animals." Not sure if there's something deeper going on due to how much the lyrics seem to only be applicable to literal animals, but it reflects a severe level of psychosis bringing about the kind of absurd level of anxiety we saw in "Air". The next track "Electric Guitar" is probably my least favorite but I really enjoy that scifi atmosphere. I found the last track interesting as the instrumental opening puts us into this trip sequence. The protagonist tries explaining what he sees, but he's so far out of it he can only make out few details. My personal favorite is "Mind", but I found all the first side to be most imaginative. It makes me excited to give a deeper look at their other albums.

I really enjoyed the album. I'm a sucker for weird psychedelic experimentation. However, this album is probably one of the weaker psychedelic albums I've heard. I got strong AiW vibes from the album, especially with the narrator coming in and out on the second side. It opened strongly with the title track. Nice transition from Afterglow to Long Agos and Worlds Apart. My favorite tracks are Long Agos and Worlds Apart, Lazy Sunday, and Journey. Would definitely trip to this.

It's raw. It'll push you to start a garage band and scream into your mic. The first two tracks are amazing. And after that it's constant jamming. That being said, I felt it's main appeal was it's massive influence to garage rock and proto-punk. I felt it was one of the weaker punk albums I've listened to. Although I'd love to rock to the later songs, they were largely forgettable, and with each song's long length, if you're not in the right mood, it reduces to nothing more than noise rock. Overall, worth another listen if you have the right setting.

I had never listened to rap or hip hop before, so I was skeptical about this one. I decided to start out with the s/t before this album, and I pleasantly surprised by how enjoyable the experience was. I ended up listening to early hip hop all day! This a must-listen for sure and I'll keep going back to this one. Peter Piper has some of the most creative and imaginative lyrics I've heard. It's Tricky is catchy and can jam to. My Adidas started off the partnerships with shoe brands. Walk This Way made hip hop mainstream (and re-popularized Aerosmith). All the other songs have their highlights. Hit It Run has interesting edits, Raising Hell is a banger, Proud to be Black is a powerful commentary, and You Be Illin is a humorous tie-in. It's a fun album that sets a direct tone and impact on the audience. There's a bit here and there for everyone.

How many innovative ideas can you fit into an album? You only get a taste of each song before an abrupt in pops in the next wonder. Never have I seen a band that respects each of its members equally. Everyone gets a side of their own song picks. Everyone gets to shine and show off their talents. But despite its heavy experimental nature, it is still recognizable as punk at heart, with minimalistic and catchy lyrics complimented by direct instrumentals. This is an album I can keep coming back to and pick up something new.

Never listened to an electronic album before, so I was skeptical but became pleasantly surprised. Each song is long, and you'd think it would be repetitive, but there's enough variation to keep you interested. The best example is The Rockafeller Skank which is just a single line repeated over 7 minutes, but Fatboy Slim's experimental movements are almost classical. With the exception of "Praise You", I did feel the second side was weaker in the first, but you can tell Fatboy Slim is having fun.

What a great singer. He incorporates elements of pop and funk here and there which appeals with me alot more than other Arabic music I've heard. Nevertheless, this genre isn't for me. Half the album was forgettable, and the pop/funk sound was the only thing that kept me interested.

I'm a sucker for psychedelia and funk. Throw in some electronic soon and I fall for it. Let's be fair. This is no Stone Roses. But it is still one of the defining albums of the short-lived Madchester movement, which became associated with early rave culture in the UK. And indeed you can dance to this. Now, a lot of people think it's dated. I personally don't get that vibe, and I think it holds more than as a product of its time. Did this album remind anyone else of Public Image Ltd? That being said, I do see many of the faults associated with the album. Maybe I have a twisted music taste, but I loved each of the tracks, each with a unique sound that kept things interesting. And that's enough for me to give it 4 stars. I don't have a favorite track, but Lazitis stood out for me (for sampling Ticket to Ride). Other tracks I really liked were Country Song, Mad Cyril, Performance, Brain Dead, Wrote for Luck, Do It Better, Hallelujah, and Rave On. That's half the album...

A powerful and angry hip-hop album that established the genre's footing in the industry. Ice Cube's debut is for sure my favorite after Death Certificate and for a very good reason. He's let out his anger at injustice and top lyrical ideas into one compact album. Ice Cube is a lyrical genius, who's storytelling skills draws you into the setting and mood, while also conveying the underlying message. This is best demonstrated in "The Nigga Ya...", "AmeriKKKa's...", and "Once Upon a Time...". I also love how he incorporates humor and imagination, as in "You Can't Fade Me" and "A Gangsta's Fairytale." And then there's the Bomb Squad production which serves to reinforce and complement the power of Ice Cube's messages. It's reminiscent of what made Public Enemy so special. I did feel the second side was weaker than the first, but still amazing tracks one after the other.

Damn HBO Max for removing the film after adding it only 3 months ago. This album is best experienced through the film. Despite this, Prince combines pop, rock, R&B, electronic, and dance and experiments with every known instrument and sound the human mouth can make, and you've got to appreciate how much each track differs must each other while still being glued together by Prince's voice, personality, and themes. There is a balance found in every song. There's never too much vocals or too much instrumental. Everything mixes so well, and despite all but one song go 4 minutes or longer, there's always something new and exciting to enhance the experience. Despite its popularity, I'm actually not too big of a fan of the opener "Let's go crazy", but I admit it's a great way to excite the audience for what's to come. I like the experimental sound and storytelling of "Darling Nikki," which as we all led to the creation of the Parental Advisory label (just for referencing masturbation). "When Doves Cry" is without a doubt my favorite Prince song, and quite possibly a candidate for one of my favorite pop songs of all time. Thank god for it being 6 minutes. I'm a sucker for New Wave, so "I would die 4 U" really resonates with my pop soul. Finally, "Purple Rain" smacks us with heartbreaking lyrics in the first half while the other half is a masterpiece in music composition, extending the story without a single word.

Refreshing house music enjoyable to dance or study to. I enjoy the 60s aesthetic combined with synth. My favorite tracks were "Only Love Can Break Your Heart", "Carnt Sleep", "Spring", "Nothing Can Stop Me Now", and "Kiss and Make Up".

Boring and repetitive. Same tune throughout the album. Tries too hard to be poppy. But it's a series of groovy dance tracks, and I'd be willing to hear a track every once and a while. Just not the whole album at once.

To me, this is the last of Springsteen's superb albums that started with Born to Run a decade prior. That being said, he's already on the road to decline. This album is his most popular, and I assure you have heard several of these songs many times before. This album is his poppiest yet, but his songwriting skills are still among the best in the industry. Also, I can't tell if the album cover is based on Sticky Fingers, but if so it could be perfect since it conveys a blue-collar worker facing the other way, which I always interpreted as the a dynamic between rockstars and the working class, setting up the theme for the album. It's hard to criticize "Born in the USA" due to its mainstream nature, but I will say I hate how the use of synthesizers shroud the lyrics beyond the chorus. It's no wonder nobody knows what this song is about. Even if you try paying attention to the lyrics, good luck. I thought the yellow man was referring to Native Americans for a long time. That being said, the chorus and sound is catchy and upbeat, juxtaposing the passive-aggressive lyrics. "Cover Me" has my favorite tune, and bravo to Springsteen's voice. "Darlington County" has the most entertaining lyrics, with some humor thrown in. "Downbound Train" is an emotional track about a lost lover, complimented by the next track "I'm on Fire" about a potential lover. Love the way he can convey his emotions so strongly, yet confused why it's one of his popular songs. "No Surrender" and "Bobby Jean" are another pair of related songs that shift from optimism to depsair. "Glory Days" is my favorite. Despite the heavy use of synth again clouding the lyrics, it's catchy and relatable to everyone. Look up the full version with the missing version. I think it's a necessary completion of the song to see how this isn't confined to just your generation. "Dancing in the dark" is another favorite of mine, and I love how meta the song is and how it actually became a huge hit.

Carefully crafted from start to end. Love the transition from high energy to down low a little more than half way. Embodies the mood of all the movies and video games of the late 90s to early 00s... but came out in 95! What a pioneer. Main downside is repetition which was a bit too much for me to handle at once.

Funky and intelligent lyrics. Simple and down to earth. It's starting to feel like punk is a catch-all.

Combines so many genres - blues, country, gospel - with rock to produce something unique and interesting. "Gimme Shelter" and "You Can't Always..." are beyond perfection. "Love in Vain" is my favorite ballad which best represents their return to blues, frequently heard throughout the rest of their tracks. Love the "Country Honk" meme. The blues masterpiece "Midnight Rambler" and funky / punkish "Monkey Man" are enough to lift this album beyond the mortal realm. Subject matter is gritty and leaves the audience feeling... bled on?

Everyone's talking about the title track, but I think the other tracks are also amazing. Everyone gets their shine. The organ is so surreal and I'm so glad it plays at least some major lead in most of the songs. The bass and drums get their epic moments, but when they all come together like the intro of "My Mirage", it's perfect harmony. "Flowers and Beads" has strong baroque pop tied with The Doors influence. "Termination" is the outlier in music direction and subject material, due to it not being written by Ingle, which I feel is the weakest but does have its strong points, and I like the chimes ending. But holy shit the title track. From the organ intro to the vocals to the bass solo followed by the organ intrusion. Then in a moment's silence around 3:20 you hear the guitar but the other instruments fight back for control (including the energetic bass), but at that point it's too late and you can hear the guitar proud in the background until the bass goes crazy again. Silence again around 6:20 but hold up, now the drum wants to dance around you. Around 9:00 we take an occult turn, and it really feels like a satanic ritual with the drums all over the place and the unsettling organ. Starts to feel schizophrenic around the 10:50 mark before the organ takes you for another ride. But then the bass comes back from vacation to hit you with reality. Some crazy riffs by the bass, and Ingle's guitar finally shines before ending the song with more vocals. And damn does it know how to leave on a high note.

Baker's Rapture helped define contemporary R&B from the mid-80s onwards. She's a sexy singer, and the use of jazz and synth accommodates for smooth, easy listening that gives off calm 80s nostalgia. "Sweet Love" and "Captured in the rapture of love" are my favorites, and other first side tracks appealed, but I felt the tracks sounded too much like each other, and hardly contrasted each other in subject matter or technique. But that's fine. It's not a masterpiece, and her fanbase tends to hit a very targeted audience, but this album is a soothing, luxurious listen, and that's enough for me to give a re-listen in the future.

Decent prog rock. The title track is an epic kaiju between Tarkus and other monsters. The other tracks felt like incomplete ideas. There were some highlights, like the first minute of "A Time and a Place", but its maturation is a bit underwhelming.

The start of Jackson's incredible run of albums, and one of the landmarks of the disco era besides Bad Girls and Saturday Night Fever. All tracks are bangers, thanks to Jackson's extension use of falsetto to excite the audience. The album is full of bangers due to this attribute, with the first side aiming to get listeners on the dance floor, and second feeling more like the after-party (except the closing track). Favorite tracks are, no shocker, "Don't Stop...", "Rock With You", and "Off the Wall". Maybe because I'd been rocking to them growing up. But it doesn't stop there with funky innovation sound and production as in "Girlfriend" that further define the disco era.

Jazzy and political. Sounds like Public Enemy. Songs range from ok to bad but some redeemable qualities. I like California Uber Alles but I'd much rather hear the original. The jazz in Music and Politics is nice but the lyrical overlay sucks. Why are they all so long? Some variation would be nice. Honestly the best song is Television The Drug of the Nation. If the others were like it (and shorter), I would rate the album higher.

Decent melody and production. Entrancing. But the vocals and lyrics are shallow and unenthusiastic.

I knew "Relax" was the second real track. What I didn't know was that the title track was over 13 minutes. They kept teasing me. Everytime I thought "Relax" was going to pop up, the title track wasn't done it, and it kept sounding like they were going to transition at any second. The main highlight is "Relax", but there are some decent covers here. Some tracks like "San Jose" or the guitar solo in "The Ballad of 32" stand up as an entirely different genre to keep the experience fresh. There's humor thrown in between the tracks. That being said, the main appeal to a lot of tracks is the production synth which gives it a distinct 80s identity, but I felt a bit underwhelmed. I honestly can't see how "The Power of Love" topped the UK charts. But then again, so did The Lady in Red around the same year so maybe people were losing good taste... Anyway I wish the album ended with something more hi-nrg.

Fun disco album that tells us how Abba dominated pop in the 70s. With catchy lyrics and melody, each track stands on its own. "Dancing Queen" is one of the best disco tracks of all time. I just wanted to point out how stupid "Dum Dum Diddle" is and how I feel they were trying to make a point the lyrics don't have to make sense. "Why Did It Have To Be?" was a nice surprise, incorporating jazz, blues, and rockabilly yet still making it catchy pop. The closing title track almost feels like the end of mass. The 1997 bonus track "Fernando" is another favorite of mine, capturing a unique perspective of the Mexican Dirty War. Overall not my favorite Abba album, but with solid production and creativity, it certainly tops the pop scene of the era.

Quintessential psychedelic rock. Clatpon, Bruce, and Baker are all insanely talented, and each track managed to impress me. Lots of blues influence from Clapton's previous work in the Yardbirds. I love how the album goes from full psychedelia to blues near the end. Not a single bad track (ok Mother's Lament is just them having fun), and it becomes an enjoyable listen from start to end you can't get tired of.

Shorter jazz compositions when cool jazz was just emerging. This is the peak of music of the era and so I would have to give it 4 stars. However, jazz still has quite a journey to go, and Davis has yet to attain his zenith of creativity. I don't think the shorter pieces work well with the genre.

Self-reflective. Sound and lyrics fill me with melancholy. An album you can listen to over and over and never get tired while still being able to pick up on something new.

Forerunner of Krautrock movement that gave us CAN, Neu!, and Kraftwerk. Proceeds industrial music which would slowly develop over the next 2 decades. But for now, people are just playing with electronics making interesting but premature sounds. It's decent and enjoyable with experimental noise that dates ok. I like "Jennifer" but nothing else really sticks out.

Poetric lyrics and unsettling sound that reminds me of The Doors. Some highlights. Some forgettable and overdramatic reminiscent of 80s music in general.

Sounds like a sci-fi fps ost. Halcyon+on+on is really dope.

9 years after Blonde on Blonde, Dylan returns to his crown as one of the greatest songwriters out there by looking back at his roots. Despite what he says, this is 100% influenced by his relationship with Sara and you can feel that in his voice and in his words in many of the tracks, especially the lengthy "Idiot Wind". "Tangled Up in Blue" is a masterpiece of a song, and it's on my playlist of what to show aliens. "Simple Twist of Fate" and "If You See Her, Say Hello" are other favorites of mine. Each song pulls the audience into the singer's introspection as he responds to life's problems with mature responses.

Dull and uninspiring. Some decent (not great) tracks that blend reggae and soul: "Ultra Simulation", "Sunday Shining", "Even After All", and "Your Love Gets Sweeter". But everything else is utter garbage.

Poor attempt at a world music album. Combines all sorts of techniques but doesn't do anything with them, and so it becomes boring. Vocals (besides Atlas's) absolutely awful. Some instruments were annoying, and it gave the impression they had no idea how to really use them. Some tracks are decent, but damn those vocals make others unbearable.

Ambitious for the goal in mind. I applaud anyone who actually went through the entire album, as I only went through the first third and any other tracks that had a high number of Spotify plays or interesting titles. A lot of the tracks are decent, and a few work really well, mostly the folk-pop / country-pop songs. They had a lot of fun experimenting with all these different genres, and it helps keep you going through the tracklist, but they don't understand how to use these different genres. Their attempts with world music or synth only possess remnants of the music they try to represent. The sounds and instruments often clash with the vocals and seem like they're doing their own thing. Despite being gimmicky, it gave me insight on distinguishing all these genres.

The zenith of 60s soul. Franklin's strong voice revolutionized the genre, placing a greater emphasis on emotion than raw subject matter. And it is Franklin's voice that is the centerpiece. If you ever wanted to know what purpose backing vocals could serve, here you go. Their reiteration empowers Franklin's pride or distress, inviting the audience to experience the same. The piano serves a similar purpose. This is most evident in "Dr Feelgood" where they abruptly stop only when Franklin is about to speak, giving her room and respect to preach. It's not a perfect album, and certainly not the 13th best album ever (cough cough). Piano sometimes feel out of tune, and the instruments and backing vocals may clash with Franklin from time to time. But soul/funk was still a couple years off from having the high production that only just emerged in rock. Yet with solid songs the whole way through, and its high influence on the community, it is the apex of 1960s soul and deserves at least an incredible status.

Passionate voice overlaying smooth jazz. Offers a strong social commentary, especially with "Four Women", and I love how the mood gets increasingly tense. My favorite track is "Break Down and Let It All Out". Jazz is fun and varies from track to track but nothing to write home about.

Really cool extended Bo Diddly cover. Wait there's another side? Wasn't impressed.

I like to think that B-52 was the one who made New Wave weird. It is more evident than anywhere else the transition from punk to New Wave in the era, and on top of that they incorporate surf rock giving it a distinctive feel you know must be B-52. With loud, danceable, and most incredibly strange lyrics with themes in scifi, LGBT, and much more not frequently touched upon, it becomes an enjoyable listen so much that I played it 3 or 4 times yesterday!

Songs range from synth & soft rock reminiscent of ELO to standard alt rock and industrial of the era. There's a ton of influence here and there, likentrap in "A Sensitive World" or Velvet Underground and two other bands in "Shoot Doris Day". Got more enjoyable near the end after that industrial nonsense.

I absolutely love this. This often has a distinctive 90s sound but is also the best shoegazing album that is actually reminiscent of 60s psychedelia. Some tracks reminds me of the Beatles. Some remind me of the Beach Boys' Smile, especially the one with the wind chimes. Each track offers new surprises. Starts off enticing and ends with satisfaction. This album is perfect from start to finish, and my personal preference guarantees a 5 star rating.

Probably my favorite hard rock album. Between Roth's vocals and Eddie's guitars and keyboard, there is an unmatched level of thrill and hysteria. It's loud and exciting, with each track showing off in some new impressive way. So many tracks I love. "Panama" is of course a masterpiece, but "Jump" and "Hot for the Teacher" are also classics that you can't just ignore if playing in the background of a bar. This is songwriting that grabs your attention.

An album that helped establish post-rock. What is post-rock. I don't know. I thought this was krautrock at first. I listened to their other album "TNT" to get a better idea and all I heard was jazz fusion. Nevertheless, this would be a crowning krautrock album that has a general flow but always changing that kep things interesting and fun. It's one of my favorite instrumentals and something I'll play from time to time.

Hit after hit. This album revolutionized techno, influencing music to this day. The first 4 tracks are favorites, but even the tracks that follow are beyond expectations. Their legacy is in no part due to their commercial use in media, cementing many songs in the minds of many. My issue was that the album slowed down after "Run On", and the B-sides added in weakened the appeal, making the album drag on longer than it should. The only real highlight I picked out was "Flower", but I'd still listen to the whole album if I needed ambience.

Solid AC/DC album. Not my favorite (Powerage and Back in Black take the crown, but it's even beat by Dirty Deeds). Of course there's the complaint that the songs tend to sound the same. The power chords rock with ongoing riffs which draws in the audience with spotlighted solos. It's AC/DC in their prime but doesn't offer much beyond the title track.

The points go to the first and last tracks. Overall an underwhelming title. There's some interesting sounds and techniques here and there like the carnival / waltz 2nd track and the latin influence later in the album, but it seems like they put all their creative genius into the first and last tracks.

Not a fan of this country hippie. His voice is ok but he doesn't express the words in his songs too well, nor do the instruments very well, and you can he tries by his choice of instruments. His songwriting varies from song to song. "The Dolphins" just seems like typical hippie talk. But I like the introspection of "Everybody's Talking" which made an impactful cover by Nilsson.

I love these weird albums. The vocals and echoing instruments draw me reminscent of psychedelia. My favorite track is "Kanga Roo" but there are several highlights like the "Femme Fatale" cover, "Stroke it Noel", and "For You" . My problem is that the album just isn't weird ENOUGH. As in, the ideas feel raw. With a good production team, you could make an album that sounds just as amazing as Pet Sounds. But without it, there's too much pressure on the vocals, which I find to be a bit monotonous.

It is rare for me to hate hi-nrg pop sound, and fortunately, this is not a member of that club. What is rare is for me to enjoy 80s soul music. This guy does not rival Prince or Michael Jackson, despite what his ego claims. Yet these dance tracks are funky and employ great use of synths and instruments, creating a distinctive 80s sound all throughout while at the same time holding an identity of its own. I did think the choice of the intro song was a weak choice, but almost all the songs were solid (I'm looking at you, "As Yet Untitled"), and it ended satisfactory. I may relisten to this if I'm looking for 80s soul that is not one of the big boys.

The first great Bowie album. First side is an absolute masterpiece. From the shocking "Changes" that marked his position as a leader than follower of trends. To the surreal nature of "Oh you pretty things" and "Life on Mars." To me, the two things that make Bowie stand out to the rest are his master utilization of the piano (where contemporaries rely on the guitar) and his clear expressionist voice, taking ideas or people of his life (e.g. Warhol, Dylan, his son) and giving them new life through emotional sound and songwriting.

Smooth and jazzy yet highly repetitive. The first three tracks are fairly decent, but then a sudden drop in quality for the rest of the album (except "So Nice" which gives me Evangelion vibes). Wouldn't mind listening to this in an elevator... just not the whole thing.

For so long I was trying to determine whether to rate this 4 or 5. But then I realized I was trying to determine how whether it could match or surpass Nevermind. Nevermind is a masterpiece but is polished and poppy from start to finish. But this album is raw and punkish. Sure, the more popular songs have the sound and genius songwriting we're used to, as in "Heart-Shaped Box" and "All Apologies", but the majority is more personal to Cobain. Overall, the songs flow together as a whole better than Nevermind, but the comparisons stop there. There is a dramatic contrast between pop and punk, and you can never tell what the next song will sound like, it's that unpredictable. Take "Dumb" for instance. It sounds like it should be one of those poppy songs, and like "Heart-Shaped Box" or "Rape Me", you'd expect grungy soft sound followed by a loud and guitar-heavy chorus... but it never comes. And of course, this works perfectly with the subject matter and makes for a memorable experience. But even with these pop songs, there is a rawness found in the recording you would never find on Nevermind. This is all an attempt to sound more like the indie albums Cobain admired, like Pixies's "Doolittle." Most songs get real personal to Cobain, dealing with his partner, his daughter, his drug use, and the media. Beyond a few bands, I always found the grunge genre to be dull and uninspired, but Cobain is one of those few who can remind us what the genre is about. Not just being a social rebel, but finding a medium to express the grimy elements of our lives, both the happy and sad parts of it. I admire Cobain's determination to take total control of this album and produce something they truly want, instead of what the public expects. It doesn't end up as garbage. Instead we have an album that, despite all, holds itself up as one of the greatest albums of the decade.

Many consider this album to be the transitonal album between prior synthpop and successive post-rock, but I believe this album stands on its way own. Indeed, Mark Hollis one said he wanted each album to be a new and different experience for his listeners, and I believe he accomplished that. With full creative control, Hollis has ditched the synths in favor of a more experimental orchestral sound. And after listening to Depeche Mode, I've grown to better appreciate elements of orchestral pop. Each track is solid and distinct, providing an engaging listen all throughout. And of course being a pop album, there are several tracks that you could just sing over and over again, with the biggest example being "Life's What You Make It." This album accomplishes what it intends to do and leads the way not just for the post-rock they end up doing, but also the orchestral pop others will follow.

An impressive piece of swing jazz that extended into the 50s. The overuse of horns is so distinctively 40s, but the heavy sound is likely an inspiration from rock n roll. With over a dozen members, I was afraid I'd hear a complete mess of instruments, but Basie understands when each instrument should stand out. The volume is tightly controlled between the different instruments, hindering any clashing that would be more prominent in a recording (vs live). I don't think it's one of his best works, and several others like Ellington surpass him in swing, but this album is strong as a collective piece and makes for a swingting time any day.

I used to listen to their singles all the time in middle school and I was never able to label what their music exactly was until now. It is now what I consider one of the best blends of funk and rock out there, with songs like "If you have to ask" sounding like it came out a Sly album. This is RHCP at their freshest. They finally found their sound, and it only took 5 albums. Their later albums would build off this formula. But this isn't as poppy as their later albums. There is so much youthfulness and energy in this album that would make funk proud to see where it went in the 90s. When listening to this album, there are two sides at conflict. There's the punkish energetic songs, and there are the softer relaxing songs that come to define their more popular songs. Then there are the songs that combine both. My favorite songs on the album are pretty much the singles I grew up with, especially "Breaking the Girl". Everything was the instrumentals to the lyrics to the back vocals to the solo are perfect.

I've listened to all the Byrds albums to Sweetheart of the Radio several times, but I honestly cannot see the acclaim they received from contemporary sources. However, I do understand the great significance. The Byrds' experimentation used rock as a medium rather than a genre, instead playing other genres but with a rock twist. And here we see the Byrds at their most expressive, employing folk, pop, country, psychedelia, and jazz. Now, folk rock was dominant in the first two albums, and psychedelic rock in the next two, but the country is definitely new, and points to where they head in their next albums. Note that nobody has ever done these rock fusion genres before, so congratulations to the Byrds. They're influential to music, but how do the albums themselves hold up? I like it. I like their sound and the genres they play. It makes for lovely easy listening. But the songs are mostly just ok. "Goin Back" and "Triad" are the best but still at best decent. This album is probably the best of their catalogue for an average person to listen to because there's so much variation (and the least amount of terrible songs), but I think they're experimenting too much in this album and don't really know what to do with the songs they're producing.

I had listened to The Bends twice beforehand to really understand the transition, and damn there is such a huge gap. I listened to OK Computer three times yesterday. First was blind run, and immediately I noticed the differences, but I wasn't able to pick out the songs apart from some really cool parts. I also couldn't understand most of the lyrics. Second listen I followed the lyrics and music videos, reading what people thought of each song. Third was taking all this into account, now that I could anticipate each song. And yeah it was worth it, because this song has to be one of the most interesting albums I had ever listened to. I could relisten to it again and again and not get tired of it, which I definitely couldn't say about The Bends. After all this careful consideration, I completely agree with the critics, this is by far one of the best albums I had ever listened to and probably will ever listen to in my life. The more I listen, the more I appreciate each song. Each song is carefully crafted and relies on heavy ingenuity and inspiration from what legends such as the Brian Wilson, REM, and the Pixies had done in prior decades to take rock 10 steps further. The imagery was necessary for me to understand the themes and subject of these songs, due to their abstract lyrics and atmospheric sound. There is something to be said about every song. "Airbag" was a perfect start to set the expectations for the album, and the distortion of the drums and bass at the end made me realize this was an album of carefully crafted experimentation. "Paranoid Android" is an absolute masterpiece, and balls of Radiohead to make the 6.5 minute song their lead single. "Subterranean Homesick Alien" was the song that struck out to me the most my first listen due to the aquatic noises and easy-to-follow story about envisioning a flight with aliens. Certainly one of the most atmospheric songs. I could go on, but that won't be necessary. "Karma Police" and "No Surprises" are my other two favorites. This album comes at a time when they outcompeted a crowd of spectators, inspiring many of those spectators to stand up and model their work after Radiohead.

I'm rating the album not the artist. Sam Cooke is one of the most influential soul singers of all time, the Bob Dylan of soul, but there's no way I could rate his work. What I will say is that this album does reflect his energy and enthusiasm. He sings some of his best songs, including Cupid and Bring It On Home. The recording is clear and crisp. But I feel like a voyeur overhearing Sam Cooke interacting with his rowdy audience. None of the songs are amazing by today's standard, just some are classics. But the majority does get repetitive and shallow. It feels more like I'm hearing Sam Cooke perform rather than hearing great compositions.

Eno is a genius and this offers great background music for what it intends to do. Not only is it Eno quality but it is highly influential, popularizing the genre. However, the parts only differed slightly, making the album feel tiring with full attention. Nevertheless one of the best ambience works out there cause Eno duh.

What an enticing album! Lives up to its ratings for sure.

Most accessible of The Fall albums. I like the instruments and music direction, but geesh those vocals hurt. Every damn song. Almost ruins the experience but it does remind me of shoegaze vocals (only clearer) so I can bear through it.

Jazzy soft rock typical of the 70s with some Latin twist. I recognize 3 songs (you know which) and they're all amazing songs. My favorite parts are always the solos, but the the vocals are clear and hit you hard. Back vocals also fit nicely. There aren't any particular weak songs, as each song contributes its own unique spin to the overall experience. They're not forgettable either since they each start with an intriguing hook. The 4th star is cemented by that solo in Reelin in the Years, one of the best I've ever heard. Hard to believe this was only their first album, and probably not even their creative peak if you contest Aja.

I discovered The Smiths by youtube recommendations, so I had no expectations going in. I loved them from the start. From Morrisey's insecure vocals to the introspective lyrics that cover social themes that we can all relate to. Absolutely love the rock sound that is not overbearing, leaves room for the vocals to take lead, and varies with each song to provide a unique experience. Of all The Smiths albums, this last one is their best produced piece that demonstrates their variation and talent. All the songs are great, but I did prefer songs from the rest of their catalogue that dive deeper into the narrator's conflicted emotions.

Brel is an incredibly influential French chanson singers who has covers by a variety of English speaking speakers you may know, including Bowie. I feel this album was picked primarily because of Amsterdam, a masterful work of emotion and passion about life in the city. Do not take that track lightly. You can however take the rest of the tracks lightly. They demonstrate Brel's talent and songwriting, but none of the rest are his best work, but it does get comically French like that 3rd track so it is entertaining at times. Obviously this album doesn't hold very well to today with audiences (or even a decade later), and you need a certain perspective to appreciate, which I don't care to have.

Best Rush album, indicating its one of the best prog rock albums out there. This is also one of the most mainstream prog rock albums out there, with three of the tracks being popular radio staples. These are all very strong tracks, invoking the energy, innovation, and diversity that prog rock ought to represent. Red Barchetta and Witch Hunt best represent how the music should accompany the storytelling. However, I always find prog rock (besides Pink Floyd) to be exhausting at a certain point, and this album is no exception. The last minute was YYZ did not contribute much, The Camera Eye was unneccessarily long, and The Witch Hunt did not have a good payoff to what it was building up. Also, wanted to just note my entire life I always thought the vocalist Geddy Lee was female until about half a year ago.

Great voice overlaying smooth jazz that makes for a relaxing evening. That's all there is to it. Songs aren't particularly noteworthy. Standard music and lyrics. Recording pretty good, though there are some hiccups here and there for being a live recording.

Ya got me with the title. It's jazzy and early soul. Best seller and massively influential with sharp vocals and big band instrumentals that would help define pop music to come. Some classic songs but otherwise it's just an album of Ray Charles being himself.

Pretty great album. I don't see the appraise that critics gave, but I also believe the other reviewers on this site underestimate the work. There's a lot of passion and drive into these songs... Much better than the studio versions although not as polished. I wish there was more audience participation or something. Doesn't feel like much of a live album otherwise...

I love the rawness of early British punk as they incorporate other genres like prog, reggae, and synth. All the tracks are catchy and have memorable tunes. Nothing extraordinary but also has little wrong with it and otherwise a perfectly fine album.

I sorta like the sound, but not enough to listen to nearly an hour of it. It's indie folk with Americana influences. The tracks are nice to listen to individually, and there are many redeemable qualities that folk musicians can learn from, but the flaws get increasingly annoying as the album goes on, becoming almost monotonous by the 2nd half. Songwriting not particularly provoking or clear either.

From easy listening to soulful punches, incorporating R&B, soul, jazz, and even disco, there seems to be something for everyone... That is until I read the top reviews of this site. Not sure how anyone could hate this. It's not boring or repetitive or annoying but rather borrows from a diverse range of styles with pulling hooks to keep each track interesting. First track is a masterpiece, 2nd track is pretty good, and the rest follows.

Quintessential blues rock. If I were to show classic rock to aliens, this would probably be the top candidate. It's loud and energetic with both short hard songs and longer softer songs. And it swaps between short then long back to short and so forth to not get tiring. Now usually I'd get bored with such long songs, but if you listen to "Tuesday's Gone", the instruments vary so often throughout the song, taking turns with leads. Just start listening from the piano solo to hear what I mean. It also has a different drum sound from the other songs. "Gimme Three Steps" sounds like their later song "What's your name" but since it's not the same album it doesn't count. Each song is distinctive and inviting with catchy tunes and poppy lyrics, and the back vocals during the choruses help audience participation. With the 2nd side you can actually convince someone why it's called "blues" rock but a lot of people can get bored by it. I still think they're strong tracks. Love that old-timey piano solo in "Things goin on". Also "Mississippi Kid" gets bonus points for me just so happening to be passing through Mississippi from Memphis to New Orleans, visiting the Delta Blues Museum. "Poison Whiskey", especially the solos, does sound lazier and uninnovative than the other tracks, but I do sorta like that hard piano sound. And finally there's the most famous rock song of all time "Free Bird". I don't have much to say other than what I aready said. Great song, and the length does not hinder it. Love when it goes higher pace around 4:35. I will comment is that the ending felt anticlimatic. Overall fantastic influential album that define the era, with bangers all throughout. Despite the flaws, I still believe it deserves the 5 stars.

The first 21st century album tgat I've ever truly enjoyed, making me excited for indie rock that follows. Massive influence from garage rock and post-punk combined with alt rock that had been largely ignored in the decade prior. Songs are distinctive and exciting with constant instrumental shifts that match the emotional lyrics. Not a single weak song. Each has something unique I love about it. Great opening and closing too, allowing me to feel excited for what was to come and satisfied for how it ended.

Anything Eno touches is electronic gold, and this collaboration with Bowie is one of his best works I've seen. I admit it hardly even feels like a Bowie album. It's a series of avant-garde pop rock tracks that knows how to control the unusual noises it's dealing it. The first side is absolutely perfect and if the whole album were like it I would have no doubt awarded the full score. But I'm mixed about the 2nd side. I've tried looking at what people had to say about it. Some say people only now started to appreciate it while others say it feels dated now... Ok? To me, it's a series of carefully crafted melancholic ambient pieces that are long enough for appreciation with enough variation to prevent us from growing tired of them. They apparently reflect geographic locations like Warsaw and West Berlin. They're excellent pieces that bring a calming feeling to the album, but how should I rate this album? Does it detract from the perfect score I should give? Well it's different and amazing as well but doesn't fit with the other side yet doesn't distract from it either. Maybe I'm hesitant because I already awarded 2 5-stars in the past couple days, and an avant album seems like the perfect excuse for me to break that. But I admit this is a perfect album that I commend Bowie and Eno on. In the end, they deserve the perfect score of this random listener.

Elastica never had the footing of the big 4 britpop bands, but this album deserves to rank among theirs. Heavily influenced by post-punk, we see it combined with the bright alt rock that britpop is known for, along with an excellent production reminiscent of synth-heavy New Wave, creating an identity that is strictly Elastica.

An excessively experimental grunge album. Sometimes heavy experimentalization can lead to something amazing (Tom Waits) or something pointlessly tiresome (69 Love Songs). This falls in between. No great tracks, but you could tell they're having fun, taking influences from punk and grunge bands to create pieces that strike as peculiar. Not bad or annoying, but I wouldn't be eager to replay this album or recommend it to anyone anytime soon.

Strange first exposure to Bjork but ok. I love post-punk, and the Sugarcubes do everything right to fill in the checkmarks. It's like if the B-52s went the alt rock route rather than synth-based New Wave route. Bjork's voice sometimes sounds like the Cranberries's lead except Icelandic which is close enough to Irish. Songs are impactful and weird, with my favorites being Birthday and Deus.

Lots of decent songs. Started out sounding like Sting. Some songs like Ground for Divorce fooled me into thinking I was listening in on another commercial. Despite the weak songs and the commercial tunes, the album is carried by the creative direction as well as strong tracks like Mirrorball and One Day Like This.

My first exposure was freshman year of college (2017). Before spotify, I would queue up songs on a Youtube playlist and play them in a random order. One day, probably listening to a Beatles or Doors song, Youtube recommended me Heroin on the right sidebar and it was one of the most astonishing things I've ever listened to. I never heard anything like it before. Initially I thought it was something modern until I discovered it was 1967 when rock was still only getting established. Now I want to remark again that this was my freshman year, so at the same time I was getting introduced to all the countercultures on campus. Due to the topics of drugs and LGBT, I would associate it with the Rocky Horror Show / steampunk culture that was so strong at my school. This atmosphere made me view music as more than just a melody to sing along to but like a gateway to an entirely different perspective on life. Through VU and Lou Reed, I saw the streets of forbidden society, the kind we turn a blind eye to thinking it's dangerous. It would take me another 3 years to finally listen to the whole album, but I'm glad I did not just go into the album blind. I knew how to go into the album. This is an avant garde album. But it is a successful avant garde album, which is very very rare. Whereas pop music was heading toward a direction of being more refined, complex, and crisp, this album went in the exact opposite direction. But I don't mean backwards to 1965 (which is what people thought when they heard this album in 1967). I mean forward by utilizing simple chords and lofi techniques in creative ways that would be picked up by garage bands and later punk. Except the Stooges, no one would was even doing anything like this for years to come. So besides the atmosphere and innovation, how does the album hold? I think almost all the songs are perfect. Sunday Morning is the best opener (holy shit I'm writing this on Sunday Morning). Love the celesta. Femme Fatale is the most classic song, almost like a Carpenters song sang through a tin can. Venus in Furs the most atmospheric song, giving me hard drug and BDSM imagery... Reminds me of A Clockwork Orange. Run Run Run is like rock n roll on speed. I love how simple it is, how it doesn't progress anywhere, but it just keeps going on with periodic distortions that give the audience anxiety. All Tomorrow Parties' sounds like a Jefferson Airplane outtake (which is a compliment I think). There is nothing in this world I love more than the intense drumming and drone in Heroin that creates the atmosphere of the craziness in taking smack. Black Angel's Death Song best shows Lou Reed's poetry and interesting production techniques. European Son is an amazing closing track, beginning with classic Chuck Berry and then diverging into an awesome display of conflicting instruments and feedback distortion.

Another excellent Steely Dan entry. No classic tracks like Can't Buy a Thrill or Aja, but My Old School is the catchiest. As always, there's a strong jazz element fused soft rock, with this album relying heavily on electric instruments, including the synths, which makes for some interesting jazzy-electric solos. All the tracks are great but nothing extraordinary.

Funky and intense with solid tracks that incorporate synths and jazz among others to make for a smooth experience. First two tracks are perfect, but I also really like "All About Love" and "Reasons." No unbearable tracks although there are some parts that don't work as they're probably intended. At 8 tracks long, the album flies by.

Another strong and politically vocal album by Public Enemy and the suberb production team The Bomb Squad. Favorite track is "By the Time I Get to Arizona". I thought that Anthrax metal remix of "Bring the Noise" was an interesting addition. I did feel this was weaker than the previous two albums, with less funk and enthusiasm and interaction with the other rappers, but at least it did fix the drawn out news samples that Fear of a Black Planet had.

Landmark in indie folk of the 21st century. Each track is beautifully arranged with carefully crafted instrumentation and introspective lyrics that draw from classical compositions and great poets. Subject matter is focused on Illinois topics and his own Christianity, making for a very personal experience. I could point something that stuck out to me on each track. For example, "Come on Feel the Illinoise" has a distinctive Chicago sound that reminds me of the musical. It's feels like a classical arrangement divided in movements, still cohesive, but flows naturally. In "John Wayne Gacy Jr", we see inspirations of his Christianity to humanize one of the most infamous serial killers in history, an individual who has a soul just like everyone else but grew up in circumstances that unfortunately led him down this past, teaching us that we can make the difference to prevent further massacres or redeem them as productive citizens. "Jacksonville" and "Decatur" remind me this is indeed a folk album with instruments like the banjo and a clear focus on the vocals. Oh and while I'm at it I love all the back vocals. You can tell there are different people on each track and it helps give each of them an identity. But then we get back to "Chicago" and the mood shifts from small time folk to big city feels (more like indie pop) with busy instruments and loud vocals, inviting the audience to sing along. And again it feels like a musical (Chicago) with the focus on the narrator given those momentary soliloquies about his personal experiences. Love the coda but I'm not sure it fit with the rest of the song since the rest of the song didn't feel particularly holy. This is followed by "Casimir Pulaski Day" which is another favorite of mine, for its simplicity and all-over-the-place story that reflects youthful grief and confusion. "The Man of Metropolis" is probably the next most complex song after "Chicago", fusing many different genres, especially rock. Love the distorted guitar sound at the end. "Prarie Fire" to me starts out sounding like it has a mystery theme turning into some holiday-themed Eastern European folk song between the chorus vocals and strange Christmas-like instruments in the latter half. Again, I could talk about the rest of the songs, but the point is that each shows Sufjan's creativity and masterful display of how to use the limited tools at his disposal to the full extent, playing with instruments and vocals in a million ways that doesn't sound experimental or repetitive, making each song stand out while still putting emphasis to his poetic lyrics. From start to finish, this album is a masterpiece to show indie musicians just what is possible with pure talent.

I believe the only reason why this album is included on the list is because it sold like hot cakes in the 70s. One of the best selling live albums of all times. But personally I don't see the hype. It's decent classic rock. It has three classic radio staples, including a 14 minute "Do you feel like we do". I think it's the longest song I have liked on Spotify, so that says something about how bearable it is. The live audience helps keep that and many other songs stay alive, which helps get through the sheer length of the album. Many of the tracks are just bad or boring, and I didn't even realize there was a Rolling Stones cover because of how generic it sounded like the others. However, besides the radio staples, there are several songs I like (e.g. Doobie Wah), and this live album does demonstrate Frampton's talent better than any of his studio albums do.

My first exposure to non-Youtube trip hop, and I'm a bit underwhelmed. I'm impressed by the sampling and how the vocals go well with the themes of urban collapse (particularly drug use). The sound is mechanical, cold, and unsettling but smooth and chill, especially supported by the Martina's vocals. Sometimes I feel like they conflict though. For most of the songs, I do enjoy the production, courtesy of The Cure's Mark Saunders, but especially on the 2nd half, I don't think there's anything particularly outstanding.

A hip hop album with strong R&B influences. I'm sure this album was a major impact on encouraging female artists into the industry. The main appeal is the fantastic production by Timbaland which gives it a very futuristic funky sound to lots of the tracks (you should just see the videos), from space sound effects to robotic drones. Out of this world beats consistently throughout. That being said, despite her sexy voice, I don't think Missy is a great rapper, and for most of the second side, I was just curious what Timbaland was going to try to do.

Another excellent album by Talking Heads. This is their first collaboration with Eno in a series of perfect (or near-perfect) albums. Starting this album, the sound gets funkier, and Byrne's voice gets a lot weirder and more aggressive, best seen in the sexual frustration in "The Girl Wants to Be With the Boys" and critic annoyance in "Artists Only." Through the atmospheric synths and Byrne's accompanying delivery of the lyrics, the stories he tells are clear and imaginative. Being an Eno collab, there are awesome synth moments like the end of "Found a Job." Ironically, I thought their big break track "Take Me to the River" was their weakest track (I like Al Green, but it's not punk and it doesn't have the full charm of funk). I thought "The Big Country" was pretty funny and the parodic use of country tunes, and I love how they used that song to open their shows in the midwest or south. Most tracks don't stand well on their own except for their impressive moments, but together they make for a great album experience. I felt their collaboration improves vastly to perfection starting in the next album.

(Before I start, I want to note that I'm a youngster yet I have never heard or listened to Arctic Monkeys before, so I come in with no expectations.) One of the many bands that follow The Strokes' indie rock revival derivative of punk and garage rock. And in this album, the sources are much clearer, with direct, confrontational, and angry lyrics. The instrumentation is, however, much more complex deriving from alt rock of the prior 20 years (I'm getting big Britpop vibes), but incorporating both the spirit of punk and several techniques (most notably the use of breaks to give up and start all over again). This comes in an age where punk bands knew their target audience and appealed to exactly that... But it helps that the band started when they were also teenagers. That is, there is a great level of teenage angst covering themes of nightclub culture. The tracks are solid, with each retaining the high energy and angst to remind me of its punk origins, yet also rotating with softer lyrics that display a plethora of adolescent emotions. As a punk fan, this is an album that gets better with each listen, and after getting used to it, I'd love to explore the rest of the discography.

A schizophrenic album full of anxiety of what is to come. This is a radical departure from the trip-hop they had led a decade prior, and it's a departure I'm thoroughly impressed by. I really like the haunting vocals that match the nerve-wrecking sounds of doom. Love the album from front to end. Even tracks like "Deep Water" are calming short interludes that maintain sanity even for just a moment. Favorite track is "Machine Gun" (very dub-like), but songs like "Silence" remind me of Public Image Ltd and "Plastic" of Radiohead. I'm a sucker for experimental music that isn't excessively loud or annoying, and this does the trick for me. I'll be listening to this from time and time again when I'm sick of the usual genres.

Without a doubt one of the best rock albums of all time. Now, I've been known to give Rolling Stones albums 5 stars before, so what makes this one stand out as king? It's hard to hear an album more coherent and intertwined with crazy strong tracks. Note that this double album isn't full of radio hits like prior the prior album Sticky Fingers, but these songs work one after another and nothing sounds out of place. It represents everything that the Rolling Stones had stood for, and their massive influence on rock music, from their solid incorporation blues to gospel to psychedelia to country. "Rocks Off" is the perfect intro. It's one of the most melodic tracks, representing their psychedelic days. Every instrument is out of sync and vocals come and disappear almost randomly. The brass hits you like a truck but is a masterful display. The next track "Rip This Joint" is a homage to rockabilly, and although I don't recall them starting out with rockabilly (I don't listen to their first albums much and I thought they were heavy blues), it's another rocking fast-paced album that reflects the evolution that the Rolling Stones took music in the prior decade. Next we have a lofi blues cover that I believe pays homage to their origins in the early production age of relying on blues covers. Two songs later we get the lead single "Tumbling Dice" which is probably the only song out of this album that's a radio staple. But I assure you this is not a song you can forget. Nothing about this song is predictable. The structure of the melody and lyrics keeps varying so much to keep you interested. It is also a testament as the zenith of the Rolling Stones' work since Beggars Banquet, with a heavy gospel chorus and strong blues rock heavier and more melodic than any other song except maybe Rocks Off. The second side is dedicated to their impact on country rock, and this best reflects the coherency of this album. The segway from the hard rock first side to the country second side is still inherently Rolling Stones but changes the perspective to focus on a more folklike side of rock, demonstrating the range that Rolling Stones had touched the music industry. I just want to talk about the first track of these which is one of my favorites, "Sweet Virginia." I've never been a fan of country, but oh sweet virginia, from the lofi vocals, Jagger's harmonica in the background, and that amazing sax solo, it makes me feel nostalgic for a place I've never actually experienced. Third side we go back to classic rock n roll with another strong pop rock song, "Happy." The next two tracks are hard and loud songs that follow seamlessly, until we suddenly get a strange transition from "Ventilator Blues" to the lofi gospel track "I Just Want to See His Face." Despite the quiet outro, it is not the end of the side. The final track is an epic ballad of more than 5 minutes, this time paying homage to all the kind of music of the black community that Rolling Stones took inspiration from over the years. Their most soulful track, it is heavy in both blues and gospel. The final side starts off once again with another strong pop rock track "All Down the Line," which is melodic and rocks but yet for some reason did not chart. The last track I wanted to talk about is "Shine the Light" which I believe has the strongest lyrics. The pace keeps changing, starting off slow, picking up speed, and retaining the momentum all throughout. One of the best displays of their masterful craft of combining rock and gospel. Usually with double albums they're so long I lose attention from time to time until I song I like comes up. Not with this album. It doesn't stick to one theme for long. Skipping any track makes the experience feel incomplete. And after so many listens, you'll find there are no tracks to skip. No other album in history except maybe the White Album is able to show such diversity in talent while still sticking true to their character and influence on the music industry. I'm really happy this album exists, and I doubt a year will go by in my life without at least half a dozen listens.

A poppy glam / prog rock album. The lead single and intro is by far my favorite, but all the other songs use experimental techniques that work very well. Love the vocals and symphonic instruments. Each gives off different emotions, like a circus feel in "Falling in Love..." or the horror of "Here in Heaven." Nearly half of the tracks are nothing crazy, but those strange techniques in many of the tracks grab my attention. I love the consistent high energy and fast pace that makes for a lively experience. So what makes this album so special to belong on this list? It was a massive influence to a million bands, such as Morrissey of the Smiths, Depeche Mode, RHCP, and Bjork. To me, this is a decent album, but I'm sure to professional critics or musicians, this is pure gold for inspiration.

This album is the result of the height of the Britpop war. Before these tracks, Britpop albums held closely tied to their roots in alt rock, baroque rock, and punk, but starting in this album (and its contemporaries), Britpop began to take on an identity of its own. This album really put the "pop" in Britpop. Tracks are loud and orchestral hitting us with high notes and clear yet introspective lyrics. Nearly the whole album is full of hits (or should be). British Invasion influences are clear in many of the songs like the Beatlesesque "Don't Look Back in Anger" or the baroque "Some Might Say." It's hard for me to criticize songs like "Wonderwall" and "Champagne Supernova" due to them being two of the most overplayed "modern" rock songs, but after listening to the album as a whole, I appreciate them much more. The album is consistent, and it initially shocked me how neither were lead singles, but it makes sense how much they fit in (personally almost all the songs felt like ballads). The weaknesses I felt was that this felt too oriented toward the pop audience, relying too much on loudness and instrument overload, and the lyrics aren't perfect either (catchy but for the most part not very interesting). This is a seminal British album that rocks from start to finish.

I don't much about industrial metal, other than this album and NIN were the ones to mainstream the genre, getting already popular metal bands like Anthrax and Megadeth to have their songs industrially remixed, and for industrial bands to rise over the next decade. And honestly I can see why. Before the 90s, industrial music seemed very niche, inaccessible to those not used to raw heavy sound that many consider to be monotonous or just too strange (I'm looking at you Lou Reed). But this combination of metal and industrial took the best of both worlds to create a product that was melodic yet hard, appealing to not only the youthful grunge generation, but also exposing older rock fans to yet another alternative to the samey hard rock and the dirty grunge that predominated rock radio. I really enjoy this album. I always found metal and industrial to both be hard genres for me to get into unless it was poppy like Metallica's black album. But this shift in the early 90s in the realm of metal found new ways to pull in people like me. I only need to hear this album once to appreciate the artistic techniques used in each track. The use of samples and diversity in tricks reminds me much of the genius behind early hip hop.

Alongside Velvet Underground & Nico, these two albums inspired an entire generation of randoms like you and me to pick up a guitar and belt off a song. Instead of going with the norm of highly produced albums of the time, this album went with a more lofi loud and experimental approach, and did so quite successfully with solid tracks mostly all throughout. The first two are classics. Perfect songs that deserve their notoriety based on their inspiration on the youth generation and their heavy punk and metal sound despite being in the 60s. Then we get into a psychedelic track that goes on for the entire rest of the first side which honestly flies by but I can see how this can seem boring to primitive people. Then we get into another "fun" proto-punk classic. After that, the songs slow down in terms of power and innovation but are still just as raw. "Real Cool Time" and "Ann" were probably the only songs I did not care for as much, but the album works from start to finish. An album I can't get tired of no matter how many listens.

ZZ Top was the face of blues for millions following the release of this album. ZZ Top were quite vocal about their blues roots and their influences in legends like Howlin Wolf or any of the Kings. After all, they made huge contributions like the renovation of the Delta Blues Museum in Clarksdale. This album was a transition period into a much harder sound incorporating synths typical of the 80s. But these songs still follow true to the blues formula, found in most of the songs, especially the guitar solos. Of course the highlights are the three singles. My personal favorite is the lesser known of the three "Legs", probably because of the computerized synths and lighter tone. I liked a lot of songs, especially on the second side, to be weak. Why? Well, I like the variety in funky synths. And the blues sound is there... sometimes. But it sounded too much like other hard rock or synth of the era. It tried too hard to be commercialized, and in the end the songs themselves did not stand out. And I wonder if any of the songs would have stood out if not for the MTV heavy rotation. Overall, it is an enjoyable experience with great radio staples but tried too hard to be something of its time.

Another fantastic album by The Doors. After their failure of Soft Parade, they returned to their initial sound, relying on psychedelic sound and poetic lyrics. This time many songs demonstrate a shift toward blues right that would be fully explored in LA Woman. "Peace Frogs" is a favorite of mine, but many of the tracks are great in their own ways. Some can be considered weaker until you listen to the fitting lyrics. Probably my 3rd favorite Doors album, maybe tied with Strange Days.

Greatest three-song stretch opener of all time. These songs are loud and orchestral, carrying New Wave into a more alt rock direction in the late 80s. This is an album hard for me to describe why it deserves all 5 stars, but it's intelligent and hardly possesses any negative characteristics. Between the lyrics and choice of instruments like the harmonica, the songs reflect strongly of American folk culture, speaking of the vast open space and American ideals. The gospel-like orchestral sound puts you in that environment, feeling insignificant yet open to opportunities. Did I mention Eno helped produce this piece? Explains a lot considering he invented the ambient genre. There is hope and optimism in these songs (also religiously influenced). This is U2's most impressive record yet and got me into plenty of their singles.

God I love Depeche Mode. The three-album stretch from Black Celebration is the pinnacle of 80s synth pop. From the haunting vocals to the ominous and yearnful lyrics to the funky dance synths, this album creates an atmosphere that sets a mood you can only find in few other artists like Soft Cell. This album in particular is full of hits. Each could stand on its own as part of a dance or 80s playlist and fit right now. "World In My Eyes" is a great song is remind everyone this is indeed Depeche Mode, setting the mood for the rest of the album. "Personal Jesus" is a classic, and I can't believe my wish came true that it was an extended version of the single. The only track I wasn't crazy about was "Blue Dress." Note I am ignoring the bonus tracks in the remastered version, whose addition would have dropped this album's score to 4 stars.

An incredibly talented guitar player and folk singer. Huge influence to dozens of other famous folkbartists, including Dylan. First song is a folk classic but the rest serve as nothing more than display his talent. This album is probably on this list solely for the first song.

I really like this album. It's distinctively stoner rock, staying true to roots like Black Sabbath for slower tempo metal combined with kraut and modern hard rock. However, their music tries to sound too much like other people. Too much like their former band Kyuss. Too much like Black Sabbath. Someone pointed out how the beginning of "If Only" sounds just like The Stooges "I Wanna Be Your Dog." The singer sounds too much like someone... but I can't pick out who it is... Eddie Vedder? I don't know what's up with the other reviews saying they have a distinctive sound... I raise an eyebrow. Either way, I immediately liked it because it sounds like what I'm used to. The album doesn't really go in any general direction. I'll listen to their other albums, but I'm expecting just to stick to their hits.

Peak singer-songwriter that could only compete with the likes of Van Morrison or Nick Drake. Storytelling technique is engaging and clear, a very difficult skill to master when it comes to songwriting. The highlights are "Suzanne" (my favorite Cohen song that reminds me of Sufjan) and "So Long Marianne" (the most accessible to audiences, and the deepest display of emotion; I love how he diverges from the chorus). "The Master" is a personal favorite due to how mysterious in nature it is. Every time I listen to it I pick it new details piecing together what the song is really about. No poor songs, just some less interesting ones. Now a compilation of Cohen's best songs would surely deserve a perfect score out of me (except his hit "Hallelujah"; I hate that song).

Without a doubt the greatest blue-eyed soul album pf the 20th century. This album is nothing like her pop hits of her prior years (except maybe this album's "The Windmills of Your Mind"), and I'd say she mastered the Memphis sound very quickly. There are lines building up that I would fear to be hard to listen to, but Dusty pulls them off in a soothing manner. The voice is the highlight for me, but the strings are beautifully arranged, and I also love the horn interjections. "Son of a Preacher Son" is the classic, and I now appreciate it much more now that I'm able to listen to it closely and it context with the rest of the album. The orchestra of "The Windmills of Your Mind" is unbelievably impressive (but does not fit in well). Favorite Songs: "Just a Little Lovin", "Son of a Preacher Man", "Breakfast in Bed", "No Easy Way Down"

Loved the pop hits they produced over the years so an entire album of punk-inspired rock with Hynde's lead vocals hit the spot from start to finish. Only previously knew "Brass in Pocket" so this was a pleasant first listen. Great introduction and interesting production techniques like the sound effects in "The Phone Call" and "Space Invader." The album really picked up in the 4th track "Tattooed Love Boys." The track "Stop Your Crying" is a good cover on its own, but I felt it disrupted the flow and maybe should have been excluded or placed near the end. I bet it only existed to help with their breakthrough. I love the diversity in the tracks; none of them felt weak. My favorite track is "Private Life."

Lots of great tracks. Some bad ones too. Album is coherent and follows a piano-centered rock album which isn't something I typically like much due to its repetitive nature. And with a full double album length, it does feel a bit tiring fitting the best songs near the front. But there's some variety here and there. There's a reggae song (which I hate but at least it was different), a rockabilly song ("Your Sister Can't Twist"), something that sounds like it came out of a Rolling Stones album ("Saturday Night's Alright"), and much more. I applaud Elton John's hard piano sound that creates a very distinctive rock identity and is used to make some of the best songs of the decade. It sounds like a great transition for me to learn how to play pop rock songs.

Songs are pretty but the classical arrangements are a bit excessive (and even overpower Drake's vocals). But sometimes the instrumentals are creative and interesting as in "Three Hours." They become more refined in his second album. His vocals are ok, but again they don't shine until his minimalistic approach in Pink Moon. Album is altogether not very coherent (each track has a different style often by different personnel), but has some great moments here and there. The track "River Man" is an absolute masterpiece. Other highlights are "Time Has Told Me" and "Saturday Sun."

One of Tangerine Dream's most popular, and by extension most influential, albums. In this kosmische masterpiece, we explore the innovative use of synthesizers and sequencers that would be further developed in krautrock to follow, later picked up by New Wave and soon the many electronic genres of the 80s and 90s. It is atmospheric giving the audience a feeling of wide open ambience and space that few others have been able to achieve. There is room to breathe in this album, a huge contrast to most other albums at the time which typically feel rushed from track to track. You have a track that takes up an entire side, but also a track that only lasts 2.5 minutes, and the others somewhere in between. These tracks take however much time they want, and due to how seamless they lie to each other, one is able to appreciate both the individual tracks alone and also the coherency of the album as a whole.

Raw and powerful vocals overlaying catchy alt rock melodies. Production value is among one of the best of the era. Morissette would play a pivotal role in female representation in pop music to come, inspiring dozens of female musicians such as Katy Perry, Pink, and Shakira. I absolutely love the raw emotion and mood shifts that Morissette uses to reach the audience beyond the lyrics. Favorite tracks are You Oughtta Know, Hand in My Pocket, and Forgiven.

Takes several listens to really get, especially for those not used to jazz. First track gets improvised, demonstrating Coltrane's insane talent as a sax player. Love the "A Love Supreme" underlying the entire track, starting off the song clearly then stepping out of the shadows via Coltrane's vocals at the end. Second track starts taking an intense turn. This becomes a very powerful album, with Coltrane's attempt to play as though God was speaking through their instruments. It gets crazy from time to time, invoking several instances of emotion and power, like the drum solo in the first part and near the end of Pursuance. In fact, the last track Psalm is entirely a consistent preach which goes along to written lyrics spoken through sax. I wish I could explain the theory behind this work and what makes this "modal jazz," but I'll save that for another few years (hopefully). For now, I find this to be an amazing piece of art with wonderful diversity that demonstrate both immense talent and powerful messages that convey deep emotion to the listener.

How to appreciate Celtic music. The fusion of Celtic instrumentation and style with punk music creates a distinctive identity that carries the spirit of Irish music to a more accessible audience. It's danceable, upbeat, full of some amazing and creative tracks, not to mention that the tracks flow perfectly well from one to the next. "Metropolis" sounds like James Bond infiltrating the IRA. Love how the albums retains the spirit but slows down like an after-party following the medley. Favorite tracks: Thousands are Sailing, Fiesta

Love the album. Love New Wave. Love the use of congas, sax, and other strange instruments that give the album a jungle aesthetic. First three tracks are amazing. Next four are pretty good. But beyond some highlights, the rest of the album is uninteresting, even if you exclude the bonus tracks. I mean, I like New Wave and it has the combination of synth, punk, and pop that I love, but it's not something I would listen to actively. Just for dancing to or playing in the background. You start to pick up the repetition later on, and it starts to ruin the magic. Also those vocals sound like some other New Wave band or two but I can't put my finger on it. Maybe I'm thinking of David Byrne but less weird? Duran duran but less enthusiastic?

I admit it's not for me. Not world music. But I will list what I liked and did not like. The production is alright, but I feel the background noises tend to work against it. Even when you understand the subject matter and lyrics, it unnecessarily breaks the flow of the album. I like the overlaying vocals (adds atmospheric value) and sound effects (some Galaga effect here and there which doesn't get too annoying). Soothing voice and instruments. I like the smooth transition between songs, especially from Bongo Bong to Je ne t'aime pas. In fact, those two are the only one I somewhat like, maybe Welcome to Tijuana too. Lots of cultural influences, which some more preachy (Clandestino) or funky (Mentira) than others. The influences and diversity keeps me interested, but there are many tracks I absolutely dislike. Lagrima de soro, Por el suelo, La vie a 2, Minha galera, La despedida, and there are more on the borderline of dislike and mixed. Overall not just something I'd ever listen to again, except maybe the first few tracks for those transitions.

U2's other perfect album. This album completely reinvents U2 from the traditional arena rock that reached its peaked in Joshua Tree. But just like Joshua Tree, U2's innovation and creativity sets it apart from anything else from the era. Now there is influence from the prior shoegaze and Madchester movements that dominated the UK in the years prior, but there truly is nothing else that ever had or will sound like this album. And yet U2 still delivers a product that can appeal to the pop audience... it just takes a few listens to really get into. "Zoo Station" is the perfect intro that slaps us immediately with the new sound, with the industrial sound and distorted vocals and guitar riffs (you can really see the influences here). The next song is another amazing track and is probably the best blend of their new style and the U2 pop we're used to, which explains why it's the 4th single. The third track "One" is one of their most famous songs, and yes it is a great song. I'm just not into that kind of song. Next two songs are again amazing. Love the subject and production of "Until the end of the world" and "... Your Horses." I also love how the guitar goes from complete distortion to a gradual clarity in the latter song. Next song "So Cruel" is pretty good, but I'm not crazy about it like the others, probably since it's less exciting and also the longest track at nearly 6 minutes. I do really like the production value, especially starting at the 2 minute mark. Also love the emotion in the vocals that align so well with the instrumentals. Next we have my favorite track, "The Fly." Note this was their lead single. Not "One" or "Mysterious Ways" which would have appealed to pop audiences and old fans... but this lunatic piece. When this single dropped on radio and MTV, everyone blew their shit. Between the industrial sound, distortion, and darker tone, this was nothing like they had ever made, and a perfect message about what this album would be about. I absolutely love the sound. The next track is their other famous funky pop track, "Mysterious Ways," which you are likely to hear on any modern rock station. You can dance to it. You can sing to it. I love where the song turns around the 2 minute turn with the amazing Eno production touch. Next track "Tryin to throw..." is the weakest of them all, and is one of the flaws preventing this from being absolutely perfect. Album picks up again with "Ultra violet" which goes back to their Joshua Tree roots and has an optimistic message in contrast to the grim undertones among the rest of the album. Next track "Acrobat" uses an Irish time signature and has my favorite lyrics. The last track "Love is Blindness" is also a tad bit weak, but it's slower pace makes it the best canididate to close off this masterpiece. As you can tell, I absolutely love the album from front to end, which just one really boring track, and the others with all sorts of highlights that expose the zenith of U2's talent and creativity. I'm not sure how influential this album was due to how different it was to the other rising genres out there, but it stands out as a work with its own identity, standing the test of time 30 years and on.

Pretty great power pop album of the 90s revival like The Posies or Jellyfish who would later inspire pop-punk. Coherent with decent tracks with clear inspirations from Big Star, Beach Boys, and Beatles, but with a spin of 90s alt-rock trends like shoegaze. Tracks are pretty solid: sufficiently catchy with enough melodic variation to keep interest. My favorite is the opener "The Concept," especially with the shift half way in. Main complaint is that songs are often longer than need be. They shouldn't be longer than say 3.5 minutes... except for that opener due to the half way shift. Biggest example is "Alcoholiday." Favorite Tracks: The Concept, What You Do To Me, Star Sign, Metal Baby, Sidewinder

Another amazing CCR album part of their short but incredible stretch over just a little more than two years. Absolutely love the roots rock blend of rockabilly, blues, and country that really did give CCR a distinctive swampy sound. Hifi production with cohesive track listing consisting of easily identifiable vocals and murky imaginative descriptions that sharply contrast with the busy energetic instruments. Perfect opener sums up the Bayou Country / Green Album albums. Not a single bad song. Whereas other artists like Rolling Stones and Led Zeppelin were taking a hard rock approach to blues, CCR went for a form that was more true to its original form. That and the atmospheric swamp imagery make CCR stand out. You can let this album play on repeat without tiring of it.

One of my favorite folk albums. Previously only known for pop hits "Brown-eyed girl" and "Moondance," I was pleasantly surprised by how perfect these tracks are. The music is often described as impressionistic, which means emotions are conveyed through characteristics of the music rather than the melody or lyrics themselves: The dissonance in "Beside You," the raunchy vocals in "Ballerina," or the dreamlike imagery of "Madame George." Often I hate long tracks, but there is so much variation in each track that it keeps you engaged, especially as the tracks become increasingly emotional as they go on. The opening title track is the best example of what this album is about. Masterful crafty lyrics with a higher spiritual sound, often using experimental instruments or techniques, and a highly emotional voice to reflect on the deep lyrical content. Looking at "Beside You," I notice the instruments purposely clash to create a pleasant experience. I'm no art analyst so I can't explain how it works, but I believe the lighter instruments create a busy atmosphere for the vocals to break through gasping for a platform to let out his troubles, hopes, or frustration. Segments like "you breath in, you breath out..." demonstrate the latter. Then we have the most popular song, "Sweet Thing." Unlike the others, this one is optimistic, full of aspirations of the future. My favorite instrumentation, and I love that heavy string arrangement sound bit that interrupts the lyrics. I also really like the trend of the instruments and vocals getting increasingly intense as the song goes on, only to often get a avant near the end. "Cyprus Avenue" also has pretty instrumentation work between the double bass, harpsichord, and flute. How often do you see these guys working as team players? It's like a classical arrangement but also jazzy and also blues-like. Next song is an out-of-place but still excellent short jazz arrangement. Sure it doesn't fit, but I think it's inclusion helps break up two deeply emotional and pretty tracks that reminds me of Sufjan Stevens. The next track, "Madame George," is another favorite of mine due to its nostalgic yet often distracted lyrical content. The next song "Ballerina" has my favorite vocals, changing emotions so much in those 7 minutes. Last track doesn't do anything special the others haven't already, but I do love the solemn, abrupt ending. Those last few seconds almost sounded like Velvet Underground, which indicates to me drug addiction, but then again I'm not sure VU was influential at that time. Anyway, love this album from start to finish, with something interesting about each of them. Mostly coherent (that heavy jazz track). This is something I'd only play to pay attention to, as a pleasant way to pass the time or take inspiration from.

Their first of many great albums. This is their poppiest of their albums through Dirty (haven't listened to any after), and so this makes for a great introduction to Sonic Youth. Immediately in the first few songs you get a taste of who the singers are, the level of experimentation, and what style of rock they're going for. This is a slow transition from the no-wave of the previous two albums, but they're still quite distinctively punkish, relying more on noise rock and experimental techniques to create haunting noises. It often feels like the vocals are trying to fight more space against the dissonance and grittiness. The album flows really well from track to track. This isn't a masterpiece, especially not when compared to Daydream Nation, but it's still an excellent album that I'll be listening to time and time again. I can't even list my favorite tracks because I love all of them so much, except maybe "In the Kingdom #19" but it's still an amazing track. I found the lengthy closing track to be a great way to finish the chaos that is this album.

Makes me wish I was there in person. Starts out with three of their most classic songs. Lots of awesome improv and audience participation. There are of course the weaknesses of live albums, but this is by far the best I've listened to, and again I wish I was there to see it all go down.

It's raw, dark, and distinctively gothic. Very true to the punk formula but really takes the "screw everything" to an entirely new level. Vocals are bad. Production is off. Instruments clash. This all sets a high level of dissonance and chaos that makes for a haunting listen. Perhaps a "so bad it's good" situation. However, I feel their previous album did this a lot better. This album is still cohesive but experiments too much without having the ideas flourish as desired. The first side is pretty great, and if the second side were the same, I would have given it 4 stars. The second side of the album is way poppier, feeling more like a "dark New Wave" people can dance to. "Kick in the eye" is great, "The Man with x-ray eyes" is decent, "Mask" is ok (too experimental but I like it), and "In Fear of Fear" and "Muscle in Plastic" are poor choices. Favorite tracks: The Passion of Lovers, Hallow Hills, Kick in the eye

Seminal big beat album that would influence electronic music for years to come. Tracks are among the most impressive pieces of electronic music I've ever heard, succeeding in making such a hard abrasive sound work so well. The three top hits are masterpieces. "Narayan" and "Climbatize" are just as impressive in demonstrating Liam's immense talent. The other songs are all great, with plenty of variation to keep anyone engaged in any song. The tracks are spread out in a way to keep the flow going uninterrupted. There are no out-of-place or drawn-out tracks. There's no way I could give this album anything less than a perfect score.

Another excellent Sonic Youth entry. Still abrasive and signature noise rock, but it's lighter and more accessible than prior entries. Lots of tracks are still post-punk in nature, while others are clearly influenced by the growing grunge movement. I absolutely love their sound, and here it's the most melodic of their "noisy" albums. Most songs are at least great. As usual, my favorite songs tend to be where Thurston is the vocalist. "Sugar Kane" is for fans of "Teenage Riot," and is probably their poppiest. I love the constant noise shifts in that song. "Theresa's Sound-World" is another song I really like, and it best demonstrates their grunge influence. I feel like the album picks up from "On the Strip," which alone is my favorite Gordon song. The rest of the album feels mellower and poppier: songs you could sing along to and rock out to the noise. I felt like the "Purr" would have been a better closing track than "Creme Brulee." Although not as coherent as prior albums, it still retains the characteristics that had made Sonic Youth stand out for so many years, influencing alt rock for years to come.

The first album to master blues rock which would dominate hard rock for decades to come. Establishes Eric Clapton as one of the greatest guitarists of all time, even before his Cream and solo careers. Great vocals that match the blues genre, and excellent drums, but again the guitar is the star here. Being such an early 60s album, it's full of filler (my pleasure derived from just Clapton showing off), but even those are worth studying for Blues Rock 101.

As a non-country fan, this double-length feature doesn't bode well with me, especially for the more traditional songs near the end. I like the psychedelic sound and abstract lyrics. But songs aren't very coherent. I mean, just look at the first three and how different they are. Please reorder the tracks. "Misunderstood" sounds like something that I should like, but it doesn't do it for me. "Far far away" is mellow and relaxing but that's all it has for it. "Monday" reminds me of "Rocks Off" by Rolling Stones which is enough for me to like it. There's a lot of power pop and alt rock songs here mixed in with the country base (not sure what people are on about punk). I hate country folk "Forget the flowers." "Red-Eyed Blue" is what I think of when someone says alt country, and it's a pretty good song using innovative techniques to modify the standard country formula. "Hotel Arizona" is another psychedelic song with surreal lyrics I like, but it's not exactly country is it? "Sunken Treasure" is my favorite. Not too crazy about most of the songs on the second side, and I'm not sure how much of this attributes to my distaste of country, but some stand out. And I do admit at least half are decent, even if they don't appeal to me. I hear their later indie rock album "Yankee Hotel Foxtrot" is much more interesting, so I look forward to hearing their progression with this context.

I've listened to PC&L over a dozen times (one of my favorite albums of all time), but this is my first time listening to Low-Life. Each time I listen, it gets better and better. This album marks a gradual shift from New Wave towards dance-pop through the increased use of synth and less reliance on punk. These 8 tracks are absolute bangers. The first and last tracks are slightly weaker and almost deter from a perfect score. But the rest of the tracks are at least near masterpieces. Love the vocals and synth effects. Their music always gets me moving around and grooving the unique sound that influenced much of synthpop to come.

Thanks for introducing me the two tone genre. As a punk fan, I absolutely love this fusion with ska. It's jazzy, danceable, and full of punk energy. Lots of diversity in these tracks, setting the standard for later ska bands to follow. They don't repeat the same trick twice; it's full of surprises. Although all the tracks are good, I feel like it fell short starting with "Too Hot", but picked up again with "Blank Expression." Favorite tracks: Gangsters, A Message to You Rudy, Doesn't Make It Alright, Stupid Marriage, Too Much Too Young, You're Wondering Now

Really decent effort in Morrissey's solo career. I noticed an abandonment of the heavy synths of his earlier solo albums in favor of more modern techniques. But his voice is still so direct and emotional with lyrics on matters the character is so terribly confused about. Production techniques (e.g. the background conversations in "Spring-Heeled Jam" or bells in "Billy Budd") work super well and complement the subjects. But just like the synth-heavy sound of The Smiths, the melodic symphony amplifies the emotional energy of the songs, giving an entirely new perspective of Morrissey's artistry. Album reaches it's creative peak in the middle. Beginning felt slow, and last few tracks stagnated (but had a fitting closing track). Honestly, I do much prefer the 80s albums, but I do admit this is a very impressive 90s direction of his career. Favorite tracks: "Hold on to Your Friends", "Why don't you find out", "I am hated for loving"

Dylan makes a comeback with this original album that looks back to roots and ignores the advancing technology of the late 90s. His voice has clearly aged, and the songs' subject matter reflects on that... Although not as much as the media believed following Dylan's hospitalization. The tracks are long and slow, putting an emphasis on the introspective lyrics going at their own pace. But for the mediocre songs, I kept thinking 3 minutes in, "how much longer is there?" This is a difficult thing to adjust to if you're not used to it, or if you're not in love with all the tracks which I certainly am not. Examples of songs I couldn't stand much include "Trying to get to heaven" and "Can't wait". "Dirt Road Blues" is a decent song on its own but ruins the mood. Then there's the most popular track from this album, "Make you feel my love" which is the most 90s-sounding track from this album. It's no wonder it's been covered by so many artists because it sounds nothing like a Dylan song, which cheesy lyrics and dull melody. (Adele improved the sound so much... but you can't help the lyrics.) That being said, I enjoyed just closing my eyes and listening to many of the tracks. "Love Sick" was a great opener with excellent modern production value and engaging and emotional lyrics. Most of the first half tracks were pretty good. "Not Dark Yet" is the highlight of this album, with the best vocals and lyrics, with its sound second only to "Love Sick." The rockabilly "Cold Irons Bound" is another great job, but I mostly like it for the rough sound and vocals. Not sure how it fits with the rest of the album. The closing track "Highlands" was aesthetically pleasing to just sit back and relax to. Has a swamp sound that reminds me of CCR. Overall, I think it's a really decent 90s attempt by Dylan. Some problems that could be mostly resolved by skipping a few tracks. But otherwise really great tracks that work well for the aging Dylan.

A band like no other in their greatest album. This is one of the most aggressive political (non-hip hop) album I've heard, covering themes of anti-capitalism, police brutality, the power of the people, eurocentrism in education, and even government conspiracies behind the deaths of MLK and Malcolm X. There is energy behind each of the tracks, carried out by the ingenius innovation of combining metal and rap (two powerful genres that achieve separate goals) in a way that has never been done so well before. Not to mention the incorporation of funk (you can really hear it in "Wake Up") to engage the audience and get them moving about. De La Roche has one of the most recognizable voices in the music industry, carrying out insane deliveries of his political messages. This isn't singing or rapping in any traditional means, but employing his team's instruments and his grunts to express himself freely. But by no means is he the sole star of the show. The guitar solos are among my favorites. The bass line and drum work are also incredible, creating a unique melody that makes the tracks not only distinguishable but also creates a medium for the guitar and vocals to shine. On top of their instrumental collaboration, all members of the team had contributions to the overall art direction of the album, and you can really hear each of them in each track. No one is left behind. There are absolutely no weak tracks here. "Bombtrack" is the perfect intro track. "Killing in the Name" is one of my favorite songs of the 90s. Some tracks are lighter to help balance the intensity of others, focusing more on the artistic sound (e.g. "Bullet in the Head", "Fistfull of Steel", and "Township Rebellion"). I love that epic two-minute end of "Freedom" that refuses to close out the album. There is always something to like about each of the tracks. If I'm ever in the mood for something with so much energy but also melodic, Rage Against The Machine is what I'd go with.

Anyone notice how this album flips between power pop and punk with literally every song (up until the 3 three tracks which are all punk)? What's up with that? Album is coherent, with decent tracks, especially in the beginning or near the end. Middle tracks aren't very good. Nothing I'm particularly crazy about, but those first few songs are catchy, and the last few have that strong punk energy.

Alt rock album containing several piano ballads with a mature, sexy voice likely inspired by Alanis Morissette. Some praise the album for her songwriting, and they are at times poetic, but I find them to be shallow and heavily carried by the vocals and accompanying instruments. Production is excellent here, but that's nothing spectacular of the era. I like the first four songs, but after that it's mixed.

How the hell am I supposed to rate an artist that intentionally does its own thing? What standards do I put them to? I pity anyone who has this as one of their first albums to rate. This is a "post-punk" album. A huge stretch on the "post." It's wacky and weird, similar to Devo or Talking Heads. In fact, the vocals sound like Byrne. Note this is an incredibly inaccessible album, and only fans of post-punk could even tackle something like this... after several listens. The tracks can be aesthetically pleasing, but it appeals to niche groups, despite having characteristics reminiscent of (almost parodying) pop music. These experimental sounds are made mostly by the abuse of synths that had only recently emerged and would late dominate pop music, so maybe that's what I'm hearing? But it also stems the busy, dissonant instruments that often clash, but it doesn't bother the audience. It works, and that's why people can appreciate it. But I'm not talking about whether it works. That just means it's not complete trash. This album serves more of an artistic purpose than as a piece of media to play on radio or at a party or to a group of friends without an appropriate introduction. In fact, the only people I would recommend this album to are people really into both post-punk and surrealism... they'd have to already like Talking Heads or Devo. Can we talk about the actual tracks though? I swear I could have written this by only listening to the first two. Ok fine, here goes. So "Navvy" starts out good then the record scratching then bellowing indicates we're in for a surprise. It's melodic but the record scratching effect can be found bothersome. The overall production is otherwise fine. "On The Surface" is a decent track; I like everything besides the vocals, even that background vibration that can be found to be again bothersome. "Dub Housing" gets increasingly busier as the song goes on, and it only slightly lightens up when the vocals come back. That bothers even me. But I like the end, especially the brass. "Caligari's Mirror" has a nice gothic melody to it, but fuck those vocals... is it parodying The Rolling Stones? "Thriller" is interesting, reminding me of the aesthetic of vaporwave, but overall too conflicted to be pleasing. And then it gets into earrape. Then we get the most punk track on the album, "I Will Wait" which is probably my favorite. It's perfectly fine. In "Drinking Wine Spodyody," I like some ideas, but overall hate the sound and especially the vocals. Maybe I'm comparing the vocals too much to Byrne, who I think works really well with his music. Not here though. I don't have much to say about "Pa Ubu Dance Party" other than I don't care much for the sound... it gets annoyingly busy near the end. Then we get the fuzzy dissonant track "Blow Daddy-O" which I actually like. It reminds me of the Jesus and Mary Chain and shoegaze music of the late 80s and 90s. Kinda boring though since it goes for almost 4 minutes without any interesting shifts. The closing track "Codex" is fine. Works as an ok way to end of the album smoothly. Vocals still suck. Maybe a bit longer than welcomed. I was debating over what the final score should be. It could have been quite literally any number as I phased through the tracks and kept relistening. In the end, I'm settling it for a 2. Sure, niche people can like almost everything on the album, but there are a lot of problems that are near-universal. I'm not here to judge an artist's intentions. They can do whatever they want. But the problems I have impede on its overall quality too much to warrant a decent score. I may come back to the album if I'm feeling a little freaky, and I may recommend or play it if the opportunity arises. But yeah, this is a 2.

A surprise yet contributive member of the garage rock revival movement of the early 2000s. Why do I say that? Unlike The Strokes or AM or who stay true to their formula from start to end, The White Stripes makes gradual shifts in genres from track to track. It starts out with "Seven Nation Army." I know what this song is. You do too. The deaf know it. It's become an international sports anthem. It's simple yet beautiful, and between the lofi technology and raw energy, it's distinctively garage rock while at the same time sounding nothing like the band's peers. After that we get into a song "Black Math" that actually does like the garage rock of their peers. Both of these songs demonstrate Jack's masterful craftmanship of fuzz reminiscent of 60s and 70s artists that serves as the source of garage rock. Next we have a Beatlesesque garage rock track, a power pop fusion track, a minimalist blues track, another power pop fusion, then a folk-rock track. They're all great memorable tracks that sound nothing like each other while still remaining perfectly coherent in the coherency of the album. The first four tracks have recognizable melodies. "In The Cold, Cold Night" is a bit simple, with Meg giving a go at the vocals. And although she's very much a novice, the track is pleasant, smooth, and has its own place. Maybe it's the echoey lofi sound that I can snap to. The second half songs starts with a long blues rock track "Ball and Biscuit" that best demonstrates the fuzzy distortion that reminds us of the likes of Deep Purple and Jimi Hendrix. It's a decently good track, and doesn't feel like it drags on. From there, the rest of the album (except the last) is rooted back to garage rock. I really enjoy most of these tracks, despite not loving any of them besides maybe three of them. I noticed that it feels more like a solo album, with Jack leading on instruments, vocals, and artistic direction, but I love the simplicity in the drums (and some vocals) that Meg offers to the songs, that amplify the lofi effect and carries on the spirit that it really does sound like something from a garage. Of course with such a small team, it relies much on double tracking, which isn't a problem. It makes the album feel more modern and ironically better produced. I really enjoy the direction that the album took with genres. Good track order. It felt refreshing and exciting. I felt like if the second tracks 9-13 were moved near the front, it would feel boring and repetitive. But the end had us rocking after becoming familiar with their personality and tricks. I feel like I'm underrating this. I definitely will rotate this album with the rest, but I'm not in love with the tracks as I'd like to be. Note I never heard any White Stripes songs beyond 2 or 3 of them, so it'll take some time. But for now, it's a fantastic garage rock album with a distinctive sound and more strengths than I could count.

Decent raga trip hop tracks with some catchy Britpop tunes. My favorite parts of these songs are how they incorporate raga using modern production methods. Funky, unique, and reminds me of vaporwave, but otherwise I'm not sure they really hold up well. The first track is alright. The second track, "Brimful of Asha," is dangerously catchy and will haunt me for the rest of my life. The rest of the more Britpop tracks are not very good. Overall, a good display of raga trip hop tunes and a catchy Britpop song or two but otherwise nothing spectacular.

Soul jazz is another interpretation of incorporating R&B into jazz. It's groovier with a heavy emphasis on rhythm. But it's also repetitive. And this isn't necessarily a bad thing. This kind of music was not designed for active listening. It's pleasant and sets a mellow mood, perfect for playing in the background of a restaurant. In terms of the tracks themselves, the first is the star. Love the organ. It sounds so familiar but I can't put my finger on it. The others each have their own personality. That keeps things interesting. But yeah, without much variation, it's hard to actively listen for more than 6 minutes on each track.

I'm not much of a Neil Young fan. I've only listened to Harvest and several of his hits. But apparently, he has a long career of doing whatever genre he wants. That being said, I can only hear him doing folk / country rock. But here we have a forerunner to grunge, an album that Cobain would cite as an influence for Nevermind (of course Young didn't invent grunge: Bleach came out a year before). But here we have a garage rock style of rawness and high level of distortion and feedback. That being said, all the songs are just decent. The first few are pretty good, but nothing spectacular. Certainly, no hits with the lengths of several of these tracks. The last three tracks were also good but somewhat forgettable. Regarding the lengths, I think it does more harm than good. "Country Home" and "Over and Over" worked out well. I felt like "Love to Burn" could have been cut a few minutes short in the middle, but I did enjoy the end solo. And I was not a fan of "Love and Only Love," so I felt its length was not welcomed. Best overall track: Country Home Classic Neil with a twist: White Line Best riffs: F*!#in' Up Grungiest: Farmer John Catchiest: Mansion on the Hill

If it helps, imagine they're playing at your college campus. Now that would be impressive. Allman Brothers is known for their hits "Midnight Rider" and "Ramblin Man," although "Jessica" is just as amazing (I blame it being a long instrumental). They're a jam band appealing to hippies all over the country, and this album is the equivalent of Grateful Dead's Live/Dead... except less folk and a lot more blues. In fact, they were both filmed in Bill Graham's venues, just on opposite corners of the country. The album starts off a little weak, but this might just be getting people comfortable while others are still coming in. It is a live performance after all. Second track has some nice instrumentals here and there. Third track is mellow and helps compliments surrounding tracks. Instruments start to get real crazy with "You Don't Love Me," and that energy to carried to the very end. "In Memory of Elizabeth Reed" is a jazzy piece that starts mellow but really picks up about a third in. Love it. And then finally there's the best track: "Whipping Post." For a live album, it's really good. I'd love to see them perform live. It's the improv that keeps each performance new and exciting. But the lengths do not translate well when it's just your ears and a computer. Maybe if you saw an accompanying video it would help. But it's not just that. None of them really hold up in a studio album standard. The songwriting is poor, the vocals only work well in "Whipping Post," and it's the crazy improv instruments that people are engaging for. There are things I can point out that I like about each of the tracks. But again, besides "Whipping Post," I can't say any of them are spectacular standalone pieces. Only in the context of a jam.

Kurt Cobain's favorite album of all time. It's the seminal garage rock band The Stooges made at it again for the third banger of an album. It's important to know there are two mixes of the album to listen to: the '73 Bowie mix, and the '97 original Iggy mix (released as Rouge Power and linked by this website). Where the Bowie mix is more accessible and well-polished, it muffles the instruments and Iggy's grunts. A lot of people prefer the nicer Bowie mix over what they consider to be a busy mess. Yet others, myself included, prefer the raw, angry original. Personally, I found this to be the weakest of their three albums. It doesn't have the charm and catchiness of their first album, nor the degradation from pop to jazz madness that defined their second album. What does define this album? Well, first of all, even though I prefer the Iggy mix, I think both are bad production efforts. The Bowie mix feels dull compared to the other. Yet the Iggy mix is too busy. And just hear all the production mistakes on the first song in both mixes... how is this the album's most played song on Spotify? Oh yeah, it was the lead single. I like the second half of "Gimme Danger," everything from the vocals to the guitar trying to pull of its own thing, and the crazy bass taking control. I like the contrast of the celesta in "Penetration." Iggy's grunts and vocal sounds tend to be my favorite part of these songs. My favorite song is "I Need Somebody." Not sure if it's because it sounds like "The Passenger" or what. But one thing's for sure, this song and "Gimme Danger" are the two ballads... so maybe I just don't like their punk as much as I thought I did? Now, I admit the songs in themselves are really good. There's all sorts of influences of rockabilly ("Raw Power"), blues ("I need somebody"), and proto-punk all over. There's a lot of diversity here it's impossible not to like anything from every song. But someone seriously needs to run this into a better production attempt, more like the Iggy mix, but fixing up the bad sound when it gets too loud. Both "Search and Destroy" and "Your Pretty Face..." are in desperate need of better mixes. It does hold up to the album's title, being such a raw album but with excellent instrumental work and powerful vocal delivery. But overall, Raw Power did not stick out as much to me as their other two albums did.

It's about damn time. 136 albums and I finally get a Beatles album. I calculated the probability and there was supposed to be a nearly 2/3 chance I should have already got a Beatles album by now. But finally. This album is underrated. I said it. Why? Just look up people's reviews on this page or on reddit or wherever. They'll say, "Oh well I prefer this later Beatles album" and of course you do, the innovation in instrumentation, songwriting, and production spirals out of control following Rubber Soul. But you can't unfairly give this a lower rating cause you have to compare it to something entirely different. Anyway... This is my favorite pre-Rubber Soul album. No covers. Full on McCartney-Lennon pop songwriting genius from start to end. There's something to love about each track. Let's start with the songs I think are perfect. "A Hard Day's Night", "If I Fell", "And I Love Her", and "Can't Buy Me Love". Between superb vocals, complex chord progressions, impactful lyrics, and a fistful of energy and punk, these songs reflect exactly why they're so loved. It's hard to even come close to mimicking these songs, even if you knew their secrets. There are some interesting quirks here and there, like how in "Any Time At All" it feels a bit empty, and yes it is supposed to have more lyrics, but it doesn't detract the power in Lennon's voice, McCartney's high pitch support, and catchy melodic tune. Even "weaker" songs like "I'll Cry Instead" have interesting chord changes and instrument choices that don't make for a dull experience. The Beatles are a pop sensation, and I swear it's really hard for me to write what I love about Beatles albums. I discovered the entire Beatles discography when I was 10, and I never listened to any other album until I was in college. I kept playing those same albums on repeat for years, and even now they're my most frequently visited. I can sing along to every song in their discography. So how can I tell this is worthy of the 5 stars? I can measure how much I like each song but how excited I am to sing along to each of them. So a song like "Dizzy Miss Lizzy" I don't feel much a push to sing along to, and likewise "I'll Cry Instead" I'm the least enthusiastic about. Is this a bias toward catchy pop songs? Well, after knowing all the lyrics to the Abbey Road Medley or the unusual picks in Sgt Pepper or White Album, I don't believe that's the case. Just the ones that really grab my attention. And with this album, more so than any other pre-Rubber Soul album I can belt all the lyrics with some degree of intense enthusiasm. There was nothing that even came close to The Beatles in the early 60s. At least later in the decade you had rock albums by Rolling Stones, Beach Boys, Pink Floyd, Love, etc... but not this early. You were dealing with the likes of Bobby Vinton and Andy Williams... who cares? This album more so than the other pre-RS displays their incredible level of innovation that everyone would follow and adapt to. It's important not to disregard these early Beatles albums. When I'm looking for classic rock n roll, early Beatles albums will always be the first place I look.

Ok fine you got me this time, website. Yesterday, I rated A Hard Day's Night and claimed not a single rock album came close to them this early in the 60s. And here we have a bombastic live album that came out the very same summer. First of all, I wanted to note that the Spotify version is softer and doesn't even include all the songs, so stick to the Youtube playlist... even though the pause between songs is annoying. This was a time when rock n roll artists had just a couple well-known songs and then they would just do covers of other rock n roll stars. And when those ran out, they would seek out the R&B songs. The Beatles are also a victim of this, just look at Beatles for Sale which is mostly covers. But at this point, 1964, rock n roll is about over and rock has already begun evolving from dance-craze madness to taking inspiration from blues (Rolling Stones, Clapton), pop or folk tunes (Beatles, Beach Boys, Dylan), or raw garage style (Kinks). The classics have already been established by the rock n roll legends. And here we have Lewis, one of the former legends himself known for "Great Balls of Fire" and "Whole Lot of Shakin Going On," taking people's classics and spiraling them out of control. These songs are wild that go beyond any studio effort you see in classic rock n roll. They're fast-paced. The instruments are loud. The vocals screech are raw and screech with passion. You can hear the audience go wild in each song, and Lewis engages them between each song, encouraging them to get loud or dance. Even the way he talks to his band member, "play it right," is just hilarious and gets the audience excited for what's to come. Remember these are classic songs everyone knows, and Lewis is putting his crazy spin on them. Just take "Money That's What I Want" for instance. I love the twist he put on those last two minutes between his vocal sounds and the improved instrumentals. But all the songs have this insane wailing or grunts that carry the spirit of rock n roll. I've got to be honest, I didn't think I would ever give a live album 5 stars. But the weaknesses I typically face in live albums isn't here. There aren't any long tracks that make for unpleasant listening exercises (looking at you, Allman Brothers' At Filmore East). And the lofi sound works really well with Lewis's rawness. Meanwhile, it's full of classic hits and has energy and power that you couldn't possibly find in a studio album. Other albums like Frampton Comes Alive and Thin Lizzy's Live and Dangerous were full of fillers and suffered from lack of engagement. This is everything I'd want in a live album, and I'm happy to say it is so far my favorite.

A very accessible and influential album in the realm of thrash metal. Created the genre groove metal and would inspire later 90s albums like nu metal (e.g. "No Good"). Incredibly coherent and easy flowing album with diversity here and there. You got catchy songs and loud mayhem songs. You got slow ballads and rapid playing. Some really amazing solos. All the tracks are good, but I felt the second half was somewhat lacking (except "Hollow"), although they had their great solos and gimmicks, like the sudden stops in "By Demons Be Driven." Catchiest song: Walk Best soft song: Hollow Best hard song: Mouth for War

Appetite for Destruction encompasses one of those conglomerations of genres that include hard rock, glam metal, and arena rock, making up mainstream rock of the 80s and 90s (would compete with "alternative rock" following grunge's popularity). For the years prior to this album, most of albums in this realm were fairly generic and full of filler beyond a couple great hits. The big names were doing ok. Def Leppard and Bon Jovi were doing alright with just a few filler. But Van Halen got a new singer, Motley Crue hadn't come back from their debut yet, Poison relied on just their singles for album sales, and then there are the hundreds of other long haired hard rock bands that would produce one generic hit that would get a ton of Mtv rotation and then the rest of the album would try to sound exactly like that one song. The subjects were drugs, women, money, fame, whatever. Rock star junk. But Guns n Roses changed everything. They made the transition from "glam" to "hard" in mainstream rock. It was less about catchy pop hooks and riffs, and more about cohesive songs where intense emotion and engagement was supported by the vocal style, melodic shifts, and direct or confrontational lyrics. And in this album in particular, Guns n Roses mocks the traditional rock star subjects. "Paradise City" is the perfect example of both of these points. The subject is looking back, not forward, and longs for this nostalgia of a once better time. You can hear it in his voice, his pleas, his cries. I think it's genius how this song incorporates the solos, the faster pace, and stripped-down chorus at the last two minutes to enhance the desperation. Oh and I love how some of these songs just end on a bang like this. So satisfying. The album is full of great tracks. "Welcome to the jungle" is a very fitting opening that is also a very good example of everything I described above, and also eases the audience into what the album will be about. The next few tracks are all superb. Love how every instrument has its moment. No one gets left behind. Some softer songs like "Mr Brownstone" and "Sweet Child O Mine" keep the flow going, diminishing the oversaturation of the hard sound that would otherwise feel repetitive. The latter song in particular has one of my favorite guitar melodies of all time. If you play me any two second incerpt of this song, I'll immediately know the song and how the rest of the melody goes. The track ends with another great track, "Rocket Queen." Love that shift in melody and subject in the second half of the song. Weaknesses? Yeah, I said the softer ballad-like songs help diminish the feeling the repetition, but yeah when you have so many hard songs back to back, it becomes a little exhausting. And besides the two I talked about, the second side is full of duds. "My Michelle" is ok but the other three are pretty generic and don't offer much if anything to the album. Do these two points detract from a perfect score? No, honestly I don't. The first point is intrinsic with hard rock and metal albums in general, and grows after several listens. And the second point, all albums have some fillers, and it's not like they're horrible or anything. This album is highly influential and innovative, and one of the best hard rock of the 80s and 90s has to offer.

A pioneer of Afrobeat at the intersection of jazz and West African rhythm and instruments. Interesting to hear the political history behind this album and Kuti. Dude married two dozen women and had them his back up singers. Tracks flow well and have a lot of diversity in itself, maintaining the rhythm while trying out various instruments and vocals. Very well produced. You can hear the inspiration of soul and funk, especially in the third track. Fourth track was the weakest but still pleasant and would definitely get a huge applause out of me if that played at my jazz festival.

Impressive guitar and interesting experimental rock sounds. Tracks are incredibly well produced, especially for 1969. Super accessible too despite the avant nature. First three tracks are memorable and energetic. Quiets down after that with an interesting smooth jazz track. Last two tracks are fairly forgetful but have impressive aspects for sure, like the cosmic rock of "It Must Be A Camel."

Feels like a movie. I can hear New Romanticism inspiration. Each song builds up and gets straight into the action. Transitions are seamless from track to track. As I've said many times before, I'm a sucker for synth. But this is really good this time I swear. It's energetic and full of great innovative synth sounds from beginning to end. There isn't a track I'll dance off to. I'd only heard "The Look of Love" before but damn. Gets milder but still carefully crafted on the 2nd side. I really love this, but I admit a huge part of it caters to my interests. The songs go a bit too far unnecessarily at times, and some songs may sound repetitive if you don't groove to them.

Takes the good things about country (e.g. melodies and instruments) and fuses it with post-punk. It works well, and it's highly innovative, but it looks like it never quite caught on. Maybe because the genre is just punk with country inspiration, and that's not enough of a gimmick to lead a movement. The tracks are all interesting and aesthetically pleasing. The first half is the most experimental, and it takes more inspiration from indie rock and pop than country. It's not coherent and the production feels like a mess, but they're ok. It wasn't until "Psycho Cupid" where I felt a bit annoyed. Which is perfect because the second side switched gears and actually reminded us what this album is about. Country and punk. Those last few songs flow together well and use country influences super well. I almost feel inspired to try what they did to punk. I don't think it's a masterpiece like others think, but it's different in a really good way, and I would give the album a 4 if both sides were like this. Favorite song is "Last Dance." It's like if a country club accidentally invited a punk vocalist but decided to go with it.

The transition of Dylan's career into more rock-oriented music. I blame The Beatles... they met before the production of this album and poof. No coincidence. Also explains the electric instruments in the first half, which I actually like but forms a dynamic contrast with the second side, longer acoustic songs. The electric sound doesn't work well with the traditional folk ("She Belongs to Me" and blues ("Outlaw Blues", "On the Road Again") songs, and I can understand part of the flack he got from fans, but it's amazing with the fast-paced free-flow songs like "Subterranean Homesick Ali- Blues" and "Maggie's Farm." We get into more surreal lyrics with these songs, making for more engaging songs. For non-Dylan sounds, the combination of electric instruments and intriguing lyrics can help introduce them better than any other album. I'm of course referring to "Love Minus One" as the epitome song, but "Bob Dylan's 115th Dream" and the second half are full of such long and drawn-out surrealism, ranging from humour to calming psychedelia. Second side transitions back to acoustic with the star track "Mr. Tambourine Man." Which version is better? Who cares? They both serve different purposes. Melody and Dylan's voice are crisp and soothing, Love the harmonica bit best in this song and additional surreal verses. Flows really well with the rest of the album. "Gates of Eden" is weak but poetic lyrics. Trophy for best songwriting goes to "It's Alright Ma." Love the subtle emotional shifts in his voice at certain points. Ends smoothly with the simple yet soothing "It's All Over Now Baby Blue." Some really amazing tracks on this album. I'm a bit biased since this coming string of rock albums appeals to me more than the folkier stuff. The most imaginative lyrics in his discography helps reinforce Dylan's status as one of the greatest songwriters (although the best had yet to come). Even the weaker tracks add diversity. "Gates of Eden" is the only song that overstayed its welcome, but I was interested in hearing the verses like a storybook.

My second favorite The Who album, the one that firmly established the rock opera genre (although SF Sorrow came first). I argue it is also the second best rock opera after The Wall. Production is among the best of the era. Lyrics are clear and spread out enough for people to understand what's going on. The short interludes help with the synopses, while the songs may be short or long but covers some central theme in Tommy's story. The music, often hard, psychedelic, or orchestral, perfectly reflects the subject. Tracks blend in really well, and it truly does feel like listening to a movie. There's a lot of diversity in these tracks, but besides "Pinball Wizard," I'm not hearing any hits. (Oh fun fact, pinballs were illegal at the time of this album release, so the song showed Tommy as a social rebel.) They could all just fly by if you're not paying attention. It doesn't help that the album's double in length, so a bunch of not-so impressive songs with lyrics you need to pay attention to can be an unappealing experience. The psychedelic instrumentals help keep things interesting for the most part. The opening track was a great choice, but the closing track felt a little rough. These weaknesses would normally justify a 3 star rating, but the fourth star comes from the storytelling, innovation, and diversity in tracks. Favorite Tracks: Sparks, Eyesight to the Blind, Christmas, Underture, Pinball Wizard

Practically flawless funk album. Only previously heard Maggot Brain, so this felt much more traditional. All the tracks are flawless. Didn't even notice how long they were until I needed to use the bathroom but decided not until the song was over. Rock comes in the later tracks. I was a little nervous because Eddie Hazel wasn't in this album, but no, this guitarist is insane. Works really well creating the funk rhythm. Vocals are superb. It's a whole crowd having fun, full of humor and energy. All the vocals, rhythm, and instruments work in harmony together. Everyone works together to create what I consider to be the pinnacle of funk. Gets milder in the last two tracks but still great tracks. Favorite tracks: "One Nation Under a Groove", "Promentalshitbackwashpsychosis Enema Squad"

Folky country rock album by Gene Clark of the Byrds. At first I was like oh boy, this much be inspired by Sweetheart of the Radio which is pinnacle of country rock. But no, he left after the first 3 albums. He wrote a ton of the early Byrds songs... Although I don't think any of them matter besides "Eight Miles High." And yeah, this album was underwhelming from start to finish. For a songwriter album, the lyrics were awful. They often don't really go anywhere and use the same techniques over and over. It just gets repetitive and tiresome. The best lyrics are from the only song (besides Stand by Me) not written by Clark... Bob Dylan lol. Speaking of Dylan, Clark tries to hard to sound and write like him, without having an idea how those songwriting techniques or harmonica are supposed to work. And what do you get when you have a songwriter album without good songwriting? You get whatever's left of the music and his vocals. His vocals sound ok, and appropriately reacts to the subject matter. I think the lyrics drag him back. Except on Stand By Me, it sounded like your average guy trying to sing the song... They try but they don't put any appropriate emotion into it. Overall, the melody is dull and uninspired. There's a thing or two to like from each song, but with basic chords and instrumentation, there's little to look forward to with each song. This isn't a bad album. Every track has flaws which prevent me from calling any of them "good." And if you're not good but still pleasant to listen to, you're ok. It's an album without much substance, creativity, or influence to warrant its place on this list.

Nice electronic / trip hop music to listen to but doesn't grab my attention. Tracks are too long without going anywhere, compared to say the Big Beat genre where songs evolve consistently throughout the song, justifying their lengths. There is diversity in these tracks, "My Mate Paul" like house, "Let's Get Killed" like a scifi rave, "Rodney Yates" like jazz, etc. Not enough to leave much of an impression. Vocal overlays are ok. Highlights are "Rodney Yates," the James Bond "Radio 7," and "Don't Die Just Yet."

Adrenaline rush from start to finish. Tracks keep jumping without a moment's breath. Really puts the prog in prog rock by taking inspiration from all sorts of classical genres, from the namesake opera ("Bohemian Rhapsody") to ragtime ("Good Company"). There are the really poppy songs. The true-to-form hard rock songs ("I'm in Love with my car"), which gets even heavier, metal-like with "Sweet Lady." The beginning of the folk '39 sounds like it could have come out today, especially with that beat. The songs are catchy and fun to sing to. Production sounds amazing. Weaknesses? I'm not sure this is a weakness, but I felt the diversity in genres could be a double-edged sword. On one hand, it grabs your attention the entire album, interested to discover not just what the next song will be, but what the very song you're listening to will sound like in a minute. On the other hand, they don't share much in common beyond the high energy, and it can be kinda exhausting with the sound constantly changing with each passing second. I think a better example of genre-blending is LDIV, but I don't think this deters from a perfect score. The songs can stand on their own. Each song is interesting to listen to from start to finish. There's really not much to dislike about anything about this album.

A little over a month ago I gave a mixed review of Wilco's Being There but said I was looking forward to the "indieheads essential" YHF. Well here we are. And color me impressed, every track stands out... no filler. Simple melodies, some catchy, some super experimental, with an aesthetically pleasing folky voice that reminds me of Sufjan Stevens. By far, the star of the album is the creative songwriting, covering themes of angst and existential dread. I really love the lyrics. My favorite is on "Ashes of America." Lyrics are full of literary devices that evoke imagery that speaks of the narrator's twisted and often flawed mindset. Vocals perfectly reflect the melancholic tone. Experimental techniques often reinforce the confusion and anxiety. However, this is also a double-edged sword, it gets a little too obscure. Especially in that first song. It took me a few listens to come up with some attempt of what they're talking about, and then to read interpretations online. "Oh so he's a drunk driver who improves his alcoholism from the size of an aquarium to a dixie cup." This can be a distracting (or engaging) experience for new listeners, making it slightly inaccessible since the songwriting is the main shine. The other fault that prevents this album from being perfect is the cohesion of the album. The songs stand really well on their own, and could be improved by some track reshuffling. But as is, the moods expressed in one song get totally disrupted by the next. "War on War" ends chaoticly, then immediately goes to a melodic and soothing "Jesus etc," then the deep introspective and political "Ashes of American Flags," then to the catchy pop "Heavy Metal Drummer." I'm not sure what to feel because it doesn't give me time to breath and prepare for different emotions. The intro "I Am Trying to Break Your Heart" and closing "Reservations" perform their roles well respectively, but the rest either needs to be reshuffled or placed on different albums.

The album that kicked off Dylan's career as a genius songwriter. A pure folk album with blues underlying several of them. Most are based on traditional folk tunes through the centuries. Lyrics cover themes of nuclear war and heartbreak among others. We have some of the most influential songs of all time on this album, starting off with the protest anthem "Blowin in the Wind." So simple yet so powerful, with a juxtaposition between the clear visibility or ambiguity of the wind symbolism. Another protest song "Masters of War" gets increasingly intense and confrontational, what I consider to be a precursor of where Dylan will take music. But that's not the most morbid song. That goes to "A Hard Rain's A-Gonna Fall," one of the most complex songs in his repertoire. The song is full of a hundred stories, contrasting the experiences of an apocalyptic world, whether frightening, pitiful, or innocent in the face of fallout. I love how he just goes on and on. The next side gives us another masterpiece, "Don't Think Twice, It's All Right." My favorite part is how we learn more about our protagonist and his relationship with his ex (with some ambiguity). More than just a simple breakup song. There's something special when a songwriter can get us to change our judgments of the story as the song progresses. Tracks flow really well. All the songs are well written. Although I felt the more blues songs were on the weak side. Album dragged on longer than necessary, but the choice of closing track was good, ending on a lighter note.

I wasn't expecting to like this, considering this is the only pre-Graceland Simon album I never heard any songs from, and I always considered Graceland to be his turnaround. It's a pretty great pop rock album with great songwriting and good use of synths. Most songs are soft, but you have some funky dance tracks like "When Numbers Get Serious" and "Think Too Much (a)". A mix of great, ok, and bad tracks, but nothing outstanding. Haunting way to close the album. Favorite tracks: Hearts and Bones, Train in the Distance, The Late Great Johnny Ace

Another excellent entry by Ice Cube. Vocals are strong and so easy to listen to. One of the best songwriting in the genre of the era. Songs are funky and have great use of sampling. Some have catchy choruses making the album very accessible to newcomers. The two songs I heard before, "It Was a Good Day" and "Check Yo Self" are perfect examples of this. Inserts respond to the public's fear of gangsta rap; they happen a little too frequently but they don't disrupt the flow. Some weak tracks on the second side. "A Gangsta's Fairytale" was one of the humurous highlights in his debate, but in this sequel, the woman's "kid" vocals got really annoying and excessive this time, and the lines are less innovative. "Dirty Mack" was monotonous and the the sample got tiresome. "Who Got the Camera?" is another weak song, but I like the middle inserts and style shifts midway through that keep it interesting. Also enjoyed the closing track.

Smooth and easygoing vocals that give off the same vibe as American 50s classics like Sinatra. Nowhere as good though. Country sound doesn't go excessive like I'm used to. Great production by Booker T. But when all the songs use the same methods, you can tell which songs work well with their style and which don't. Turns out some work super well, but the majority either fall flat or rely too much on people knowing the covers or getting comfortable with Nelson's voice.

The album that renewed an entire generation. Popularized the grunge genre that shifted rock's tone and lyrical subject toward more personal and gritty subjects, relying less on established principles and more on embracing techniques that capture the spirit of the music you play. And here Kurt Cobain embodies this spirit more than anyone else, playing the guitar however he feels like, sounding like no other. This album is one of the most accessible in grunge. With catchy tunes and a pop-oriented focus, anyone could easily recognize and fall in love with these songs. The high production value helps cement these songs as fantastic works. Subject matter is full of grit; the lyrics are unforgettable. Not just the catchy hooks. Love the vocals, but on first listen, some listeners may find it difficult to hear what he says for many of the songs, but after a while it clears up, noticing all sorts of nonsense that characterizes the narrator. Whether that be a windower on the virge of a mental breakdown in "Lithium" or Cobain himself as a self-conscious teenage idol as in "Smells Like Teen Spirit." Some rough songs like "Territorial Pissings" and "Endless Nameless" that allow for Cobain's creativity, something he would get much more of in the next album In Utero. There are so many things I love about all the songs that it's difficult for me to pick out favorites. Of course I sing along to the more well-known pop songs, and I rock out to the less known garage songs. But this album flows perfectly well from start to finish with not a single weak song.

Went in with low expectations. Only knew them by "Town Called Malice." This album is the one that led the mod revivalist subculture that competed with punks and other fashion nuts. It's mostly a punk album but heavily inspired by Kinks and The Who. Album starts out weak but really picks up in the 3rd song. You can hear the Tommy influences in "Mr Clean" and "David Watts." The next song "English Rose" is a nice soft track that grows on me with each listen. The next track "In the Crowd" is probably my favorite. It's catchy and melodic and lots of fun from start to finish. Love the talking instruments and the psychedelic 2nd half. Two more lighter catchy songs then things tone down slightly but they're all great tracks that flow super well. Looking back on it, the only tracks I didn't like were the first two.

Another album that cements post-punk as my favorite genre. A creative artistic mix on the punk formula by incorporating influences from other genres, most notably dance-pop and funk. Embodies the spirit of punk perfectly that follows The Sex Pistols, from the lyrical subject to vocal style to art direction. One of my favorite punk techniques is how instruments and vocals stop suddenly, to allow other elements to shine and have their place momentarily. It makes for an open experience that doesn't shroud the audience with constant noise as other genres do. The bass is my favorite, characterizing each of the songs and making them distinctive. Flows great. Several amazing songs, but none are bad. Favorite tracks: Damaged Goods, At Home He's A Tourist, 5.45, Return the Gift, Contract Least favorite: Guns Before Butter, Natural's Not In It

One of my favorite albums of all time. I could spend all day talking about each of the tracks, but I'll just focus on the overarching nature of the songs. The key aspect is the diversity in genre and styles. The Beatles had just come back from their trip in Rishikesh with nearly their entire career under their belt. Each of the Beatles had creative freedom to do whatever they wanted in their songs, despite the constant bickering in the studio. Many are acoustic written during their Rishikesh trip others like "Glass Onion" follow from their psychedelic trend since Revolver, and others are like nothing else in their catalog (most notably the ska "Ob-La-Di Ob-La-Da" and metal "Helter Skelter"). But despite these differences, the album flows seamlessly from track to track. It's incredibly smooth and there aren't any unintended rough cuts between contrasting songs. I've always been able to tell people exactly what the next song on the album was without having memorized the track listing... only by listening to the current song. "Back in the USSR" which the airline landing calming down the mood from the energetic opening to something exactly the opposite, serene and blissful. Or the sudden "ay oh" and chords from the folk "Bungalow Bill" to "While My Guitar Gently Weeps." Maybe it's because the first half of each song is so distinctive that you immediately know the sudden stylistic shift from track to track. A lot of these tracks don't belong on any other album except this one. They're a lot simpler, and often very weird, but distinctively Beatles. There aren't any bad tracks. Some cases could be made. "Honey Pie" is experimental and could be forgettable by its unmelodic nature, but that trippy sound is ingrained in my mind. "Why Don't We Do It In the Road" is catchy and fun and doesn't disrupt the flow or character of the album. I always interpreted it as McCartney making fun of Lennon's rough vocals, especially since it's followed by "I Will." Yoko's vocals in "Bungalow Bill" is a little annoying, but it grows on you, and I love McCartney's vocal and lyrical refrains. "Rocky Raccoon" is one of the first songs I really paid attention to lyrics, and I recall over a decade ago watching a fan-made claymation on Youtube. I read too much into "Don't Pass Me By" with the conspiracy theories. To me, the climax of the album felt like it started with "Helter Skelter" despite there still being a half hour left. My favorite transition is from the frightening "Helter Skelter" to the peaceful "Long Long Long" that feels like the quiet following a storm. I always preferred the album "Revolution" to the single, but that's probably because I would only hear the single on the radio, while I've listened to this album hundreds of times. "Savoy Truffle" has been a personal favorite of mine. Not that it's on of my favorite tracks on the album, that would be an impossible task for me to decide on. But that no one talks about or references it nearly as much as I do. I love that midway transition so much. Then the avant-garde "Revolution 9" freaked the hell out of my 11 year old mind. I was really confused and frankly scared my first few times hearing it, and I remember recording it on my phone then back-masking it. I blame this song for me liking weird avant-garde songs. Album ends on a lovely note, another quiet after the storm, kinda like the closing track "Radio 4" on PIL's Metal Box. I always underestimate the effect that Beatles music had on my life. If not for the Beatles, I would not be here writing these reviews. I believe it was this album in particular that gave me an appreciation for all sorts of music built on rock and pop. And it may have extended to allow me to appreciate different styles of art, and in general, different people's perspectives. Maybe that's a stretch. Not bad for an album I discovered myself as an 11 year old just because I heard the word Beatles thrown around on the radio along with popular songs I liked.

Haha these are the anti-drug losers. "Kicks" sounds ok, nothing great, but it's just an anti-drug message written by producers for the public to nod in approval. Lame. The Monkees did "I'm Not Your Stepping Stone" better. A generic 60s album that sounds like they're copying the top pop rock and garage rock bands of the era, like The Sonics and The Kinks. Bad songwriting, but there is diversity in the tracks, and only a little more than half of them sound truly awful. I really liked their "Indian Reservation" song from several years later, but not much else.

Takes time to grow on me. Not crazy about any of the songs, but the production and songwriting stuck out to me, and the gospel backing vocals are used well and reinforce the haunting feel that compliments the inspiration from blues rock and gothic rock. No song overstays its welcome, but I think this is more of a compilation of powerful songs, where most of the songs don't belong in this format, as it could be overwhelming for the listener. Makes them sound the same, excluding those exceptional unique moments. "Fable of the Brown Ape" is a good compliment song (innovative yet short and mild), but it is at an awkward place between the two halves. As poetic as it may be, I think he tries a little hard on his songwriting to make it look impressive by directing attention to the same literary techniques and analogies, and it can come off as pretentious. Mood softens in the second half, which makes it slightly more accessible, but is also more forgettable. I think "O Children" sounds really great, and I'm not a Harry Potter fan. Favorite Songs: Get Ready for Love, Nature Boy

An album that shows the genius behind Stephen Stills and Neil Young. Why? Because Richie Furay's songs suck. For reference, he wrote "A Child's Claim to Fame", "Sad Memory", and "Good Time Boy"... awful songs. "Everydays" and "Hung Upside Down" are ok songs by Stills, but they're pretty weak, and my appeal is mostly to their unique sound: the jazz in the former, and the psychedelic fuzz in the latter. Now that the weak ones are out of the way, the other half of the songs are pretty solid. Stills really killed it with psychedelic rock "Bluebird" and "Rock and Roll Woman" which are the catchiest and appeal to a pop album. But the star is Neil Young as always. Starts off with a blues banger "Mr. Soul." For his other two songs, I noticed that in most cases, the highly experimental psychedelic sounds fall flat. But not here. "Expecting to Fly" and "Broken Arrow" are really well crafted and fit right in with the rest of the album. The former is highly structured while the latter has these really interesting transitions that somehow work. So glad that they're dispersed so I always have something to forward to between the bad songs.

Very accessible introduction to raga. You can clearly hear the inspiration it had on The Beatles following Revolver and the genre psychedelic rock as a whole. Simple with the starring role sitar and complimentary tabla and tambura that align in a similar function with our Western equivalent drums and bass. It does its job. It can get people interested in raga to start learning. First track can get people excited. 2nd and 3rd tracks sound the same and are repetitive but still wonderful compositions, and not bad to listen to know for as long as they are. 4th track is a nice change of pace with noteworthy techniques to learn from. Lost interest in the middle but grabbed my attention near the end. Final 5th track builds up slowly then delivers a third of the way in, then gradually becomes more intense as the song progresses. I like it, but if not for the varying speed and intensity, I would not be able to distinguish these tracks. Largely is repetitive and something I'd only play to learn from or have in the background.

My first exposure to the title track was when I was in 6th grade and we read someone's article about them cowering in fear of the communist lyrics. I was never a fan of Lennon as a person. I was a McCartney fanboy and sided with his criticisms. Growing up, I realized I loved Lennon's songs just as much, and honestly I think the title track "Imagine" made me think Lennon was the one in charge of the Beatles ballads like "Hey Jude" and "Let It Be" (turns out McCartney wrote both of them). But these days I appreciate Lennon a lot more knowing that the hard, energetic Beatles songs were sung by his fuzzy vocals. The beginning of "Crippled Inside" strongly reminds me of another Beatles song (from the White album?) but I can't put my tongue on it. "Jealous Guy" is probably my favorite on this album, despite being one of the softer songs I've been known not to be a huge fan of. Not a big fan of the next two tracks. I do appreciate the antiwar sentiment and the psychedelic fuzz in the latter song. Much prefer the second side. Makes sense considering this is where Harrison makes most of his contributions. Many of the Beatlesesque songs on this album certainly feels like they belong on the White album, except much more polished. My favorite of these is "Oh My Love." In fact, I swore that song was on the White album until just today. Such a beautiful song. And yes, even "How Do You Sleep?" is a fantastic song, despite the savagery on McCartney. Album ends on a lovely note with "Oh Yoko" which grows with each listen. Some fantastic songs interdispersed. A few weak songs. But the remainder is great. Coherent and has great mixing and Harrison's guitar work, reminding me that Harrison was not being carried by any means, and dramatically enhances the experience.

It's a very rare occurrence for me to turn off albums early. Usually only happens with double albums that I need to adjust to. When I really need to prevent myself from going crazy, I come back to it later that day to give it another go. But I still just wanted to shut this off after just a few tracks. The tracks are so repetitive and boring. There are some sound effects I think are unique and are of some interest, but nothing significant and just shows the potential they could put in a decent album. It's just filler club music. Some things I like, such as the trippiness of "Bandelero Desperado" for some 30 second span in the middle and the catchiness of "Crazy Love" (which distracts from its repetition). It feels like a high schooler messing around with some electronic noises to sound cool, bringing in some guest singers to avoid people from focusing on the drawn-out sequences. The only reason I'd come back to this album is if I was desperate to steal generic club tracks. I would never want to listen to the whole thing from start to finish again. 2-Step/UK Garage is a shallow, one-dimensional genre that faded like overchewed gum, with this album proving that UK Garage is nothing more than a fad.

Didn't know Courtney Love was actually a good musician. Power pop with post-grunge sound. You can tell she had an artistic vision with most of these songs, utilizing experimental sounds and techniques that I don't think are complete but prevent this album from having a reptitive sound which could be common among most power pop albums. The catchy songs are on the first side, but that doesn't make the second side any less impactful. Great vocals and great backing sounds that make this an enjoyable experience.

First of all, how is this album post-punk? It's full of pop and dance with heavy synths; those are the defining features of New Wave. It doesn't help that the intro track has the heaviest synths, giving off the wrong impression but also pulling people in. I guess it's too close to the punk formula and not as experimental. Second of all, screw this list for giving me so many post-punk and synth albums. It specifically caters to my tastes. I don't think they're influential or outstanding but yet I love them and it's very hard for me to criticize harshly. This is a psychedelic twist to the New Wave formula, utilizing mostly synth effects to achieve an eery psychedelic sound. The most obvious is that reverse effect in "Poppies in the field" but if you listen closely you can hear it all over the album. The organ and horns in several songs also helps in such effects, clearly influenced by their usage in several 60s psychedelic rock albums. The lyrics are non-sensical like New Wave but more surreal. There's purposeful and heavy repetition that I don't get tired of but makes the tracks simultaneously danceable and trippy. Can't say I hated any of the tracks, but I admit they weren't immediately discernible until I listened closely and was able to pick up what I liked about each of them. "Treason" is the catchiest and most polished, at a couple points giving off David Byrne vibes. If you want to convince yourself this is a psychedelic album, "Thief of Baghdad" is the perfect example of how psychedelia and synths could blend together seamlessly. I admit most of the other songs just feel like psychedelic influence. The ending track "When I Dream" is one of those catchy songs you hate to love. Goes on forever, but I never get tired of it, and is a great way to end the album. Finally, I want to include the bonus track: their best-selling single "Reward" is a great song on its own and should be included despite not fitting in too well with the psychedelic album theme. Maybe move it earlier in the album cause that closing track is the perfect way to end the album.

I little more than metal than grunge in sound, but this is the pinnacle of grunge culture with great lyrics covering all sorts of themes of social isolate and angst, and distinctive vocals by Chris Cornell. Stretch from "Fell on Black Days" to "The Day I Tried to Live" is perfect, with a range of heavier songs and some lighter pop songs suitable for all audiences. Starts off weak and I'm surprised "My Wave" was a single. "Kickstand" and "Fresh Tendrils" were generic. "Half" was an interest raga psychedelic song that doesn't fit in. "Head Down" is a personal favorite that I don't see mentioned too often; I just like the sound of it.

Reminds me of my ｖａｐｏｒｗａｖｅ phase in high school. Atmospheric with great electronic sounds, but highly repetitive and although it's a nice experience all throughout, nothing stands out beyond a few select tracks: "Lights On", "Two Weeks", "Pendulum", and "Video Girl." I think "Preface" did a good job at setting my expectations for the album without overwhelming me, but it could've been better. Ended kinda weak. Also, how is this R&B? If anything, this reminds me of the art pop of Kate Bush.

Stills at his height following CSNY's breakup. I love the thematic shifts from side to side. First side is like a jam session, with tracks blending into each other, simultaneously distinctive yet hard to tell when one ends and one starts. Sometimes there's a break like in "Jet Sigh" halfway through the song and it fools with you. Huge sudden shift with the second track going back to the roots in country and bluegrass. Next huge sudden shift (starting with "It Doesn't Matter") is largely folk rock with plenty of blues and other influences (like psychedelia in "Move Around"), and continues to the end, although the fourth side gets notably harder. Double albums are best when there's diversity like this. Yet nothing is out-of-place, and Stills makes the best of each aspect. No hits but there are standout tracks on each side. Great placement of tracks to keep the energy going.

One of the greatest debuts of all time. You must hear that all the time, don't you? Well, typically people say that you an amazing album that just so happens to be a band's debut. But no, here we have the greatest introduction of the band that would shape rock n roll in the 90s. No other band of the era had such a consistent discography with each release just as solid as the last. Whereas Guns n Roses shaped hard rock from the late 80s, Pearl Jam took the genre into an entirely new direction, making way for the more alternative music to come. In fact, I don't think the rest of the grunge movement or even Nirvana would have picked up if not for radio and Mtv support for this album. I'm too young to know for sure, but older rock fans are always raving about Pearl Jam concerts more than any other, how they could extend songs and solos for like 10 minutes, and it's pretty clear by their music videos and audience that they were a leader in live performances. Their influence cannot be understated. Second only to Nirvana in the popularization of grunge culture. And it makes sense when you listen to their songs. The vocals are crisp and clear, with appropriately poetic lyrics to sing along to. Hell, even when I was 11 I knew Jeremy was about a boy killing someone in front of his class for revenge (although I didn't know it was himself until years later), and that just came from me listening to the song on the radio. Pearl Jam has the perfect mix of everything you could want out of rock songs: impactful vocal delivery, lyrics you can sing to, epic solos, incredible production (although I hear some complain about its rawness), and harmony between band members knowing exactly what to do and when. Album is full of hit after hit. Of course, the four signature songs are perfect in every way. But Pearl Jam isn't sticking by any formulas. The rest of the songs are amazing too. It's just such a shame they all come after the hits because many people won't give them much of a chance, thinking the best is over. "Oceans" is one of the more alternative songs, mellower yet like no other. Creates a dynamic contrast between the two sides of the album to lead back into the action of "Porch." The song "Garden" has this great solo that reminds me of 70s jam bands. I swear the more I listen to the second side, the more I fall in love with them. Even the supposedly weakest track "Deep" is an amazing blend between alternative and their harder grungier material about addiction. I love it when albums get the closing track right, so you can imagine my satisfaction "Release," followed by a bonus track continuation of the first part of the opening track.

Usually 50s pop albums consist of one great hit, one ok hit, then nothing else but garbage. But these tracks are above average. Some I would even go as far as calling them pretty good. Love the mellow rock sound and back vocals. Songs are short and sweet. Am I'm crazy for thinking "Not Fade Away" sounds like Joan Jett's "Bad Reputation"? This is one instance where I don't think the album has aged well, but in the context of its time, it is a superb record with tracks you don't get exhausted by the end.

A modern 50's pop rock n roll album. Coherent and excellent production, which hides any dud tracks, except for the country ones at the end to which you take notice. Several really great tracks. I like albums where everyone has a different favorite track. Not a fan of the songwriting, which seems like a big component, but there's a lot of other things to like here. Favorites: Darlin Wait For Me, The Ocean, Born Under A Bad Sign, Tonight

I thought this would be another case where the lead single would be the only good track, followed by a series of bad covers and other songs written by conflicting writers. But no, the production is great, busy sound as the 80s is known for, but combines post-disco with jazz and soft rock to make something soulful yet danceable, accessible for all audiences. First 6 tracks are perfect. The covers are mixed. The Peebles and Al Green covers are amazing and don't sound off with Turner's style, and you might be able to convince me they were originally intended for the era had I not heard the originals before. The Bowie and Beatles covers I wasn't really impressed by, but the 1984 cover was a little cool if anything. Favorite tracks: What's Love Got to Do With It, Private Dancer, Let's Stay Together

A rap album like no other. Biggie earns his place as a member of GOAT. His raps are among the best out there. Rhymes are impressive. Flow keeps audiences interested and engaged. Techniques like his voice changes contribute to the stories. He takes full advantage of modern production sounds and skills to invoke emotional responses from listeners. Biggie contrasts with other gangster rappers of his era, who glorified the lifestyle full of wealth, sex, and power. Here, you can feel the pain and mental turmoil that he was forced onto. Biggie takes us on a journey in this album, starting with his birth. Yet from the start death looms over him, and most of the tracks either have a theme of death, or dangerous situations that expose Biggie's vulnerability, living on the edge of life and death. And of course, the album ends on a shocking conclusion of his suicide. Truly heartbreaking to hear Biggie confessing his sins, his regrets, hearing the mental destruction that gangster life had to lead him to this point. Despite being a double album, there's very little filler, and I feel the length was necessary for Biggie to express the whole story. The intro is one of the best found on rap albums, establishing the central themes that are frequently referenced in the album. But the album really starts with "Things Done Changed" which is one of the easiest tracks for people to understand, creating the setting that life is truly awful and dangerous out there. These first few tracks are funky and groovy, with several pop hits spread later in the album ("Juicy" and "Big Poppa"), appealing to all sorts of audiences from start to finish, and why I feel this is one of the best albums to get someone into rap. His storytelling is what makes these songs so special. The way he brings in all these characters, some of them played by just voice changes (cause you can't trust anyone else to spit perfect raps with such precison), brings a natural flow to these songs from setting up the scene to memorable conclusions that make each track distinctive. Hard for me to pick out my favorite tracks - there's something I love about most of the tracks - but I can pick out a few songs I wasn't crazy about. Biggest complaint is that the "Fuck Me" and oral sex interludes weren't necessary; there were already plenty of instances that displayed the theme of lust (e.g. "One More Chance"). But whatever they can be skipped. There were a few weak tracks, but the only ones that I felt could have been left out were "Respect" and "Friend of Mine." Other weaknesses were Puffy's overcontribution which distracts from Biggie's raps, and a repetitive beat, but the samples make up for it. Also, huge coincidence that there were several references to Tina Turner, and even her signature song "What's Love Got to Do With It" when Private Dancer just so happened to be my album yesterday.

Sinatra couldn't sing a song bad if he'd try. It's not that every song he sings is great, it's just that the formula consisting of his vocal style of swing instrumentation sounds great. I could listen to Sinatra for hours. One of the most accessible and easy-listening traditional pop albums out there. However, only few of his songs have more substance than the jazzy sound and great voice. On one hand, we have very consistent efforts that makes for a pleasing experience, yet most of the tracks are soulless and yet to be inspired.

No other band embodies "classic rock" more than The Eagles. Overplayed to hell, every human on the planet knows at least a few songs by The Eagles. And three of those tracks are right here. Great production, but most huge pop bands could claim that. What The Eagles have going for them is their great songwriting. If you just listen to the lyrics to even the lesser songs on this album, you'll see potential if only their sound took off the same way. Their most famous track "Hotel California" is the perfect example of what could have been to most of the songs they write. This album is supposed to be country rock, but it mostly sounds like they're trying the copy the sound of others that came before them, like the Byrds or Neil Young. I can't give them any points for innovation, except maybe the song "Earlybird." There's little else I could say for most of the tracks. For the three radio staples, I don't find them annoying despite how overplayed they are. In fact, I find them relaxing. "Witchy Woman" is the best song on the album but like the others it doesn't take off anywhere exciting. Overall, it's a disappointing effort by a band that could have been so much more than an over-commercialized product.

The perfect pop rock album. Blondie is mostly seen as the epitome of early New Wave alongside The Talking Heads and Devo, but they were able to blend countless genres in a way that was still consistent and accessible to most audiences. Beyond the synth-heavy New Wave, these tracks are full of power pop, punk, and pure rock. "Sunday Girl" takes inspiration from 60s R&B, while "Heart of Glass" is the perfect disco song despite contemporary resentment, and classic Buddy Holly is covered in the rockabilly "I'm Gonna Love You Too." Blondie would further show later skills in their reggae "The Tide is High" and hip hop "Rapture." One of the best track placements I've ever seen. Starts off with a banger of an intro, which is apparently a cover. It has all punk energy with appropriate synths and catchy lyrics (both chorus and verses). Then it just transitions straight into an even more intense and catchier classic, "One Way or Another" which is more rock and less punk, but matches the first track's strengths in every way. Things tone down slightly in "Picture This." I'm really glad that Debbie Gray is the vocalist of all these songs, she's able to sing to such a range of moods that it keeps the audience looking forward to each track. There is no filler in this album. Sure, there are tracks I'm not a huge fan of, but I still like them all, and in fact, I would listen to the majority on their own casually. That's how great all of them stand out. In case you're curious, the one song I'm indifferent about is "I Know But I Don't Know." I like the wacky vocals and sound that almost reminds me of Devo, but the beginning is a tad bit annoying, and the rock solo is generic, but I really like the last minute. I love how the album ends with two more punk-like tracks, as if there's no need for the full pop facade (excluding the "Just Go Away" rock solo), going back to punk roots. I probably would have swapped these two tracks since the Buddy Holly cover is a slightly better closer. Favorite tracks: One Way or Another, Picture This, Fade Away and Radiate, 11:59, Sunday Girl, Heart of Glass (I had trouble excluding some as my "favorite" cause nearly the entire album would be on here)

Fantastic folk rock by the guy behind Fairport Convention. Tracks are diverse with unusual instruments and non-traditional techniques that reminds us the genre is called folk... so why not use instruments from centuries ago? Vocals are great by both of them, supplemented with excellent songwriting. Length is short enough to make for a pleasurable experience without getting tired of it. I'm not a huge fan, but it grows with each listen. There is little to complain about.

A well-produced effort by Lou Reed with the help of Bowie. "Walk on the Wild Side" is one of my favorite songs of the decade, an artsy sound with verses covering LGBT themes, prostitution, and drugs, among others. Many songs feel bipolar, feeling sad with (seemingly) happy highlights. "Perfect Day" is the best example. I like the weird art rock tracks, and use of brass, that makes the filler stand out. My least favorite tracks are the harder glam rock tracks, like "Wagon Wheel" and "I'm So Free," but I still like the simplistic yet emotional lyrics. This is an album I frequently come back to, even if just for my favorite tracks.

This is like all those youtube trip hop videos I would study too... except the crowned jewel that everyone should model after. Samples are incredible. They're mostly lesser known pieces that work so well together to make a collective effort that flows and contributes to an overall mood yet has a lot to offer with each track. It might be kinda strange to think that an album founded on samples could be deemed consistent when it takes from so many genres and so many artists, but it's the way he reuses those samples, and overall the themes is incredibly impressive, some of the best I've seen. The most popular tracks "Building Steam" and "Midnight in a Perfect World" are the most chill and best exemplative of the genre, but by far the tracks most likely to by your consciousness if you're not actively paying attention. "The Number Song" is my favorite for sure. I love the drums and the funk that gets me grooving in an excited sort of way. "Changeling" has a futuristic feel to it. "What Does Your Soul Look Like" is smooth and jazzy. I like how Pt 4 is still very much involved and deep in the mood, but then the album closes out with Pt 1 which feels like the fog has been cleared up and you could hear the jazz so clearly. "Stem" feels very atmospheric yet anxious, like I'm in a dark, creepy cave full of danger. The organ interjection reminds me of Luray Caverns' Great Stalacpipe Organ. I like the organ piece in "Organ Donor," they definitely could have stuck that in "Stem." I wouldn't have minded the extra length. "Mutual Slump" is another favorite of mine, although I'm not quite sure how to describe it. Maybe it's the high energy, weird sounds, and avant-garde jazz that gets me to vibe with it. Not only did I feel no track overstayed its welcome, but I actually wanted each track is keep going. Even the long ones that went on for over 7 minutes, I would love extended versions of them. Despite being a little over an hour, I thoroughly enjoyed my experience.

Talking Heads at their peak. Their evolution from full-on weird punk to masters of New Wave reaches its climax before they would go on tours for a few years. There are only 8 tracks, but they're absolutely perfect. There is quite literally not a single forgettable track. I feel like everyone who's listened to this album at least a few times can say something about each of them. Everyone has a different favorite. You'll notice that a lot of people rank their favorite tracks nearly exact to the track listing. That's because the album starts out loud and bombastic. "Under Punches" kicks off with a yell and goes straight into the action with weird lyrics and incredible synths that define everything great about Talking Heads. It's no wonder some consider them to be the epitome of the New Wave movement. The entire first side could easily be smash hits if placed on different albums, and it's incredible hearing them back to back. Very hard to pick favorites. Second side is also full of top tier tracks, but they're not dance based... it gets incredibly eery and involved. This makes for a thematic experience overall, but could push people away from finishing the album. My first few times listening to the album, my brain would always space out the last few tracks. But then I started listening to the lyrics. "Seen and Not Seen" is a lesson to be learned about the whims of appealing to how you wish to appear, and the consequences that may follow. "Listening Wind" is about a terrorist sick of intruding globalization. "The Overload" is a gothic atmospheric track which ambiguous, haunting lyrics that I still have no idea what to make of. They're not hits by any mean, but I love their sounds. Oh and the chorus of "Listening Wind" catches on. So many things I find perfect about this album. I was assigned Fela Kuti a few weeks ago and I absolutely loved his work, but didn't know why. Turns out it sounds just like Talking Heads. Talking Heads takes a lot from funk and afrobeat, most notable Parliament-Funkadelic and Fela Kuti respectively. Such developments came to fruition in Fear of Music, but I feel the sound is at its peak here. Not to mention Eno is back here again with the flawless production. It just sounds fantastic, and it's insane how they combined all these channels without divine guidance. Of course, Byrne's vocals is also a central strong aspect, not only with his peculiar yet accessible lyrics, but his speech pattern, and his delivery between melodic singings and proto-rap-like verses. I'm a sucker for synths and for weird music and complexity. This has all of that. Parts like when all voice channels sing different lines in "The Great Curve," or the speech about facts in "Crosseyed and Painless," or the part about water at the bottom of the ocean in "Once in a Lifetime," I look forward to it all as highlights. Sometimes I rewind just to hear them again. Truly, this album checks off everything I look for in an album, and delivers much much more I couldn't possibly expect other albums to have. You are guaranteed I will be listening to this album many times a year for as long as I live.

Never really liked EDM much... until now. This album is great. Tracks move seamlessly from one to the next. Innovative, unlike anyone else I've heard from the genre... yet apparently they are super influential for techno that followed (again, I don't listen to the genre). Mix of high and chill moments within the same track adds complexity and keeps interest from start to finish. No bad tracks, which is very rare for an album that relies on high energy the whole way. I do admit some were weak, yet those same tracks had parts I liked (e.g. I liked the first minute of "Tthhee Ppaarrttyy"). Tracks are flashy and grab your attention when something unique happens; I love it. As a disco fan, I noticed some segments that just scream disco. "Newjack" is the most obvious. But also "D.A.N.C.E", "Phantom", "Waters of Nazareth." Favorites: Let There Be Light, D.A.N.C.E, Phantom Pt. II, Waters of Nazareth

Nearly perfect album. It hurts to give this 4. Tracks are banger after banger. If the album started with "The Rover" and ended with "Ten Years Gone", or maybe even "The Wanton Song", it would have been 5 for sure. We got banger after banger. Led Zeppelin is notorious for blending so many genres together with such a hard sound to make for the classic rock experience. Screw anyone who pulls a "Seinfeld is unfunny" card just because radio stations like Led Zeppelin too much. No one was able to rival LZ, and by the late 70s, hard rock was already moving on to glam metal and arena rock, so there was no opportunity for people to sound like the high production art we see here. And on the of chance people do sound like them, people quickly take note of that. You can't possibly convince me other people made something that sounded like "In My Time of Dying" or "Kashmir." The main appeal to me has always been Jimmy Page, the legend himself. Led Zeppelin songs were the first time in my life where I paid attention to the lead guitar more than the vocalist. But the whole team is superb. Robert Plant always put passion into each of his songs; he's honestly one of my favorite vocalists. The way he is able to belt out loud lines, his extensive use of grunts and interjections, his ability to switch to softer, slower lines... I always saw him as a compliment to Page's guitar. Where Page goes, Plant follows. Meanwhile, Bonham is absolute killer on the drums. My favorite drums on this album are "In My Time of Dying" and "In The Light." It's hard to tell what I love most about this album. There's diversity between the tracks, some hard and some soft, some lofi ("The Rover"), some psychedelic ("Down by the Seaside"), and many operatic. This album has more songs I love than any other, but that's not fair because it's a double album. Being a double album is both a blessing and a curse. On one hand, there are more great LZ tracks than any other studio album, and also the tracks aren't restricted in length. You have four super long tracks, yet all of them deserve their length. On the other hand, you're not going to have enough material for an hour and 20 minutes. The reason why I'm giving it 4 stars is because the last few songs absolutely suck. Everything after "Ten Years Gone" (except "The Wanton Song") is boring and uninspired. You got a rockabilly track in there but still nothing exciting. Also, the opener "Custard Pie" is pretty weak too. It pains me whenever the inclusion of songs hurts a score, but there are just too many to ignore. Regardless, I love this album and I'll be playing this time and time again. If anyone wanted to get into classic rock, I will show this album. I can say something about each of the tracks until "Ten Years Gone," which is something that could only be said in a few other hard rock albums (one of them being LZ4). Favorites: In My Time of Dying, Kashmir, Down by the Seaside, Ten Years Gone

It's crazy to think this album was released in 1970. It's so clear and well-produced compared to anything he's done before. Sounds fantastic. In this album, Morrison finds his calling, sticking to his jazzy folk rock, only much more accessible to young adult audiences, taking inspiration from soul through his passionate singing. It's bright and melodic, with every track to sing along to. Van Morrison is one of the greatest songwriters of his era. We saw that in his masterpiece Astral Weeks, but we continue to see it here. All of these songs are incredibly well-written and complement well with Morrison's vocals and the lead sax. Weaknesses? Well, the instruments and vocals overshadow Morrison's singing. He's a great singer; there's no reason to subdue him just to make it pretty. Maybe Astral Weeks ruined it for me. Doesn't make any tracks bad, just slightly disappointing. But that doesn't change the fact that it's Van Morrison, and it's easy listening you could hit play, sit back, and relax.

A hidden gem that came out in the year of hip hop, yet majorly influenced the East Coast scene. Hits hard but still has its fun, interactive moments. Album is very accessible, with funky samples and flow from track to track that is very easy to listen to. With decent tracks from start to finish, lots of creativity, a significant influence on the genre, and nothing that distracts my experience, there's no reason not to give 4 stars. Favorite tracks: D Original, Brooklyn Took It, Da Bitchez, Aint the Devil Happy, Come Clean

They're not Blur or Oasis, yet I consider this to the best album to come out of the Britpop movement. Absolutely perfect. Whereas other britpop albums try emphasizing the British aspect, the focus is shifted more into the pop realm (although this album is still quite distinctively British in word choice and grammatical structure). It's such a naughty album, covering themes of sexuality and lust, hidden seductive desires through Romantic mediums of expression, making for a very loud yet wonderfully catchy set of tracks you could easily dance to. Great use of synths, that drive the album yet detracts from any form of repetition. The songs constantly transform into something different with each minute, usually building up into an explosion that makes them suitable for parties. All tracks are great, linked together by unique themes not normally covered in pop genre, while still knowing how to be pop. It deserves a perfect score. Favorite tracks: F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E, Disco 2000, Common People, Bar Italia, Underwear

Darby Crash is one of the most influential punk artists of all time, essentially popularizing the hardcore subgenre alongside Black Flag, which began the most popular form of punk out there. Whenever you hear someone's into punk, it's usually a hardcore variety that shaped much of pop punk, which started with this young man. It's raw and carries the spirit of punk more than any other album on this list. This is a proper successor to the nastiness of The Sex Pistols. Tracks are short, minimalistic and chaotic, with incomprehensible vocals. But there's something strange going on here. Follow along to the lyrics, and you'll find them to be a poetic reflection of Darby's psyche and the punk attitude. They're honestly the highlight of this album for me. Production is great, done by Joan Jett. I don't think the intro track was a good choice. They intentionally picked the most abrasive and off-putting with probably the least interesting lyrics, but then again it's like a message telling people this album will be a handful. I like the solos that almost feel rock n roll-like. I'm a sucker for the abrupt stops. Number one issue is the repetitive sound, which makes the whole experience unbearable if not for knowing the chorus and lyrics. The instruments often don't feel like they're working together, but sometimes they do, so maybe they could get everyone to sound better together...? It's hard to criticize what exactly they're going for. The best I can do is look at the tracks I like, and what's lacking in the tracks that feel lackluster. The last extended track "Shut Down" was a good addition. A problem people have with albums like Pink Flag is that there are just too many tracks to digest, so you lose focus in the last third or so. But here, it's replaced by a long mild but still haunting track that showcases their inexperienced band members well. I'd listen to this album again, as soon as it's on Spotify of course. Favorite tracks: Land of Treason, Richie Dagger's Crime, Lexicon Devil, Lexicon Devil, We Must Bleed, The Other Newest One, Shut Down

Full of amazing tracks, realized to their full potential by an excellent production team. Original and innovative, propelled by Amy's desire to take from the best of 60s soul and R&B, which matches insanely closely in each of the songs. At first, "Tears Dry On Their Own" kept messing with me due to the Gaye interpolation, but eventually, it established its own identity and became a groovy highlight of the album for me. The main highlight is Amy's ability to combine her powerful vocals with equal emotions that cover autobiographical themes of depression, alcoholism, and loneliness. There's a lot of diversity in these tracks, but most are able to grab your attention. There's ska in "Just Friends," swing in "Addicted," and jazz overlaying Motown-inspired R&B in many of the rest. This is the first album I really loved hearing the deluxe edition, just because I love the unique combination of soul and ska... and also because several of those ska covers are from a favorite of mine: The Specials. Shame "Valerie" isn't included in the normal album, it's just as perfect. Favorite tracks: You Know I'm No Good, Back to Black, Tears Dry On Their Own, He Can Only Hold Her

A warm late evening listen with a glass of scotch. It's primarily spoken word, focusing on Waits's vocals and storytelling to build a cozy jazz club atmosphere. Most of the time his vocals feel a bit uncomfortable to listen to, and other times the jazz feels dull. There tends to be some instruments I like on certain tracks, like the piano in "Putnam Country," but for the most part nothing sticks out as memorable. It's still performed well and I'd be impressed to see it live. I like Waits' jokes, but you kinda have to dedicate your whole hour and a half to listening to all the lyrics to actually get the jokes and full enjoyment, which specializes its function to an album you have to emulate as being a member of the audience, rather than playing it in the background. The jokes land, and everyone plays their part well. Favorite tracks: Eggs and Sausage, Better Off Without a Wife

Probably beats The Pogues for my favorite Celtic rock album of 1988. Some surprisingly great songs near the beginning, and the others are good too. Nothing overwhelming, but also aesthetically pleasing despite their lengths. Found the Sweet Thing / Blackbird mashup to be interesting, yet it worked. My favorite tracks were probably the first two. "World Party" was also a highlight for me, the one you could really dance to.

Britpop was huge in the mid-90s and you even though the big bands all had their own distinctive sound, you could tell they were all Britpop. But something changed just a few years later with Pulp's This Is Hardcore and Blur's self-titled. It suddenly took a much darker, less optimistic turn, taking inspiration from not only the alternative music of the 90s, but also still the 60s they already tried to emulate, and the 80s use of synths and electronic. Blur's self-titled is changes its style to something interesting yet melodic, if perhaps a bit abrasive. Starts off with the Beatlesesque psychedelic "Beetlebum," then onto the parodic "Song 2". I was shocked when I heard "Song 2"; I grew up with the song and had no idea Blur wrote this until yesterday, but I did find the punk chorus, grungy guitar, and nonsensical self-deprecating lyrics pretty funny. As a general theme, I love the lofi sound, complemented by static vocals and distorted bass. I heard "On Your Own" with the synths and back vocals is like the predecessor to Gorillaz... I didn't even know Gorillaz is by the same lead vocalist. I give points to innovation, but I wasn't a big fan of a lot of the songs, especially in the latter half. The only thing I like about "Chinese Bombs" is the title reference to London Calling... too much distortion. My least favorite on the first side is "M.O.R." which sounds a lot like their former music, but also it's pretty generic. Another weakness is that it's not terribly coherent, switching between all sorts of styles that it's a bit difficult to keep up with. If you're into a lofi mood or want to pick out some great tracks, this album will do it. Otherwise, it's outstanding in songwriting, production, and innovation. Favorite Tracks: Beetlebum, Death of a Party

The sound blends a bunch of genres together, including funk and afrobeat, but also electronic to create a product that sounds very much like a product of its time, yet excels in its endeavors with each track. Maintained momentum all throughout, with tracks blending into each other. Only exception is that I found the clarity in its pop track "The Light" to be a sore thumb. Despite this, I found the length to be a huge weakness, starting to lose focus near the middle. Had to drop and come back to the second half later, but it's still full of good tracks. Use of spoken word works well for covering political topics, like "The Questions" to make it super easy for audience to follow along on first listen. Favorite tracks: Time Travelin, Heat, Dooinit, Funky for You

I can see why everyone loves this album. Just like how people are obsessed with musicals. I, however, am not into musicals very much, and thus am not a fan of the operatic nature of this album. The songs constantly shift in style and loudness to get the audience engaged. There's an over-reliance on hooks, but it often works. The best song is "Paradise by the Dashboard," with genre transitions that match the storytelling. Love the dialogue between characters. "Two Out of Three Aint Bad" is the best consistent song, retaining its identity without doing anything too outlandish that became a weakness of other songs. "You Took The Words Right Out of My Mouth" is really catchy and even I couldn't resist singing a lot to it. The title track is a decent opener that shows the direction this album will take. The other 3 songs are pretty forgettable.

When Spotify recommended me the title track, I was hoping the rest of the album would be just as good, and it achieved that. I love the overall retro-futuristic atmospheric themes in both the robot conceit and the space rock sound. Beautifully arranged, taking advantage of its unique sound by making them the focus of several instrumental segments, or even entire tracks. What initially excited me was hearing the title track beforehand. The silly lyrics, funky electronic effects, and melodic vocals were like no other that I fell in love at first listen. That crazy Part 2 was weird yet still aesthetically pleasing. Even the less popular tracks are appealing, but that's probably because psychedelic rock is a favorite genre of mine. "In the Morning of the Magicians" sounded like early Neil Young. I also like the triumphant instrumental closer "Approaching Pavonis Balloon." On the other hand, some of the tracks... not so impressive (like I can't say anything special about "All We Have Is Now"), and it felt like the album was flip-flopping between several contiguous ideas instead of consolidating them. Favorite tracks: Yoshimi Battles the Pink Robots, In the Morning of the Magicians, Ego Tripping at the Gates of Hell

Does everything right I'd expect out a prog album. Three highly impressive tracks tied together by a central philosophical theme. Probably Yes's best album. Title track is divided in four movements. First movement is a perfect opener, which spiritual nature noises immediately setting off into insane guitar work that sounds so disjointed until abrupt breaks show they know what they're doing. It's symphonic and atmospheric, placing the audience in a position with any number of instruments and noises to shift focus on at any given moment. Vocalists are great, constantly shifting and matching the music. Good pacing, knowing exactly when to change in style to keep the music engaging while still retaining aspects like the chorus to maintain consistency. Geesh, when that organ hits in the third movement, swapping back and forth with the melancholic chorus. Love how the fourth movement largely reverts to the first but ties together the other two movements as well. Everything is tied up nicely in those last two minutes. It's a perfect track with no weak points at any minute in the song. The other two tracks on the second side also have good pacing and follow up on the themes discussed in the title track. "And You and I" is a mellower track, becoming triumphant in the middle. My favorite part in "Siberian Khatru" are the brief instruments about a quarter in, and also the vocal noises later. I don't how they're making many of the sounds in the album, but whatever they're doing it's working, drawing my attention while also being pleasing to hear, never overstaying their welcome.

It's hard for me to review techno / trance albums, but I really enjoyed this one. Never got bored with the long tracks. There's a lot going on in the first track, maintaining a mid-level energy. Second track is mellower, reminding of PS2-era loading screens, good for studying to. I like the echoey vocals, and how wild it gets in those last few minutes. Next track has a really sweet beat and gothic vocals. "Rowla" is a bit abrasive but still pretty cool. My favorite track is "Pearl's Girl." Crazy crazy crazy crazy crazy........... I love it so much. In "Air Towel", I really enjoyed the vocals, but I found the repetitive beat overstaying its welcome. "Blueski" is a bit of an oddball, but still pleasant. Thankfully this one did not go for more than 3 minutes. The final track, "Stagger", is my second favorite, which is more like synthpop, with orchestral vocals, mysterious lyrics, and heavy synths.

Was never a big fan of Dennis. The only song of his I like was "All I Wanna Do," so I didn't have high hopes for his solo effort. But from the first song I was surprised. "River Song" gives off strong Beach Boys vibes, and in fact it was originally supposed to be so, but the choir masterfully interlays with Dennis's and the piano ballad to make an emotionally powered piece. Nice segway to the classic rock n roll "What's Wrong" which sets up a cool mood for the next few bluesy-roots songs. My favorite stretch of songs is from "Dreamer" to "Pacific Ocean Blues." I absolutely love the brass contributions of that first song and how they work together with the guitar for lead. The other songs are a lot less blues, showcasing Dennis's amazing baroque pop voice that reminds me of what I loved so much about the Beach Boys. "You and I" gives off Steely Dan vibes, probably the most beautiful song on the album. The titular track is a momentary return to the bluesy theme of the album. It's another strong entry, and the track you're most likely to sing along to, again showcasing a Dennis's talented production. The last tracks are also good ballad tracks, although I wasn't as crazy about them as the others. I thought the closing was perfect. Ignoring the lyrics, it combined everything that defined the album, from the choral vocals to the blues sound to the piano ballad, and Dennis's mature and passionate voice. I see a lot of reviews complaining about the length. They should know Pacific Ocean Blue is just the first 12, which is the perfect length for me. I will for sure return to this album, and re-listen to Dennis's tracks on Beach Boys albums.

The Beatles couldn't make a bad album if they tried. There are always at least a few perfect pop songs in every album (excluding Yellow Submarine). In their American debut, this is no exception. You can easily see why they would be a sensation, with back-to-back pop masterpieces, for teens to bop to, for other artists to replicate. Songwriting is among the best of the era, exciting and full of easy-to-follow stories with many ways for the audience to participate in singing along. From the very start, you get a fistful of energy in "It Won't Be Long" that's really hard not to sing too. If you're in public, you might just get away with mumbling some "yeahs." Second track shows a calmer side to Lennon. The third track is my favorite track, introducing McCartney's soulful voice as if reaching into the soul, already showing the dynamic contrast between the two main vocalists. The covers are actually really great here. They're very popular soul and classic rock n roll songs that work incredibly well with their style. They truly make songs like "Please Mister Postman" and "You Really Got a Hold On Me" their own. "Roll over Beethoven" is a great adaption that's true to form, and I had no idea "Money" was a cover until I searched it up. The only cover I wasn't a big fan of was "Devil in Her Heart," but it's still much much better than the original. Speaking of which, there were several songs that felt very much like filler. The momentum dies out by the time you get to the last four songs. Poor Ringo in "I Wanna Be Your Man" only gets the scraps that shouldn't belong on a studio album. Each tier is ordered approximately how much I like them: Perfect: All My Loving, Til' There Was You, It Won't Be long, All I've Got to Do, You Really Got a Hold On Me, Please Mr Postman Great: Don't Bother Me, Roll Over Beethoven, Hold Me Tight, Money That's What I Want Not very good: Not a Second Time, Little Child, Devil in Her Heart, I Wanna Be Your Man

There's a lot of communication going on between band members that keeps the tracks constantly evolving with sicks riffs and rapid drumming. In the midst of it all lies serene melodies as in "Desperate Cry". We got a mix of mostly thrash metal with some fast-paced death metal that serves as a good introduction to metal of the era, during a time of dramatic transition between 80s predominantly thrash and the style splits of the 90s. It's still true to form, which is both a blessing and a curse. There are lots of good songs, with others having their impressive moments, but they're not putting anything new or interesting to the table. There's no reason for me to replay this album over other thrash or death metal albums unless I suddenly remember a tune I want to revisit. Also, following the first few songs felt pretty weak, although I'm quite partial toward "Altered State," and the bonus track "Orgasmatron" was actually a decent cover. Favorites: Arise, Dead Embryonic Cells, Desperate Cry, Altered State

Each song centers around a good idea and then sticks with that thought for at least 3 minutes, at one point as long as 7. The pro is that each song is highly distinguishable from the other since it drills the same 5 second loop in your mind a hundred times. It tries to be clever by diverging from that formula with sudden jazz interjections, whistling, or violin solos, but it turns messy really quickly every single time. It doesn't help that beyond these themes, the vocals and instrumental sounds are exactly the same which each song, so despite each track being recognizable, they also sound exactly the same. The two best songs are "Come on Eileen" (obviously) and "Jackie Wilson Said." The latter song just grabbed my attention, but of course it had to be a Van Morrison adaption. Dexys doesn't redefine the song, but their sound just matches really well with the complex melody. Just goes to show how good their songs could be if they let their ideas grow to fruition. Will I ever listen to this album again? If I want classic synth pop music to play in the background... it's like a guilty pleasure. With interesting sounds in each song, it would be hard for me to get annoyed with it like other pop albums.

The transition album from the classic rock n roll-oriented Beatles phase to their more experimental work. Here we see a focus on folk music, inspired by the Byrds and Dylan, pushing Lennon and McCartney to write more complex melodies and stories. Harrison's interests in raga is first shown here, which will be a defining feature of psychedelic rock starting in Revolver. The production is among the best of the era. There is such a dramatic shift from Help to Rubber Soul in the sound that I often declare 1965 as the year music started sounding "modern"... that is: clear, crisp, and hifi. It's a perfect collection of pop hits ranging from many different styles. Some look back to their classic days, while others show something evolving. There is not a single song I even remotely dislike; I sing along to all of them with enthusiasm. I couldn't just pick a few to talk about, so I decided to say my thoughts about each of them. Note a lot of things I love from previous songs are implied for the later ones cause I didn't want to repeat what I like. These reoccuring aspects are fantastic songwriting, harmonious vocals, impressively high production, and a perfect blend of instrumentation. Drive My Car: As with most Beatles albums, album kicks off immediately with a banger irresistible to sing and bop to. That short guitar intro is enough build-up to get anyone excited. Fantastic harmony between Lennon and McCartney. Nice cowbell, Ringo. Tell me you know someone who won't go "beep beep, beep beep yeah." Not to mention the writing is great, telling an interesting relationship between an aspiring girlfriend and a devoted boyfriend. Norwegian Wood: One of the best storytelling in a song, with engaging and mysterious lyrics, supported by the atmospheric sitar. Clearly inspired by Dylan since he was the big folk-rock artist of the time. It's impressive that Harrison managed to master the sitar and raga so perfectly in rock music in such a short time. You Won't See Me: McCartney gets his shine with a melodic tune. Another example of amazing songwriting by the duo. McCartney's vocals match well with the emotional longing for a lost lover, supported at the right timing and intensity by the back vocals. What I love about Beatles songs is that they're usually so busy. Never a second where there isn't something that draws your attention. And sometimes like here, it's obvious, while others you have to look closely. Nowhere Man: It's a sin they kicked this song out the US versions. This song really stuck out to me as a kid. It wasn't about love, I thought about a strange "nowhere man" who isn't concerned of normal human needs or affairs, but is in his own little world. I love everything about this song. The instruments are orgasmic, as is the slow and harmonious vocals... It was probably one of the first songs I was able to sing along to due to clear and peculiar yet catchy lyrics, and likely helped me appreciate folk music better. Think for Yourself: The first Harrison song on the album. Holy shit those transitions between major and minor are absolutely insane. The song is on the harder side, and my favorite part is how the lyrics go between solo Harrison and the three-way overdubs. The Word: I don't have much to say, but I again love the harmony overdubs. It's another song I love singing along to, which is hard not to do so with the tonal changes to the repetitive line. Michelle: Another song that supported my decision to have McCartney as my favorite Beatle. This is one of my favorite songs to hum to. The pitch varies with each note that it's so fun. Love his voice (and the choral harmony), the slow folk-like nature, and how majestic the tune sounds. Apparently, McCartney was initially inspired by French songs. What Goes On: Hilarious how I'm used to the sudden jump from the most peaceful track "Michelle" to something this rough. Yes, this is my least favorite track, but it's still melodic, the writing isn't awful, the country adds a nice contrast that fits with the diverse nature, and I like that unusual staccato plucking. I'm shocked they put this on a single. Girl: I need to stop saying "this song is one of my favorites." You can tell by now I am obsessed with almost all the songs on this album. But yes, this is ONE of my favorites. I love Lennon's yearnful voice and the back vocals that scream "I can't sit still until I find this girl." My favorite solo on the album... I think. I'm Looking Through You: Best demonstrates the transitioning state of old Beatles to their new style. This is definitely something you'd hear off "Help" except better production. It's hard with a rock n roll finish. I can't unhear that fapping noise. In My Life: A song I never really got how deep it was until several years ago. Obviously you're not gonna understand reminiscing at 11. Never noticed Ringo's bells until now lol. Love Lennon's vocal range, and the classical piano bridge. Wait: The jump from "In My Life" is so ingrained in my mind. Another song that sounds like it's from the Help album. There's so much excitement it's really fun singing to this song at the top of my lungs. If I Needed Someone: The harmonious vocals and baroque pop sound like the folk rock style that the Byrds invented in their first two albums. Harrison back at it again with Indian-sounding music, although this time no sitar. Run for your Life: A simple one, another that I could hear coming out of Help. Not a favorite, but I still like singing along to it, and the lyrics are funny. Thought it was an appropriate closing. All other songs on this album sound like there's something more to come, so I can't think of a better closer... But then again, that might just be because I've heard this a million times.

The album that transitioned REM's jangle pop to rougher guitar riffs that would influence alt rock of the 90s. Vocals are clear, you can finally hear what he's saying. Album overall pretty good. Pretty coherent and full of great tracks. I'd say that there are more really good tracks on this album than any other except maybe Murmur or Automatic. The first two songs do great at establishing their new sound. I love the synths, drumming, vocals, and solo in "Exhuming McCarthy." "Disturbance of the Heron House" is a perfect blend of their old jangle and newer harder sounds. Skipping "Strange," you have the two classic songs everyone knows. Main downside is some songs kinda suck. "Strange" is a Wire cover, and it's a little too busy and fast-paced for either Wire or REM fans to like. None of the songs after "The One I Love" grab my attention, and I feel like stopping the album after that. "Fireplace" has a nice synth and jazz solo, but it's so out of place. I like the psychedelic jangly sound in "King of Birds," but not much else to offer. "Oddfellows Local 151" pretty decent. Favorites: Exhuming McCartney, It's the End of the World

Very much a product of its time, 90s dance music mostly spun from very early hip hop, staying faithful to 70s funk. None of the tracks are amazing, except "Step It Up." Nothing awful, you definitely get an enjoyable experience from start to finish. Main complaint: songs are too long. Why are they all around 4 minutes or more? Not much progression to keep interest. The Rolling Stones sample in "Playing With Fire" caught me off guard. Favorites: Connected, Fade Away, Step It Up

A series of pop covers with strong vocals and a backing orchestra. Unfortunately, there isn't a single cover that I prefer to the original. I feel they lack composition, a disconnection between Dusty and her orchestra. Dusty definitely does give an impressive performance, but she doesn't sound as excited as the people she covers. The orchestra only serves to support Dusty... it doesn't work with her as it should. The back vocals also feel a little too artificial, not working with Dusty, and only serving to try to copy the covers. The two redeeming qualities are the two pop hits that I grew up with: "Wishin and Hopin" and "I Only Want to Be With You." It's not just bias, in "Wishin and Hopin", there is much better production sound and harmony between Dusty and her back vocals and orchestra, but still suffers from the same problems. "I Only Want to Be With You" is a perfect pop song with none of these issues, bringing forth Dusty to the limelight in a fast-paced powerful dance hit.

One of my favorite albums of all time. "Mannequin" was my most-played Spotify song this year (2021). This is the album that got me into punk music. The concept of this album is a suite of 21 minimalistic tracks that come and go in a span of just over a half hour. You just get a taste of each track, each unique idea, before moving on to the next. Album starts off with a memorable and exciting build up in "Reuters" that explodes in punk madness. I love the madness in the verses (both the vocals and the distressing apocalyptic description) followed by the chorus and the melodic screaming repetition of the word "rape" that slowly mellows off. Next track, "Field Day" demonstrates one of my favorite punk techniques. Burst of explosion for 4 seconds then STOP. Explode again for 4 seconds then again stop. Happens two more times then boom next track already. Not sure who invented this, maybe the Sex Pistols, but the "fuck this let's start over" attitude is all over this album. Things like this make each of these tracks, no matter how short, memorable. "Three Girl Rhumba" starts off with a memorable yet reptitive riff, and continues with the same riff the whole track, except when it deters randomly twice in the middle then at the end. It's so unexpected and surprising. Love the "go underrrr" at the end. Invites the audience to sing along even for just a brief moment. "Ex Lion Tamer" one of the best songs, complete and lengthy. Kicks off at 12 seconds, explodes at 24 for the chorus, starts over at 48 in a perfect transition, only to do the exact same thing one more time before extending that ending for another minute. I love that technique where they repeat the melody and one lyric, like "Stay glued to your TV set" with the back vocals but change the loudness and tone, throwing in some grunts, before ending it with a satisfying decelerated conclusion. Same reason why I liked the end of "Three Girl Rhumba," and a theme we'll see again many times. "Lowdown" is the easiest to hear the very punk lyrics. Another thing I noticed is the grunge-like bass. Not sure if there's any connection to the later movement or how common it was in punk, but it really sticks out here. That halfway break following "That smell of you" is orgasmic. Then there's the other type of ending I love. Also repetitive with the same melody and lyric, but less spooky and more energetic, usually ending so suddenly before starting the next track. "Start to Move" and "Brazil" are examples of this. Still invites me to join in and burst out. "Surgeon's Girl" is my favorite of the <90 second tracks. Love how they make fun of their mumbling vocals by diverging the "go insane" into something intentionally incomprehensible. Reminds me how they often sing so much it's hard to sing along, so this gives me an excuse to just go "yayayayayayayaya." "Pink Flag" closes off the first side, with the same type of build-up intro as "Reuters." My god that when they start going "How many dead or alive" and it devolves into intense chaotic screaming, dying down only to build up again, die down then one last yell. Intense and the perfect way to wrap up the first side. An instrumental piece bridges the two sides. "Straight Line" continues the themes I love. "106 Beats That" is the first of a string of more avant-garde tracks that could be labelled as post-punk. Starts off lofi and abrasive, almost like later hardcore but not as aggressive. Then it gets weird and spooky near the middle with the use of ever increasing synths and fuzzy guitars, ending before it gets any stranger. "Mr Suit" is my other favorite short track, absolutely love the fuck you lyrics. Then we jump into our second post-punk track. A more complete piece, this sounds like something straight off their next album "Chairs Missing" (which is a crime not being on this list). Spooky and atmospheric, perfect for any Halloween playlist. Love the clinking at the end. "Fragile" is another strange one, jangly and could fool people as an alt rock track of the 80s. Stands out like their masterpiece "Outdoor Miner" in their next album. Years ahead of the scene... I guess you could call this post-punk, but it's not very punk at all besides the "fragile" vocals. "Mannequin" is my favorite song off the album. Another post-punk entry, it's the most melodic of the songs, with a perfect bridge, a lovely three part harmony, savage lyrics, with an accompanying vibrant sound. Next three tracks are good. The album ends with the highlight "12XU" which has my favorite bass, ending on a satisfying note. This album is a unique experience with nothing like it, yet parodoxically is a perfect introduction to get people into punk or post-punk, perfectly utilizing an agglomeration of techniques only found in punk-like music. This is also the most accessible of their albums. You can instantly fall in love after just one or two listens. Even the weaker tracks one can grow to appreciate. Highly influential and with nothing bad to say, it not only goes down as a 5 star rating, but as one of my favorite albums of all time.

Sounds amazing, among one of the best production efforts of the decade. Sets itself apart from the crowd of arena hard rock by being softer yet still appealing to the pop audience. There were soft rock bands still out there, but they were never nearly as big or good as this. Utilizes synths appropriately, distinctively 80s, but not excessively. The guitar is clearly at the front, never crazy but pairs well with the mellow instruments and vocals to make for a soothing experience. "Money for Nothing" is one of my favorite songs of the decade. From the atmospheric opening, to the memorable guitar intro, the synth effects, the harmonious vocals, and the lyrical perspective of a middle-aged laughing stock. "Walk of Life" is another song I grew up with, kinda country or rockabilly sounding, very optimistic. "Your Latest Trick" and "Why Worry" makes me wish I had a surround system; they're smooth and very like 80s pop. "Ride Across the River" is the underrated gem here, sounding like the jungle level of a video game. Really, there aren't any bad tracks on this album.

It's supposed to be a bridge from proto-punk to the coming punk age. But to me, it just sounds like glam rock copying the style of New York Dolls. Wasn't crazy about any of the tracks, but it does grow on you. It's vulgar, funny, and has some peculiar moments. Favorite tracks: I Got You Babe, Teengenerate, Weekend, I Live For Cars and Girls

It's 1979 and punk hasn't died yet. Whereas other groups moved on to post-punk, hardcore, or New Wave, these guys were doing pop music with the very same fun themes that made the Ramones so special. Which makes sense with that similar greyscale cover. It's lofi and raw with a passionate vocalist, to engage both punk fans and the popular audience, but I find a lot of songs to be hit or miss. Some grab your attention while others fade to the background. Opening two songs were decent, picked up in the middle from "Teenage Kicks" but started to lose interest by "Billy's Third." Favorites: Teenage Kicks, Here Comes the Summer, Get Over You, She's a Runaround

Great songwriting by Guthrie all throughout. It's really interesting they got 3 different groups covering Guthrie's songs in contemporary writing, as you could really hear the dynamic contrast in style how they cover them. Love most of the Wilco songs. Hate Bragg's country ass voice and accompaniment. Merchant's a great voice, now I want to listen to 10000 Maniacs. Maybe I'm starting to appreciate Wilco more after listening to Being There and Yankee Hotel Foxtrot several times, but their songs stick out so much with ambitious sounds, and his voice is just so peculiar but soothing. Bragg isn't too bad, and his style actually feels faithful, but it's boring. I hear the 2nd volume is pretty good too. Favorites: California Stars, Hoodoo Voodoo, Hesitating Beauty

A really decent effort by Elvis in his late stages of life. Two massive hits, with "Suspicious Minds" being a favorite of mine. Lots of decent songs. But also lots of mediocre songs. There's usually some hook that gets me to appreciate the song, but I'm not sure I'd exactly call it good. For example, the dramatic repeated chorus in "Long Black Limousine" sounds so great with the horns and harmonious vocals, but there wasn't much else to the song besides that made it stood out, maybe the piano was cool. Songs do get better starting with "True Love Travels on a Gravel Road." Sweet and soulful, with mature introspective lyrics, and diversity in style and energy. Probably his most coherent effort, and the least filler, but even these non-filler attempts didn't satisfy me.

Highly polished and sounds fantastic. A little edgy on the lyrics, but it's 1995, cut some slack. Despite being a double album, both halves were full of fantastic songs. The highlights were definitely on the first half. A piano ballad, then an orchestra, then a raw punk-like display that reminds me of In Utero, then a gothic song with great vocals and weird buzz synth sound, then an all-around fantastic track with my favorite bridge, then my favorite single that's dark with rhythmic drumming, then a slow solemn song, then a rapid drumming metal song, then an abrasive synth-heavy track, then a strange harp song that reflects the album cover, then two more great tracks and songwriting, then a psychedelic long masterpiece, ending with a somber dream-like track that puts this half to a close. There is ridiculous diversity in these track. No two sound even remotely the same, it's no wonder everyone has a different favorite with such a tremendous display in talent. Yet it's all glued together in a coherent mass. For half the songs on here, I could definitely see a divided opinion on being one of the best or one of the worst tracks on the album. I always need a break after the first half to really get into it due to the heavy sound. The second side feels a lot more surreal, with busy basslines, screeching, and sudden transitions from track to track, and repeated lines that make it perfect for doing drugs to I think. I think my main complaint is that all the songs are too long. I'm always like "Wow this is a cool song" and then 2 minutes later being like "Oh it's still going?" Nearly all the tracks are over 4 minutes, and some definitely don't need this space. I didn't hate any of the songs to wish they were shorter, but it could have benefitted, and I feel some of the tracks were panned just to fill up time. That being said, they weren't any awful tracks. There were a few forgettable tracks after "1979" that could have been cut. But otherwise, I loved the whole album, and I will frequently come back to it. I couldn't even decide whether I liked this better than Siamese Dream, that's how you know you got an album right.

Departing from Who-like mod revival theme, this album has them embrace New Wave and 60s psychedelia, taking clear inspirations from many artists. The minimalism of Wire, the vocal delivery of Gang of Four, the sitar and psychedelic sounds of not just 60s rock and folk, but also synth effects of their contemporary neo-psychedelia movement (e.g. the reverse record sounds is very much like Teardrop Explosion). It's very easy to like this album, and they're able to hold their own identity, with vocals still faithful to who they used to be. It's just a little hard to still label this as mod revivalist considering they sound even less like the Kinks or the Who. Songs themselves are pretty decent. "Start" is very obvious to anyone that it's "Taxman," but I really really like the vocals. I swear I've heard something like them before, not sure whether it's a song from All Mod Cons or some other New Wave track. The star track, "That's Entertainment" is one of the most prominent neo-psychedelic songs (other examples include "Monday" and "Dream Time"). It's simple in both melody and lyrical subject, easy to slip into. The rest are pretty great. Nothing awful, most have something I like about them. Perfect length, easy listening, this album will pleasantly pass you by if you just close your eyes. Will definitely come back to this.

She's a superb songwriter, with clever metaphors and impressive storytelling covering themes of lustful longing, childhood trauma, and death of loved ones. She builds the world and emotions of not just the narrator but the characters she fabricates. There's a lot of reoccuring themes, like her love of the Delta Blues (e.g. Howlin Wolf, Johnson, ZZ Top, locations in Louisiana). I also really like the range in her emotions from track to track, some bright, many sad, at various paces that deters repetition. The only part of her songwriting I really dislike is the drawn out phrases that go on forever. Descriptive, but it's like listening to an audio book. It doesn't help that the music itself is really boring. It's a very guitar-heavy album, with like a dozen different people playing, all taking the forefront. Now the sound is repetitive and one-dimensional within each track, which some interesting bridges between verses and choruses, as in "Still I Long For Your Kiss." But when they go for solos, I can't help but not care. It only serves to give a break from Lucinda's singing, which is necessary, but there are so many better ways to do that. The stylistic shifts from song to song is both a blessing and a curse. On one hand, it appeals to several different Americana genres, but also I don't think any of them sound good on their own. The only thing keeping me engaged is the stories, making it a good album if you knew what they were all about and had it grow on you.

A definitive Madonna album. Madonna has constantly reinvented herself with each new album. And through her career until Confessions, she successfully took modern technology and made it her own unmatched by anyone else. Madonna's work has always been tied to synths and electronica, but you can hear the evolution of music in her albums. In Ray of Light, she modifies her Erotica dance and Bedtime Stories R&B strategies with the rising techno scene, which was never that big until Madonna slapped her label onto it. This is an electro-pop masterpiece. It is incredibly well produced, with innovative techno effects that make tracks suitable for dancing, studying, or sitting back and having a drink. Her vocals are mostly influenced while her last two albums, soft and sexy, reflecting the speed and subject matter of the lyrics. Just hear how perfectly entwined her vocals are with the techno sounds in "Skin", I can't believe how perfectly they blend together. There are plenty of perfect tracks on this album. "Drowned World" is such a surreal and sad reflection of her relationship with fame. "Nothing Really Matters" is the friendliest for newcomers and old fans. "Ray of Light" is a perfect dance track, although I admit it sticks out from the other tracks. "Frozen" is like listening to a movie, with dramatic build ups, tense effects, orchestral strings, and spacious yet gloomy vocals. And most of the non-singles are suitable for any dance mix. My only two complaints are that it's super long, and the last few tracks feel like bonus tracks, belonging to Bedtime Stories. I get that dance tracks should be long, 5 minutes, but softer tracks like "Little Star" could be cut a little or just entirely. It's hard for me to decide which Madonna album is my favorite. But I can definitely say this is the one with the least flaws, and combined with its influence and outstanding production, it's one of the best pop albums out there.

I'm gonna be real honest. I'm giving this 4 because it sounds just like a Smiths album. From the powerful yet jangly synths, to the unique vocal style, and the introspective lyrics, there's little for me to dislike. Has a couple hits, several other tracks to sing along or dance off to, and only a few that are indisputably weak. Nothing new or crazy, except for some intriguing techniques here and there. It's a solid debut.

Puts the rock (and pop) in prog rock. A very accessible entry into the genre, this album isn't as heavy on jazz, classical, or straight-up weird techniques that bands like Yes, King Crimson, ELP, or other prog bands had been utilizing earlier in the decade. This is really accessible to public audiences, with a reliance on formulas in rock and blues that have already been well-established, not the slightest bit excessive or pretentious. Songs are a good length. 8 tracks that are each well crafted and dedicated to their time. The longest track is 7:20, allowing songs to have plenty of experimentation and transitions without tiring the audience. It's kinda crazy that their breakout hit "Bloody Well Right" not only happened this album (as opposed to Breakfast in America), but that it hit 35 on the Hot 100. Favorites: School, Rudy, Crime of the Century

When I saw this was a Leonard Cohen, I was NOT ready for those sequencers in the first few seconds. What a stylistic shift. But overall it's a solid entry. Cohen's vocals are even more raunchy and mature than before. Lyrics are dark, covering themes such as desperation, loneliness, and mid-life crises. I can really get into the more synth-heavy songs. Got pretty weak in the second half but it still had notable ideas, like the unusual techno-waltz theme. Favorites: Everybody Knows, I'm Your Man, Tower of Song

It's like the vocal jazz of the era I'm used to, except the vocal style and African instrumentation is very traditional, yet still accessible to the popular audience. It is no wonder she was a sensation in not just her own country. She reached #12 on the US Billboard Hot 100 with her later hit "Pata Pata." The most surprising aspect to me was the clicks. Since click consonants aren't vocalized, I always thought they would be quiet and thus couldn't be sung. After all, that's why it was used for hunting signals. At first I couldn't tell if the production distinguished them, but now I believe that's how it would be heard live. Sometimes like the bilabial click early in "Lakutshon's Ilanga" sticks out to the point of being a distraction, but it blends really well into the later songs. Really cool though. Highlights: Qongqothwane (The Click Song), Mbube, House of the Rising Sun

Bruce's breakthrough masterpiece. This is my 5th or 6th time hearing it, and it still hasn't clicked for me, so expect a re-review in the future. The lyrics are the main highlight for me. Reflecting the American dream, very optimistic as the narrator makes telling stories about leaving his past behind for a better future, and the relationships he makes along the way. Whether that be his lover, a gay best friend, or his star sax player (who is cut from the cover). Springsteen's delivery is dramatic, sometimes Wagnerian, and his words poetic, often mesmerizing. Fills the audience with motivation and hope. I didn't find the music to be very engaging (beyond "Born to Run" and "Tenth Avenue Freeze-Out"), but I did find it all to be rich and full of substance, well-produced with all the instruments and vocals balanced well. There's never a second missed of action. I hear stories of other people completely mesmerized at various points, like the extended sax solo in "Jungle Land." I'm not in love with it as most people, but it is incredibly impressive and full of heart. I'm hoping I'll grow to appreciate the others songs as much as I love "Born to Run." I'll be coming back to this album frequently. Highlights: Thunder Road, Backstreets, Born to Run, Jungle Land

This was a fun one. So glad I didn't look up anything about this album before playing, it was an experience guessing the genre. "Obtala" is a chill start with African beats and a synthy atmosphere. I swear it sounds so familiar... reminds me of PS2-sounds. "Buffalo Gals" is the star of the album, showcasing everything this album has to offer. A mix of New Wave and very early hip hop, it's both funky, danceable, and hilarious. I wasn't expecting so many samples from 1983! It's one of the finest of its time for sure. "Double Dutch" is a parodic square dance that again mixes hip hop and synths but with a large emphasis on calypso music. This track's probably the most fun. They go back to this square dance parody a few more times, most notably in the strange closing track. The album jumps from genre to genre in world music with each track. "Double Dutch" does it best. Next two tracks are more representative of the latino traditional music they sound for than anything else, but I wasn't a real fan. But then "Legba" is a sudden turn into a full Blade Runner synth track, a bit excessive, with some maracas in the background. "Jive My Baby" is alright, I even like that last minute where it does whatever. "Song for Chango" turned into a Donkey Kong jungle track near the middle. I like Donkey Kong. By the time I got to "Soweto" I asked myself, "does all world music sound the same or is he just using the same genre over and over?" Like seriously, "Soweto", "Merengue", and "Punk It Up" all sound like the same culture. It keeps kinda boring, and I can see why this album is seen as a gimmick. It tries to shape it up with fiddles and synths, but it gets a bit tiring. "World's Famous" reminds me that I just need to hear more very early hip hop tracks besides "Rapper's Delight" and "The Message." The closing track "Duck for the Oyster" is just fun and hilarious. Bravo for such a unique time.

This isn't country... I've been tricked. It's jazzy lounge music reminiscent of 40s and 50s clubs. It's the very definition of easy listening, with a soulful voice and cozy sound, utilizing techniques from jazz, blues, and country. It's fine to listen to, but some songs suck, and I don't think there's anything to write outstanding about any of the tracks. Favorites: Western Stars, I Wish I Didn't Love You So, Black Coffee, Busy Being Blue

Can't believe I overlooked this album for so long. The guy who say to listen to Wonder's albums chronically are correct over the ones who just say to listen to Innervisions or Songs in the Key of Life. This album is fantastic. Doesn't have any hits, but these songs are pure genius. It just sounds incredible, with unconventional recording techniques that somehow manage to excel with the theme and Wonder's style. It's still distinctively soul, but it's really atmospheric, and you can hear the decades of influence these songs would have on neo-soul from the late 90s to modern age. Not to mention the diversity of these tracks. We go from the echoey emotional "Too Shy To Say" to the funky "Boogie on Reggae Woman", and neither sound like anything else from its time, yet both are fantastic, and that transition does not sound out-of-place. And who the hell plays the harmonica in a funk song? Who does that? Stevie Wonder, and he's been doing that since the 60s. It's so high-pitched but I'll be damned it works. And then what comes after that? I wish I knew music theory to talk about these songs. All I know is that it's weird and highly unconventional but still identifiable and sounds really good, like the Beatles. There's something that sticks out to me about every song, whether cool or unusual and yet it's aesthetically pleasing. It's odd how this is probably considered the weakest of his classic era, but I still consider this is a perfect entry. The only complaint is the lack of star tracks to tie it all together, but the two lead singles come close. Favorites: Heaven Is 10 Zillion Light Years Away, Boogie On Reggae Woman, Creepin, They Won't Go When I Go, Bird of Beauty

It's been talked about enough their influence on culture and music history, but even disregarding it, this is an impressive work of music that deserves its reputation and influence. This is THE punk attitude and what it represents. This album is remarkably rock-heavy, clearly taking influence on earlier garage sources, but it sounds great. Instruments rock and compliment Rotten's intense vocals. It's straightforward music, nothing crazy or exotic as seen in glam rock or prog rock. Simple chords and repetition with charm and identity thrown it to make each song memorable and great to listen to. I love the small things like in "Bodies" how they would just stop for a split second then immediately start back up from the top. Rotten is really into his performance, which makes it incredibly engaging for the audience. I absolutely love the direct confrontational approach of his vocal style that goes beyond singing, not so much telling a story as he is expressing dissent and ridicule, making it mildly humorous and relatable. Those moments draw my attention, and I love how it's a defining feature of punk. But it's so prevalent and genuine here that it's no wonder this is a benchmark for punk music. As for the tracks individually, I think they're mostly great. Nothing screams out as bad or lazy, although some tracks in the first half blended in and it didn't pick up until the famous "God Save the Queen."

Points go the Ronettes and Darlene's "Baby Please Come Home." The Bob B Soxx tracks are noisy and busy, my least favorite. Darlene is ok, she has a great voice and I like her style shifts within the tracks. Her songs are the most original, and "Baby Please Come Home" is one of my favorite Christmas songs. Her other songs get a little cheesy here and there. The Crystals are decent; I love them most for their "Then He Kissed Me" hit. They're clear and harmonious, with a great jazz solo, incorporating the Christmas sound well into R&B, but otherwise the most forgettable. I don't think any of the tracks are remarkably special, although it's great for upbeat Christmas celebration, cheery and pure. The Ronettes are by far my favorite. I love Veronica's voice and the harmonious back vocals. I can tell who Winehouse's #1 inspiration was. I thought "Frosty the Snowman" was perfect, "Sleigh Ride" has a bit of an annoying side but very traditional pop-like, and "I Saw Mommy Kissing Santa Claus" had the most attractive vocals. My only complaint is that I don't find the instrumentals to be very interesting, kinda generic.

Pretty decent blues rock of the era, successor to the group Free. Several amazing radio staples, with my favorites being "Bad Company" and "Ready for Love." It's a highly polished effort with excellent teamwork between the band members. You can tell their #1 influence is The Rolling Stones, evident by the bridges in mood within the tracks and gospel in "Don't Let Me Down." The two weakest tracks were "The Way I Choose" and "Movin On." The closing track "Seagull" sounded very folk-like, and was pleasant.

The one album from this list that I can talk about with my friends. It's just about perfect in every way. Accessible to all audiences, highly innovative, tons of diversity, introspective lyrics, smooth vocals that aren't afraid to shout or whisper... Concept of life ties the tracks together and gives greater significance and attention. Tracks seamlessly flow from one to the next so well that it's frustrating you can't glue tracks together in Spotify playlists like what radios do. I like how there's a good mix of instrumental tracks and those with lyrics. It gives you space to process what's happening. Nothing repetitive, each track is constantly evolving, allowing the audience to enjoy every minute of the album. There's much to be said about every song, but "Time" and "Money" are two of my favorite songs of the decade. Love everything from the story to solos to vocals. "Money" in particular is one of the 'richest' and most impressive songs I've ever heard. It shocks me how anyone could come up with something as amazing and beautifully complex as this, especially without modern software.

I absolutely love Sonic Youth, and that's not changing here. This is probably their most accessible album, very noisy but came before the grunge movement, so you don't have the inspirations that made their next album Dirty so amazing. It's fantastic for its era, but honestly doesn't have as many great songs as other albums. There were some odd experimental choices that are cool and impressive but not too great. To appeal to a mass audience, you have some lighter hits too, but besides "Kool Thing", they lack the Sonic Youth charm and so they feel like a marketable compromise. Still, I enjoyed the album and there were plenty of standout moments. Favorites: Kool Thing, Moot

It's the Buzzcocks, impossible to not like. One of the early pop punk bands who did it right. A series of short awesome and catchy tracks with enjoyable vocals and solos. It's a lot of fun, with some neat post-punk and neo-psychedelia tricks. I actually really like the addition of those last 4 singles, even though the placement is kinda weird after the dramatic finish of "Moving Away from the Pulsebeat." The intro track was great, the next few were kinda forgettable, but it grabbed my attention with "Sixteen" to the end. Overall pretty fantastic album and great introduction to the Buzzcocks, although I much pretty their famous compilation "Singles Going Steady."

The album where CCR established sound and it only gets better here. Very bluesy, but for some weird music, their music really does sound "swampy" and I'm not sure why. Obviously the lyrics but also the gritty atmosphere and the rural folk-like strings and percussions (that remind me of say the banjo in Deliverance). These 7 tracks do what they do well. But there are honestly no bad tracks. Starts off with a classic. Then a track to explore their aesthetic. I'm a personal fan of their longer tracks like "Graveyard Train" and "Keep on Chooglin" that have plenty of room to breathe and express themselves. I loved the Little Richard cover just because it's a CCR cover of a song I've already heard plenty times before, and I love their sound. "Penthouse Pauper" is the only song that doesn't stick out but if you listen to it on its own, you'll find it's still a great song. Maybe a sign of slight album repetition. Then another classic, followed by a classic closer. A great introduction to CCR impossible not to like.

A live album for the fans. Very symphonic, cinematic feel. Excellent lineup, covering songs from both periods of their discography. However, too extensive for anyone who doesn't already know most of their songs. This is meant for someone who's listened to all their albums several times each. And for that purpose, it's a great experience. It sounds amazing, with each song getting its shine, a fair distribution among the album selections, the tracks travel seamlessly from one to another, and it goes on long enough to satisfy fans for hours. There's even some nice audience participation you can kinda hear. For anyone else, however, it's a dragged-on effort. I have a hard time believing many, even among fans, would listen to the whole album. And if so, it would just be playing in the background, most of the songs just not registering at all unless the audience is familiar with them. For anyone looking for highlights, of course listen to the songs we all know, like "Call of Ktulu", "Master of Puppets", "Nothing Else Matters", "One", and "Enter Sandman," but there are also some standout tracks that come out of nowhere. "No Leaf Clover" is certainly the black sheep of the bunch, the song was made for the blend of symphony and metal and gets you a better appreciation of the album as a whole. Vocals sounded a bit off here and there but otherwise color me impressed.

Flew by on my first listen many months ago but now it's one of my top albums of '95. It's a massive improvement over their grunge-heavy debut Pablo Honey. In a lot of ways, this album reminds me of the Smiths, between the jangly guitar and mentally unstable, often haunting, lyrics that match the whiny baroque vocals. You can hear a lot of their ideas that'll come to greater fruition by OK Computer. Those first few songs really set the atmosphere, great songs back to back. I know the fanbase doesn't really like "High and Dry" but honestly I find it to be a perfect introduction to Radiohead, it was the first Radiohead song (besides "Creep" obviously) I could sing along to, before I actually became a fan. Two masterpieces, "Fake Plastic Trees" and "Street Spirit" represent exactly why the band is genius, even at this early stage, with other tracks close to that title. This is their most consistent effort, but it also comes with a weakness. The 2nd side is full of weaker tracks, with most of the positives to just be replicated from the better tracks. It doesn't mean they suck, but I don't like them for what they are, just what they're trying to be.

The best album if you're looking for the era of classic jangle pop that started it all. Sure, people rave about how this album popularized folk-rock to the mainstream audience, but I just love their consistent jangly sound in this debut. It's optimistic, lofi, and harmonic that reminds me what I love about CSNY and so many other pop rock artists. This is one of the better pop albums of its time, of course highly influential on the sound that sunshine pop and psychedelia would develop shortly after. Of course, I'm highly biased due to loving their sound. Most of the songs themselves are nothing spectacular, it's just the vocals and jangle that I have a guilty pleasure for, and I just like the Byrds best. That being said, I think the titular track is a wonderful adaption and one of the most significant jangle songs of the decade. Favorites: Mr. Tambourine Man, Here Without You, The Bells Of Rhymney, I Knew I'd Want You, We'll Meet Again

A very spacious folk album reminiscent of Nick Drake's vocals and accompanient. Gets a little crazy with the jazz, a little avant-garde here and there. It's busy, with a lot of channels going on, and I can hardly understand any lyrics in some songs. But it's pleasant to listen to and certainly creative. Favorites: Solid Air, Over the Hill, I'd Rather Be the Devil, May You Never

My most-listened to hip hop album of 2021. I love everything about it. The samples are insanely good. They just kept slapping sample after sample and incorporating them ridiculously well. The lyrics are silly, catchy, and exciting. All the songs are solid. There's a crap ton of diversity in these tracks. One ends and the next is a completely different experience but just as intriguing. Not to mention each track is only a few minutes long... meaning each song gets its shine to appreciate before moving on to the next masterpiece. This is one album I need to listen to from start to finish. One time I heard "Hey Ladies" playing in a music store and I just had to pause. Love the cowbells and the screams so much, without a doubt my favorite pick. If I'm looking for fun hip hop, Beastie Boys is always my first And this album, in particular, engages me every minute. There are segments that I can rock, funk, groove, or dance to. There are parts that always impress me. It's hard for me to dislike much about it.

I love how I started listening to this album and thought "Hey this sounds just like Exile on Main Street," and the one fun fact from the wikipedia page is that Jagger thought it sounded like Sticky Fingers. Well that's close enough. It's classic blues rock with some rockabilly and roots rock. Sounds good, but no outstanding tracks. Would likely never revisit this album outside the context of this list. Would have been 3 stars if they had originality.

A massive improvement over his previous album White Light. Production sounds amazing. His songwriting is a little better here. Vocals are still good, but he's overshadowed by all the other sounds going on. Like in the previous album, he's not putting his all into the songs; he sounds unenthusiastic. Not a fan of the more country songs. Favorites: No Other, Strength of Strings, Some Misunderstanding

I was hoping for Moon Safari, but you can't go wrong with Air. All the tracks sound good, establishing Air as the forefront of downtempo. Being a soundtrack is definitely holding me back, most of the tracks don't end up going anywhere and feel kinda incomplete. Even crazier tracks like "The Word Hurricane" felt like there was supposed to be more. The soundtrack certainly evokes a range of emotions that I wish I could see the film for more context. If I'm not crazy, I'm noticing some themes being repeated, but it's a tad bit hard to tell. But despite that, the premises interest me as long as I'm paying attention, with my favorite songs being where the drumming comes in.

I'm very critical of the glam / hair metal movement due to the overcommercialization and generic nature of the songs. I would get so bored scrolling through the Billboard of the 80s and early 90s and hearing formulaic trash. This makes it all the more exciting when you have a quality band that deserves its fame and notoriety, and you start to understand how the genre became so big. Hysteria is Def Leppard's best effort (Pyromania in an assured second), and it stands alongside Van Halen's 1984 and GnR's Appetite as the genre's best albums that predominate rock radio. The production and vocal delivery are top of the notch. It's loud and impressive, never too busy, but still explosive in nature to get me moving. No bad songs, but certainly several weaker tracks. Despite that, the entire side is absolutely perfect. Banger after banger, which is especially impressive considering that goes on for a half hour. Even the mandatory glam metal ballad here "Love Bites" (or is it "Hysteria"?) is incredible. Honestly, the only improvement I could think of is cutting off 2 or 3 songs near the end, which isn't even to justify me not giving it a perfect score.

I understand Juju, but I'm a bit shocked this was picked over Kaleidoscope, A Kiss in the Dreamhouse, or Tinderbox on the list. Am I complaining? No. I love post-punk and I love Siouxsie's vocals. What I love best about her vocals is best represented in "Metal Postcard," abrasive but fun and a little weird, reminds me of Cindy Wilson of the B-52s. There are some haunting gothic hints of where their sound will take, as in "Overground" and "Suburban Relapse." It seems like a lot of viewers give their points to the album's influence over how much they like it. I'm the opposite: their influence didn't explode until two albums later, but I find this to be a guilty pleasure of mine. I really enjoy all the songs; there's always something exciting happening that I wouldn't believe anyone who said they all sound the same. Before today, I only knew "Hong Kong Garden," and now I appreciate the song so much more now that I have context of how different this album is from their other work, and I like that. Again another example that reinforces post-punk as my favorite genre.

Another superb entry by Led Zeppelin. Incredible how they could pop out these amazing records a year apart. This album is where LZ starts to explore other genres, blues here, funk there, and overall very much a blend of folk and heavy metal. It's hard to even hate the less interesting songs cause the band members all work so well together, not just the rhythmic drumming or Plant's delivery, but for me it's Page's guitar that firmly establishes him as one of the best, if not the best, guitarist of all time. The highlights of this album are "Immigrant Song", "Since I've Been Loving You", "Tangerine", "That's the Way", and "Bron-Y-Aur-Stomp." Half the album, not bad. "Since I've Been Loving You" is one of my favorite songs of all time; that masterpiece is enough for me to keep coming back to this album. Despite the fact this is my least favorite pre-Presence album, it just goes to show LZ has one of the most consistent discographies in music history.

I love dance pop from the era. Takes after disco and the rising house movement. The over-the-top production and punk-like vocals appeals to fans of B-52's Cosmic Thing or Madonna's Like a Virgin / Erotica. I wish it lasted a bit longer but the grunge movement shortly after killed the bright dance mood of these types of albums. I don't particularly think any of them are worldbending other than "Groove is in the Heart" (which is one of my favorite songs of 1990), but I really enjoy them all, and will continue coming back to this album. It's silly and fun and has great beats.

This is incredible for the debut album that popularized rock n roll. There's only like two tracks ("I'm Counting on You" and "Just Because") that I really don't like. All the other tracks are solid. There's a fair mix of rock n roll and traditional pop songs. It's like a school dance, going back and forth between upbeat and slow dances, but I wish they didn't change every two or three songs. You can hear the country influences in songs like "I'm Gonna Sit Right Down and Cry," reminding me country used to actually be good in the 50s and 60s. Strange highlight for me is "Blue Moon," my favorite track but also a very usual ballad. There's intense energy in the covers "Blue Suede Shoes," "Tutti Frutti," and "Money Honey," and of course with his signature vocals, they really do give the most popular versions (Perkins, Little Richard) a run for their money. Probably my favorite Elvis album, and it's not just for the mass influence on rock music. Favorites: Blue Moon, I'll Never Let You Go, Blue Suede Shoes, I Got a Woman, I Love You Because

You can't go wrong with post-punk. Instant like. I love the mix of synths with rhythmic drumming and riffs that give off a very gothic appeal. Not to mention that badass album cover. Reminds me of the Wire's Chairs Missing. Some tracks remind me of other post-punk / New Wave songs I know, but I can't put my fingers on it. "Bloodsport" kinda sounds like something from the A-side of Bowie's Low. Only issue I have is that some tracks are too long, which means that repetition tires me by the time a track's only halfway, but it's still pretty cool. The pop-like tracks "Requiem," "The Wait," and "Complications" give me plenty of options to convince other people to get into postpunk. Enjoyed all the tracks, I'll seek out their other work!

My first time really listening to Joy Division and I absolutely love everything about it. Each track is unique and amazing, with innovative synths and techniques that sound like nothing else of the era. The afrobeat drumming of "Atrocity Exhibition" reminded me of Talking Heads, but is used nowhere else. Tracks like "Isolation" preview where New Order will take synth music in a more elaborate, operatic format. There's a wide range of emotions displayed in this album. Sure, a lot of it is very dark and cold, but "Isolation" is a perfect example of a brighter sound that made Ian Curtis's echoed vocals like an angel from above. I absolutely love Ian Curtis's vocals. His creepy tone and whiny finishes to his lines add to the overall gothic appeal. There really is something to like about each track. "Passover" has whispery back vocals and goopey synth noises that sound like a toxic waste factory. "Colony" is full of stress and anxiety with its repetitive and incredibly fast-paced bassline. "A Means to an End" is by far the catchiest, and has my favorite beat and solo; you can again hear the sound New Order will take. I like how "24 Hours" keeps swapping between fast and slow, and also it sounds the most like New Order. "Eternal" feels desolate and hopeless, like a void. "Decades" definitely has a "closer track" feel; it's synth-heavy and shoegazey, with dreamy and claustrophobic vocals, and some attractive bridges. New Order is for sure one of my favorite bands of the 80s, and everything I adore about their sound is represented here. Joy Division is able to perfectly encapsulate feelings of chaos, claustrophobia, and total dread, and it's honestly hard to believe they came up with all this on their own, with no one to base their music off except several contemporaries. I'm even more excited to explore the rest of their short-lived discography.

Coming with no expectations, this was the album that introduced me to Roxy Music. It's nothing like their other albums, this one is quite avant-garde, gothic before punk came around, incorporating elements of free jazz and early synths, what I consider to be Eno's first masterpiece. I noticed For Your Pleasure tends to be critics' favorite, but it's not usually the pick by fans. That may go to Siren, Stranded, or even Avalon. However, this is actually my favorite Roxy Music album. I don't think I'm biased for it being my first. I love how chaotic and dark the songs are. The opener "Do the Strand" best exemplifies what I love about the album, from the unexpected and immediate opening line and sax, it grabs your attention out of nowhere. "Beauty Queen" is a great follow-up that reminds me a lot of their Avalon soft rock album. I really like how it feels like his voice has two personalities, a Jekyll and Hyde situation, which is carried on through the entire album. "Editions of You" picks up the pace, reminding us this is a glam rock band, with a sick sax / synth solo engrained in my mind. "In Every Dream a Heartache" is a peculiar highlight, and I'm surprised it's the most-played on Spotify. For three minutes, it's creepy monotonous vocals with atmospheric sounds, not really something to appeal to people compared to other tracks, but I guess by that 3 minute mark it just explodes into a spectacle, dies down, then the instrumental randomly picks up again. According to the Wikipedia, it's been covered a ton of times and featured in Mindhunters so that must be why. Deserves its place as one of their best songs, but still 8 million plays is unusually high. My favorite track is for sure "The Bogus Man." It's haunting and a bit claustrophobic. Love everything from the one-ear sax to the creepy echoey vocals that surround me to the exotic synth effects. It's my favorite blend of rock and free jazz. And it goes for nearly 10 minutes. Last highlight for me is the closing title track with the combination of the extended instrumental. It's a solid album, with no filler, appropriate track order, coherent theme, and an intriguing yet non-excessive experimentation.

A candidate for the greatest singer of the early 70s. This is her most polished album, full of instant hits that it's a crime only two of them are modern radio staples. It's not just her powerful voice, full of raunch and passion, but the full bluesy instrumentation that energizes every line she puts in. The fast-pace ensures there's always something happening in these songs. I'm really glad "Buried Alive in the Blues" exists to back up my claim that it's not just Joplin that makes this album amazing, but it's when they combine forces when they become something else entirely. I liked how the beginning of that track sounded like the start of a 70s sitcom intro. I'll for sure be coming back to this album, probably as much as Carole King's Tapestry.

One of the better jazz funk albums of the era. Lots of tracks take directly from disco, most notably in the title track and "Carnival of the Night." Honestly, I was never a fan of the title track single, and although the jazz of this longer version is much superior, I still don't like the vocals or lyrics very much. Bombastic, smooth, and progressive, presenting new ideas with each minute while still retaining its rhythm. Favorites: Rodeo Drive, The Hustler

The first of a string of top class albums by Kraftwerk. Certainly not their best work, but it's bright and atmospheric, surmounting Kraftwerk as one of the leaders of the krautrock movement. The star track is obviously the titular piece, which was a massive hit everywhere in the world, but the other songs match the hype exceedingly well, tending to reflect a wide range of emotions, from the optimism of Kometenmelodie 2, the discovery of a hidden land of Morgenspaziergang, and the cautious sense of adventure into the unknown of Mitternacht, that isolates Kraftwerk from the rest of the genre. Definitely one of the more intriguing and non-repetitive krautrock albums out there, and one I'll use to expose people into the genre.

Yep, this album has everything: techno synths, diverse in range, reminiscent of the 90s and 00s scene, even reminds me of video games here and there; spoken word, very punk-like in delivery and instrumental back-up but structurally like rap; funk to the strip, sometimes straight-up using the disco formula; indie rock, characterizing the backbone of this album, taking inspirations from other experimental rock bands like Radiohead. Clearly a ton of effort went into the artistic production of each track. Tracks are busy, full of ten different channels going on that somehow harmonize into a coherent mass that fascinates me at every second. Very few bands are able to do that well, but when it hits, you can't pull your ears away. Each track is loud and compelling, even the less remarkable tracks have a lot going for them. I can't wait to explore the rest of their discography.

Candidate for my favorite non-Beatles album of the 60s. Stunning arrangements, dreamy melodies and nonsensical yet poetic lyrics that encapsulate you. Alongside Odessey and Oracle stands as the most complex and pleasant psychedelic / baroque pop album of its time. Half the tracks are masterpieces. I'm obsessed with Arthur Lee's vocal delivery and the people and settings he and MacLean describe. There's not much more to say beyond that, but I just want to stress how surreal yet clear these lyrics are. No fancy electronic affects, just classic arrangements used in creative, beautiful ways. I've been obsessed with this album since I first discovered it, and disappointed the closest (consistent) album like this is Odessey and Oracle. Favorite tracks: A House Is Not a Motel, The Red Telephone

I feel like the only 22 year old who hasn't heard any of these songs before... maybe "Electric Feel" sounds a bit familiar, but here's a fresh opinion for you. I'm actually impressed by this modern pop album. The entire first half is really impressive. You have a ton of really creative synths attributed to modern production to create two entirely different moods: disco-like dance hits and mellower psychedelic trips. The track "Of Moons Birds & Monsters" is the perfect blend of both styles. Being a baroque pop fan, I'm actually partial to the less popular tracks like the chamber repetition of "The Youth" or the dark retrowave of "The Handshake." Ironically, a candidate for my least favorite track is the most popular, "Kids," which is mostly boring repetitive techno and annoying raised vocals. The synth rock solos tend to be my favorite parts of these songs. They're all very different from each other, evoking a variety of emotions. "4th Dimensional Transition" does this a lot throughout the song. It's also the little things like the trippy orchestral instruments coming in and out all at once at varying speeds, or their voices suddenly changing volume, that give these songs character, making it impossible for me to dislike almost any of them.

Starting in the late 60s, music started to become more heavily polished with heavy production and state-of-the-art sounds. With the rise of heavier blues rock of Lynard Skynard-clones, punk killed this trend. It revived in the mid-80s and spiraled out of control, until grunge killed the trend again. A few years later, post-grunge and nu metal tried to revive this act but even more over-the-top that before. This album, alongside Is This It, started the garage rock revival movement of the early 2000s that unfortunately did not take over the mainstream industry, but there was a wave of relief among rock fans and critics. The White Stripes are by far the most influential and true-to-form of the bunch. This album is entirely raw, with studio imperfections littered everywhere and an amateur drummer who never does anything crazy. Jack White gives it all. His writing is strong. His riffs are melodic yet like no other, despite how simple they may be. Tracks are short to never tire you of a unique idea. Of course these songs are mostly rooted in blues, but they range in many styles, from the fast-paced punk of "Fell in Love with a Girl," the campfire folk of "We're Going to Be Friends," the square dance optimism of "Hotel Yorba," the gothic experimentalism of "The Union Forever," and not to mention songs like "I Think I Smell a Rat" or "Little Room" that I can't even fathom to describe. Perhaps this isn't Jack's most consistent effort, but it certainly extends the furthest and shows just what is capable with a talented musician and songwriter, and a whole lot of spirit. Glad this took off... I only wished it was able to fully do what punk and grunge had done before.

"Blue Ronda" and "Take Five" are incredible tracks that grab your attention every second. Nothing innovative, everything done here has always been done by other jazz masters, but it's cool and dramatic. The other tracks range from decent ("Strange Meadow Lark" and "Kathy's Waltz) to mediocre ("Everybody Jumpin" and "Pick Up Sticks"). Not something I would choose to listen to unless background noise or a live show, but otherwise inoffensive and calming.

At this time, the Rolling Stones were almost as big as the Beatles, but whereas the Beatles were hitting strides with outstanding albums one after the other, the Stones only had hit singles, while their albums were clearly lacking. That was until this album came out. Although I don't think it could compete with the masterpiece of Rubber Soul, it did establish the Stones as chief songwriters who could come up with more than two good songs at a time. This album definitely marks a shift from their pure blues rock of previous efforts, this time focusing more on a softer pop sound reminiscent of other British Invasion acts at the time. Some show signs of psychedelic pop ("Mother's Little Helper" and "Lady Jane") clearly pressured by the success of Rubber Soul, and would point to where they would take their next two albums. Still, they're heavily rooted in blues and not afraid to show it in these songs. This is one of the most heated debates over whether the US version or UK version is better. The US version has "Paint it Black," one of the best songs in their discography. It also cuts some of the softer tracks, putting more emphasis on the blues-rock elements. It also reorders the tracks, most notably the 11 minute "Going Away" pushed to the back. Honestly I like the UK version better just because I like the softer tracks. But regardless of what version you pick, both has "Under My Thumb," one of my favorite pre-Beggars song. Amazing use of fuzz bass and marimba, I love the solo bridge. Their strongest effort at that point, but still lots of things I'm not a fan of. "Going Home" is a bit boring at times. Not a fan of "Fight 505" or "High and Dry." I complimented the songwriting, but sometimes they repeat a hook in the chorus a hundred times in a song and it's just so annoying, just listen to "Out of Time" or "It's Not Easy." It's most annoying in "Stupid Girl" with the hook but at least there's a lot more to the verses. Also, their production is a bit dated, but I believe they catch up in the next album. Favorite songs: Mother's Little Helper, Lady Jane, Under my Thumb, Out of Time, I am Waiting

Heartbreaking. The guy has talent. I like his singing style, and the mixing is impressive despite the fact he plays all the instruments. Doesn't sound too bad either. The best tracks are in the first half. Songwriting is unique and whimsical, and I appreciate his efforts, but they aren't particularly remarkable by any means. He has some diversity in his tracks, but the majority are misses. My favorite track is the psychedelic "War in Peace," although I'm also partial to "Margaret-Tiger Rug." I honestly do feel bad for the guy. His life sucks, and he tries to do something creative, but it doesn't hit the mark.

Not sure what everyone is hating on. This record is fantastic. Giving it 3 instead of 4 just cause the stretch from "Little Horn" to "Mister Superstar" kinda sucks, but that's just a symptom of double album syndrome. It's supposed to be a rock opera, but the story isn't told as well as Tommy or American Idiot, so you have little idea what's going on unless you listen to it a million times and think about the lyrics. Other than that, there are so many amazing tracks. Starts off with a banger, "Irresponsible Hate Anthem" reminds me of hardcore Nirvana and Rage Against The Machine. Followed up by arguably his most famous song "The Beautiful People." Two tracks later is "Tourniquet" which is really melodic and dramatic, a favorite of mine, and I really like the accompanying video. His music videos are the best. As said, the next 5 songs are weak enough to reduce its score, but there are some notable ideas, like the dystopian future sounds of "Cryptorchid," like a grimier Blade Runner. Industrial sound very heavy in "Deformography," which brings up a point that this album is a gateway for youngsters to get into heavier industrial or metal music. It can be seen as a stepping stone, and that's a reason why it's not looked upon fondly, but despite all it's a remarkable blend of pop and industrial that no one else has done as well, or as accessible to a mainstream listener. There's no repetition in any of these tracks, they're all very different in style and technique, giving the audience plenty to taste and pick their favorites. Album picks up with "Angel with the Scabbard." From here on, the tracks feel less pop-oriented and more mature. The songwriting is still primitive; you could tell he's just writing whatever comes to his mind, and he's definitely looking for that shock factor. "He is the raper" wow didn't see that coming sigh. But the structure is poetic and fitting to his aggression and heavy wall of sound. If you only half pay attention to the lyrics, it's a much better experience. I love the transitions in these later songs. So smooth into "Kinderfield," which is kinda a filler but necessary breather before (again a smooth ass transition to) the highlight title track. It's the most coherent and well-polished track for sure. "1996" is a decent filler, I like the aggression but doesn't have much going for it. What cements me really enjoying the album are these last 3 tracks. The production and vocals are so perfect, which is a coherent progression to the climax, that an album consisting of tracks just like these 3 would deserve a perfect score. "The Reflecting God" is my other favorite. I'm obsessed with the sporadic buildup that stops spontaneously only to come back out of nowhere, divulging into the bittersweet closer "Man That You Fear." His best record? Probably not, his next two albums might compete for that title. His most iconic? For sure, it popularized industrial, inspiring many artists to take up the genre, and many more to become fans. I might skip the middle tracks (screw double albums), but I'll definitely be playing this album again.

The intro track here is the intro to the famous Nuggets compilation. If you heard that song first, of course you'd be hooked. It's a psychedelic garage masterpiece. The sudden chord and vocal changes in the rest of the tracks are exhilarating and keep you on your toes. This is the closest thing to postpunk in the 60s with the lofi garage-style and high experimental sounds. They all have compelling premises but I find them to be incomplete. They don't evolve their ideas very much which is a bit of a disappointment. But for a 60s album, it doesn't get more creative than this. I seriously have no idea what the next track is like. After banging my head against a concrete sidewalk to "Get Me to the World on Time" how would I know I'd casually strolling down that sidewalk on a sunny afternoon to "About a Quarter to Nine?"

The least accessible Dylan album but most rewarding. By the time I'm leaving this review, this is only the 4th time listening to this album, and it hasn't quite clicked like his other albums. This is the last of his golden age, with his next masterpiece not appearing for nearly a decade with Blood on the Tracks. At this point, he has matured his sound, knowing what he's capable of and delivering exactly that... I believe he called it the "wild mercury sound" whatever the hell that means. Very strong tracks, some bluesy, some just plain romantic in acoustics. It's all beautifully arranged, not once did I feel any segment was off or excessive, which has happened for previous albums. I say this is his most inaccessible because the songwriting is arguably his best. There's just a significant shift from the instrumental focus of his previous albums to his lyrical genius. I mean obviously, his sound is perfected here, each track is colorful and full of personality, but it's not as flashy as before, and you really need to pay attention to this one. With its double-length, it's really difficult to "get it" in just a few plays, you really need to break it down and digest it all. But I was thoroughly impressed by the insane imagery he plays in many of these tracks. Some songs you have full humour ("Rainy Day Women"), seriousness ("Sad-Eyed Lady"), but more often than not a fair mix in between. I hope to appreciate this one more over time.

You may know Human League for their synthpop masterpiece Dare. Well, just a couple years earlier their music was more avant-garde, like if postpunk went complete synths and pop. Moving in a more commercial direction, founding members Ware and Marsh broke off to form Heaven 17 to continue their more abstract sound, giving us this excellent entry. Lyrics are incredibly left-wing, reminds me of Gang of Four, to the point where they outright call Reagan and Thatcher starting fascist regimes in the first track. "Let's All Make a Bomb" is a celebratory mood to bring about the end of the world. Although not revolutionary, it's a fresh relief to hear unique subject matter in such an upbeat manner. The first half is all high-energy dance tracks, littered with repetitive catchy choruses and addictive beats. Clearly inspired by American disco, this is most evident in "Soul Warfare" with the signature guitar chords. Second half shifts to "electric" dark wave, still maintaining that groove off the first half, but much mellower and atmospheric. I love it all, this is exactly my preferred genre of pop music, danceable with highly varied synth tracks not afraid to get weird.

I apologize for anyone whose first exposure to Pet Shop Boys this is. It's an outlier. Compared to their dance crazy hits before and after, this is a mature, melancholic entry best met with a glass of brandy in the study. Some may accuse it for being pretentious, with its openly cryptic album cover and title, and the overtly serious content matter, which is a criticism not a member of my entertainment factors. The direct, confrontational lyrics paint the narrator as a man of action, a vivid storyteller, full of dreams and regrets, ideas of change and resolve. Combined with its unique subject matter and clear, soothing vocals, it makes for one of the more engaging listens out there. Synths are top of the notch... this is Pet Shop Boys we're talking about. No one has a more refined sound in the genre besides maybe Depeche Mode. It's also PSB's most consistent effort. There's a range of synth sounds here, but yet the mood remains the same. The most discoesque song is probably "My October Symphony," yet even then I'm not sure I'd dance to - especially with that classical symphony sound - just groove out to. Maybe "So Hard" is a better candidate with that laser solo. No song feels out of place, and there are some pretty sweet transitions.

The result of throwing four geniuses in a studio together. This is the very definition of a supergroup. A band of talented musicians whose names extend beyond the bands they were once a part of, where each member has major contributions in the album, and none of which is lacking. Stills and Young carried Buffalo Springfield... their songs were always the strongest. Crosby was always my favorite Byrd after McGuinn. And although I don't know much about Nash alone, I loved the hits of the Hollies so much I was once disappointed they never had a consistent album. Here we have a collection of masterpieces, hit after the next. They're all very strong songwriters, vocalists, and instrumentalists. I love how this album rotates through all 4 of them. On both sides you have a song written and primarily sung by each member, highlighting their strengths and weaknesses. Nash writes the melodic pop hits you sing around the campfire. Young probably has the best written songs, they sound like solo material but with the ever pleasing harmonic back vocals. Yet, they're not out of place. Stills has the most colorful songs... strong forward vocalist, his composition skills in roots genres are best showcased in his later album Manassas. All three of his songs are amazing, and props to Mitchell for writing "Woodstock," I wouldn't have been able to tell without looking it up. Crosby has the most dramatic songs, the instrumentals are incredibly rich and ever-changing, like proggy folk. All of these songs could be star tracks on their own. The only track I don't think is perfect is the closing "Everybody I Love You"... it's merely superb. Pop folk doesn't get much better that this. The harmonious vocals is something I always strive to find in other music, and only then could I only compare them to the standards of these guys.

Rod Stewart's always been a confusing figure to me. He just rides the train of whatever's popular, and so the vast, vast majority of his discography is trash. But not all are misses. He shifted away from rock with his pop hits "You're in my heart" (riding on Fleetwood mac I guess) and "Do Ya Think I'm Sexy" (with huge resent among anti-disco fans), went into New Wave territory with "Young Turks" (probably my favorite Stewart song), then into R&B and adult contemporary, and there are like 3 songs from then that I enjoy. His pop obsession may have started when he dominated the 1976 charts with "Tonight's the Night," but honestly it sounds like it was always there. I mention all this because I can hear it in this album, with his soft, easy-listening sound that screams commercialization, just like the Eagles, that many would consider "dad rock." It's "roots rock" in the sense that it sounds like he's trying to appeal to everyone: rock fans, country fans, pop fans. It's probably his best album. Certainly the most consistent. And it is well-polished. But that's all it has going for it. A pop hit, some half-decent tracks I only like cause it's easy to listen to, and a whole ton of duds. Fortunately, it's only 8 tracks so nothing is extensively drawn out. But nothing is fantastic. I probably only like "Maggie May" because it's nice to listen to, I heard it a million times, and that mandolin is unique. I'm not a fan of his voice, although I admit it stands out ten miles away.

A defining moment in New Wave, setting an example for the genre for years to come. Just like Parallel Lines, it's an incredibly well-polished pop masterpiece with a strong reliance on synths, dance rhythms, and punk-inspired vocals and instrumentals. 9 tracks, 6 of which are top-tier hits that could each stand on their own. The production is among the best of the era, everyone is well-mixed, nothing is overwhelming or taking too much of the spotlight. The guitar, synths, vocalist, drums, bassist... they all sound fantastic. You have your guitar solos. Your innovative synth effects that showcase how crazy you could take the genre. And not to mention you could dance, sing along, shake your head, whatever, to any of the tracks. There are 3 unusual tracks here. "I'm in touch with your world" is one of those avant garde pieces, reminds me of "Mother" on Synchronicity, but more akin to their postpunk contemporaries. It grows, but understandably some people couldn't stand it. "Don't Cha Stop" is a bit on the boring track, probably my least favorite, but if you like their signature sound, you couldn't hate it. Finally, the closing "All Mixed Up" is a really good track on its own, it's hard for me to call it a weak track, but it stands against the pop monsters of the other tracks. Hardly any weaknesses. All tracks are really good. Deserves a perfect score, doesn't it?

I see a lot of comparisons to Trace Chapman, and I can see why. The focus is on Joan. Instrumentals serve merely to back her up, but they sound relaxing and pleasant. Joan has such a powerful, emotional, and often beautiful voice that she should set an example for other singer-songwriters to follow. There's a few outstanding tracks but other than that it's fine and serves what I'm looking for.

Love it so much. One of my favorite folk albums. My favorite Simon album for sure. I love the harmonious yet natural vocals, the beautiful and often dramatic accompaniment, and the insane songwriting that beats anything anyone was able to come up with until then. Insane to think Simon pretty much wrote it all alone. Half the album is full of insane strongs that define the era... The Boxer, Bridge Over Troubled Water, Cecelia... I don't want to imagine what music wouldn't exist if these tracks never existed. El Condor Pasa and The Only Living Boy in New York are two other masterpieces, albeit not as essential. The other three tracks up to that point are also really good. Only complaint is that the last 3 songs are kinda weak, but I still sorta like them. Making the cover "Bye Bye Love" live was an interesting choice. "Song for the Asking" is such a serene, quiet, and snappy closer you don't even notice until it's over. Regardless, those last 7 minutes isn't enough to deduct from a full score.

Minimalistic psychedelic folk not afraid to whip out the vibraphone and get a lil jazzy. Sounds come in and out, rhythmically but feeling random. Only 6 tracks to focus our attention to, none of them were poor, but some flew by without me noticing. Opener establishes the themes well, while the closer briefly ties up loose ends. Apparently, his son is also really famous, but neither lived past 30. Shame, not sure what's with these great folk artists dying so young. Favorites: Buzzin Fly, Love from Room 109

Grand, ambitious, and awesome. Honestly, I can't hear the original in any of the tracks besides "Promenade" but it's still really cool. I respect ELP a lot more than my initial reaction to Tarkus. Still inherently classical, with an ambient orchestral presence, incorporating volume well.

An unconventional and accessible display of performing jazz masterfully despite nothing like this ever being done before. "Chameleon" is characterized by a recognizable funky bass line, electrifying piano and synths that come in and out at the forefront, and a groovy Miami-vibe half way in before slowly returning to the formula. "Watermelon Man" is an even stranger track, taking inspiration from African music with the beer blowing, and a much sexier, harder funk sound reminiscent of James Brown. There's so much going on that there's always something to idolize upon each listen. Has my favorite sax... there's even a segment around the 4-5 minute mark where I hear two saxes. "Sly" is the most colorful track for sure, undergoing a new transformation every couple minutes or so. It's crazy this is an album where people are calling THIS the weak track. Least iconic, yes, but impressively composed with attention made to each second. Starts and ends with a sexy spy theme, interluded with how fast can you keep up. "Vein Melter" is a slow, mellow, yet atmospheric closer to leave the audience satisfied after the insane displays shown previously. Feels a little classical here and there.

I'm not a Nick Cave fan, but I much prefer his chamber pop style here compared to his hard gothic sound of Abbatoir Blues. If you want to appreciate the man more, there's more of a focus on his strong songwriting and versatile dark voice, with minor piano accompaniment. Not a lot of diversity, and the album drags on a lot, but the majority of it is good, with a few highlights.

Roxy Music debuts strongly with a series of artsy tracks characterized by its glam rock influence, creative synths by the emerging Eno, and a sound that stands out from anything else from the early 70s, opening the gate for a kind of crisp and clean sound rock is capable of in later alternative music of the decade. The first half is fantastic, among the best in their discography, indicating how far they'll take these ideas into their dark sequel For Your Pleasure. Not only does the band come together, but the synths and sax are incorporated so well despite them not being very common at the time. Not to mention Bryan Ferry's voice, very glam-like and pop-oriented, used for so many purposes in a single track. The second half is severely lacking, with some highlights, but no coherent songs to carry the impressive display of the former.

The album that screws with your expectations. Starts off New Wave-esque, then reveals itself as hardcore punk the next track, taking this the extreme in "We're Coming Out" sounding like the Bad Brains. And yeah, it's funny, loud, and engaging, continuing this trend with the next track. It's a fantastic blend of high energy and easy melodic riffs. And then they tell you to screw yourself with "Androgynous," coming out of nowhere is a piano ballad that sounds like a guy on the brink of tears playing in a deserted club. That almost continues to "Black Diamond" but the drums kick in a half minute later and it starting sounding like a glam metal track, but the guy still sounds like he's about to cry, I don't know what to make of it, but it rocks. "Unsatisfied" is probably my favorite but future me don't quote me on this, I really like most of them. "Seen Your Video" is a rocking instrumental but tricks you by having lyrics. I don't get how they could put so much quality in all their tracks; it's frankly scary and impressive. None of these songs are even just decent, and yet there's no repetition at all. I've always heard about these guys but this is my first time playing them, and I'm thoroughly impressed. They have something for everyone here, and they're so open and inviting for the audience to join in. If you just listened to the instrumentals, you'd enjoy it. If you just read the lyrics like poetry, you'd enjoy it. Doesn't matter what genre of rock you like, there's something anyone will enjoy. I don't care if you're a fan of Elton John, Guns n Roses, Sum 41, or Megadeth: there's something. It's not one of my favorite albums yet since I've only just heard them yesterday, but I don't see any reason not to give a perfect score here.

An impressive debut by Suede. Among all the Britpop bands, Suede started out the strongest, with this release and their magnum opus Dog Man Star being released before Oasis's What's the Story, Blur's Parklife, and Pulp's Different Class. That being said, I think the strongest aspects of their debut is their aesthetic and sample hits. Several things I mean about that. First of all, Britpop builds itself on British music influences, which are evidently clear here. It's very much rooted in glam rock and baroque pop, many tracks it straight up sounds like he's trying to replicate Morrissey's vocal style. It also takes from shoegaze, with many of the non-singles characterized by slow, fuzzy noise and lofi vocals difficult to make out. Beyond that, I find their songs to be fairly shallow. They're not bad by any means... they're all pretty good, but nothing stands out in the non-singles beyond those fundamental principles. I hate when this happens, but the singles are the highlights of the album, and you can tell without looking them up. "Animal Nitrate" and "The Drowners" are energetic, catchy, with inventive lyrics. It's put the other tracks, especially on the second side, to shame. If I wanted to introduce someone to Suede, I'd only recommend them this album if they were a shoegaze fan, or at least just take the singles. But otherwise, it's a solid effort.

Album is consistent in style and approach yet each track takes a different idea and works with it well. In the first few songs, we go from spoken word to psychedelia to gospel to afrobeat to R&B pop, back to spoken word followed by neo-soul. The spoken word tracks act more like politically charged skits characteristic of golden age hip hop. Very different yet the mood is the same, united by the appreciation of black culture and the unjust deathly bias in American society. The songs are decent themselves, production and mixing are fantastic, and the instrumentals and vocals are great. I think I just have two related major issues. The first is that the songs are fairly repetitive. They have a strong idea but they never take them anywhere, so hardly any of the tracks blow you away. You hear the first minute of a song and you pretty heard it all. The second is that the lack of mixed styles is a bit underwhelming. They clearly demonstrate skills for interlaying elements of such genres, but they don't even do anything with it. It's no wonder they were able to write 80ish songs over just 2 years if they just come up with a simple idea and go with it. Fortunately, none of the songs drag on long, and there's enough diversity to keep you entertained despite the hour length. It's a chill experience that most people should enjoy. Favorites: Hard Life, Wildfires, Black, Monsters

Could always use with some underground hip hop. Very avant-garde and lofi, taking unconventional samples and applying them through chamber-like electric filters. First few songs are pretty decent, impressive raps with really nice beats, then dips from there with some highlights. It's very much dated, using primitive tools that would pale in comparison to what you or I have at our free disposal, but it's creative and consistent nonetheless. Props for having a song titled the day my best friend was born.

This is the guy who does "Grazing in the Grass." Fairly traditional, nothing noteworthy or extraordinary here, but he's a skilled jazz player, and I enjoyed the pieces despite the overall length.

Dreadful and honest. There's an effect where instrumentals like the electric guitar solo in "Another Day Full of Dread" are dulled down, as if given the spotlight yet unable to express itself to the fullest. It knows when to be simple and when to be chaotic. Vocalist is soothing and dynamic, sometimes reminding me of Eddie Vedder but mostly John Darnielle. Favorites: I See a Darkness, Death to Everyone, Madeleine-Mary

Not as revolutionary as their predecessor and noise pop masterpiece Psychocandy, but it's just as solid. Plenty of amazing tracks, including the bonus "Some Candy Talking" that I pretend is included, sounds inspired by Velvet Underground. Has a very 60s jangly psychedelic pop sound, with matching dreamy vocals and the familiar 80s alt rock / New Wave production. A lot clearer than Psychocandy, but many tracks are definitely fuzzy, doing what they do best. More accessible for sure, but I'd still recommend Psychocandy to people who want to see what makes them so mind blowing. Highlights in every track, with some cranking the speed ("Down on Me") while others contributing to a dark chasm of an atmosphere ("The Wall", "Nine Million Rainy Days").

A fantastic debut by the best glam metal band of all time. I've raved about the polished opus magnum of 1984, and I'll do it again with the mind blowing bluesy experimentalism of Fair Warning, but here we have the same consistent strengths they would continue to have during the Roth era. Roth is an energizing and dynamic vocalist, with simple unforgettable lyrics you couldn't resist singing along. Eddie Van Halen establishes himself as one of the greatest guitarists of all time, sometimes just showing off as in "Eruption." The man can shred like no other. These guitar plays are damn impressive, so lively especially combined with the excited vocals and rapid drumming that there's no way you could block them off. Although I may prefer 1984 for its high production value and Fair Warning for best songwriting and consistency, this album has the strongest raw energy and genuine fun songwriting. First half is full of hits, but the second half could easily match them. I love the heavy metal riffs of "Atomic Punk," Roth's fun singing in "Feel Your Love Tonight," the mellow speed and angelic back vocals of "Little Dreamer," and that soft-to-hard blues transition and mind blowing Eddie solo in "Ice Cream Man." Weak tracks my ass. As my saying goes, if I love the tracks except at most one or two (in this case "On Fire") it has to be a 5.

The most insane prog rock album since the 70s. Fast and loud with a vocalist that reminds me of Tool's Keenan's vocal style, they utilize such a dynamic and atmospheric use of sound that keeps you on your toes for every minute. You could hear the prog influences all over, King Crimson prominently in "Roulette Dares," while "Drunkship of Lanterns" shows characteristics of Yes, Pink Floyd, and contemporary math rock. It's very modern... not only is it well-polished, but it uses state-of-the-art production techniques I recall hearing in prog metal and post-rock of the era. It's a wild ride from start to finish you couldn't feel bored by... there's so much to like about each track. I'll be revisiting this one often.

The Kinks have a lot in common with The Who. Started out as a garage rock member of the British invasion, represented the 60s mod culture in Britain, and shifted their focus in the late 60s to more pop-like rock. When I think of 90s Britpop, it is these two bands that I hear the strongest comparison. Arthur is a member of a string of fantastic late 60s Kinks album. A concept album centeres on Arthur and his life during and following WWII, acting as a commentary on war and the promises Britain made. Its operatic sound and style of storytelling is eerily reminiscent of Tommy. Even elements like the instrumental of "Mr Churchill Says" reminds me of some instrumental tracks on Tommy. Most of the tracks don't take themselves seriously. I couldn't see myself liking "Drivin" for example, but it's goofy and fits in well with the rest of the album. Maybe it's a reaction to being kicked out of United States, but there is an inherently British sound that I'm not sure how to describe. For example, "Yes Sir No Sir" has a marching band sound that just screams Britain to me, not sure why. The harpsichord too in several songs, like "She's Bought a Hat like Princess Marina." Either way, it's very accessible and works well as a pop album, with a bright mood and engaging subject matter. Lacks any hits beside "Victoria" which explains the lack of commercial success, but then again Tommy suffered to same with "Pinball Wizard." Favorites: Victoria, Australia, Shangri-La

The Bad Brains is among my favorite hardcore punk bands. They shift away from reggae into a thrash metal influence that suits their style very well. Not just metal though: there's New Wave mixed in "Secret 77" and "She's Calling You" among others. This album, in particular, has been cited as a major influence on 90s artists to fuse different genres together, including Sublime and Rage Against the Machine. It's pretty short overall so nothing drags on, but that only helped me pin down the weak tracks. The first few tracks are amazing, I can't believe they're able to incorporate 80s thrash metal riffs so well with such an abrasive vocal style (oh wait, that's how I'd describe half of thrash metal vocalists). And there are other highlights tracks, but the rest of them are mostly duds. If you like the style, no problem, but they don't stick out that much. For me, the biggest examples were "Let Me Help," "Hired Gun," and "Return to Heaven." But I still enjoyed it from start to finish, and was short enough to bear through any shortcomings.

Another fantastic entry by The Pogues, my favorite Celtic rock band tied with The Waterboys. Not as fun and suffers more duds than their later entry, If I Should Fall From Grace With God, but it's still a blast to drink and dance all throughout. Major complaint is that the songs blended in following "Dirty Old Town" but there's still a lot to like. On the plus side, the expanded edition attaches their impressive Poguetry in Motion EP.

I've always had a soft spot for 80s sophisti-pop and city pop. It often overlapped with other genres like synthpop (e.g. Pet Shop Boys) or would reappear in more recent music (e.g. future funk) that it became easy for me to favor. I really like the melancholic mood, seductive female front vocals, and very 80s production, occupied with simple yet busy jazz and synths. In fact, I enjoyed this album so much I had to check out their other top songs, and ended up adding "Missing," "Wrong," and "Night and Day," which I actually prefer to anything on this album. But this album is still a pleasurable experience, even if nothing stands out. I noticed one reviewer that he thought that would sound like Morrissey based on the cover but was disappointed it wasn't, and yet I'm here listening to songs like "Lonesome for a Place I Know" and it sounds EXACTLY like a Morrissey, from the vocals to the lyrics to the sound, except female. Favorites: These Early Days, Oxford Street, Goodbye Sunday, Blue Moon Rose, Tears All Over Town, Lonesome for a Place I Know

The ultimate pop and rock album. It doesn't get better than this. This is a candidate for my favorite album of all time, although Abbey Road has the edge. With its colorful album cover and mindblowing songs, this is probably the album that got my 11-year old self severely obsessed with The Beatles. Highly innovative, creative songwriting and lyrics that touch surreal topics, catchy and melodic all throughout (sounds like nothing else that exists), and beautiful complex arrangements to focus on with each listen (it really gives off that marching band / orchestra aesthetic of so much to look out for). Of course it's one of the most influential albums out there. A standard that pushes other artists to reach their creative peak. Tracks move seamlessly from one to the next. Despite varying so much in structure and mood, nothing feels out of a place, even if adjacent tracks are absolutely NOTHING like each other. The production is the best of the decade. So much thought went into perfecting each track and the overall album experience moving along the songs. Sure, there are bloopers like the infamous "come on" in "A Day in the Life" that could bother some people, but I see those as a fun thing to look out for. A small discussion about genres. This is their peak psychedelic phase where they went ham with making the music sound as out-there as possible. Their shift to psychedelia happened in Revolver, and they would continue in Magical Mystery Tour, but their creativity peaks here. There are themes within many songs and the album cover referencing vaudeville and music hall music that gives off such an early 20th century vibe. It's a unique take on pop music and psychedelia. Sgt Pepper: Immediately immerses you into this world the album will take you. Sets the theme and perspective that isn't just the boy band "The Beatles" but instead the vaudeville Sgt Pepper's Lonely Hearts Club Band starring Billy Shears. With a Little Help From My Friends: That smooth transition from the intro reinforces the mindset this album places you in. Fun and catchy, one of Ringo's best songs, probably cause it isn't country. The cadence apparently becomes influential on how many pop songs (to the modern day) would end songs. Lucy in the Sky With Diamonds: One of their most famous songs. A very surreal song, much like their later "Mr Kite" except catchier. Can't see how nobody's sung along to this one at least once. The verses are incredible with Lennon's cloudy vocals, his imaginative descriptive lyrics, and the mind-numbing tambura. Getting Better: Just pure optimism. Just a cheery song about a shitty man trying to improve his life. The clapping reinforces that "Let's all sing and dance along" vibe. And then you have that creative tambura verse revealing him as a "former wife-beater," always sticks out to me on each listen and forms a dynamic contrast to the rest of the song, but continues as if he's so head-set on his life being happier, whether he's actually improving as a person. Fixing a Hole: An introspective song about McCartney's use of (supposedly) marijuana (or meditation?) to induce his creativity in songwriting. A little cheery, my favorite part is that fun bridge to sing along to. This always struck out to me when I was younger. "Why's he so obsessed with filling holes in his house? Is it symbolizing some anger?" I'll never understand why I never bothered to look up the song meanings, or maybe I just forgot since. She's Leaving Home: Such beautiful and dramatic strings. Baroque pop masterpiece with two perspectives that both seemingly fit the mood: the melancholy of the destroyed parents' perspective of finding their daughter gone, and the optimism of the daughter starting a fresh and exciting new life. Being for the Benefit of Mr Kite: Psychedelic masterpiece that took me until a few years ago to fully appreciate about a circus performance that gives huge Salvador Dali vibes. Lots of surreal imagery here in its lyrics and its insane atmospheric instrumentals that engulf you. Yes, I imagine a horse doing the waltz every time. Within You Without You: Possibly Harrison's best song, and of course the best raga rock song to ever exist. Mostly instrumental with cloudy vocals, that fade in and out. So much going on, it really is like an Indian orchestra. I can't believe that Harrison was the only Beatle working on this song, but it just goes to show his immense talent and where he'd take it in All Things Must Pass. When I'm Sixty Four: Crazy how Paul wrote this when he was 14. So imaginative and vibrant, yet simple and pure. Love the clarinets in this one that give off childhood optimistic vibes. Some critics say it sounds like ragtime, so that must be the "old classic sound" that I find familiar to early 20th-century nursery rhymes. Lovely Rita: A song I don't give enough credit for. More amazing storytelling, with strange instruments coming in and out. It sounds like a kazoo! Apparently, it's a god damn "comb and tissue paper." Love the back vocals on this one. Those last 30 seconds are truly orgasmic. Good Morning Good Morning: Be careful wearing headphones to this one. They really go ham with surrounding your head with a million different sounds. I don't even know how to break this song down, there's just so much. And not to mention it keeps switching time signatures. Sometimes I confuse this song with "Here Comes the Sun" and I'm like "wow people must have crazy tastes for this to be their most popular song" but actually it's this album's least popular. Sgt Pepper Reprise: Back full circle, completing the amazing ride. You just feel satisfied getting to this point, reminding you this isn't The Beatles, but rather Billy Shear's insane vaudeville / music hall band. No other album places you in this bubble better, although I do like Magical Mystery Tour's intro. A Day in the Life: Feels like an isolated bonus, a reward for making it through the album. Somber, beautiful, and introspective. That point where the orchestra gets frighteningly chaotic before McCartney's morning routine starts. Love that grand orchestral interlude between McCartney's and Lennon's lines. After Lennon's mysterious pondering about holes we get another chaotic finish. It's such a perfect song I couldn't disagree seeing it on lists of the best songs of all time. If you're looking for a fun and vibrant time to sing and dance to, something to dream about or get high to, to just sit and relax, this satisfies it all. A complete experience you'll keep coming back to. On a final note, I guess I can address the critics, whose points boil down to either "They're classic but the people they influences did it better" or "This music doesn't blow me away so they're overrated." All I need is to say is that I'm grateful they don't have more convincing arguments. It's inevitable for people to not like any given thing, but at least I don't see a reason why I should view this album any less than perfect and world bending.

An impressive and cohesive display of raw bluesy guitar talent. Starts off with a groovy funky intro before jumping straight into a performance that acts as a smack in the face. It follows into the 15-minute straight-up blues where we have plenty of time to pay attention to these strange techniques he pulls off, themes that he revisits in later tracks. Not to mention he will follow this track up in the closer as a rampant finish in one of his most famous songs. If you were feeling mixed about the album at the beginning, hopefully the ending of "Voodoo Chile" draws you in and excites you for what's to come... it feels like the real intro to the rest of the album. We start off some pure psychedelic rock tracks that would shock people if you told them this was Jimi Hendrix. Really groovy, but the guitar feats are there. You can't tell me those last 30 seconds of "Little Miss Strange" are like anything you normally hear. "Long Hot Summer Night" follows this trend before the speed ramps up in the very bluesy Earl King cover "Come On." Has a strong rock n roll feel, but the solos are insane, almost like Hendrix is making it his own. "Gypsy Eyes" starts off strong, one of the more complex songs out there, changing in tempo and style every 10 seconds, getting weird by the half-way point with the distortion carrying to the end of the song, before an anticlimatic finish. "Burning of the Midnight Lamp" returns to the psychedelic themes, a really trippy but beautifully melodic experience, incorporating gospel-like back vocals, wah-wahs, and a harpsichord. "Rainy Day Dream Away" is another groovy piece, feeling a little jazzy at times. Closing off the psychedelic experience of this meaty third of the album, we have the epic "1983," going on for 14 minutes. I would kill to see this live. Reminds me of Cream and the Doors near the end. So dreamy. Our final stretch of the album revisits many of the themes we've seen, except much harder and faster. "Still Raining Still Dreaming" starts us off with just like its sister jazzy track from earlier except just out of control... faster, crazier, and unpredictable. Insane closing. "House Burning Down" has more unconventional guitar work that screams at you with these deep sounds that abruptly come in and out. Finally, we have our last two classics. "All Along the Watchtower" is one of the best songs of the era... it's hard for people not to appreciate Dylan's fairytale songwriting or Hendrix's insane guitar-play, especially in that iconic solo. There are very few weaknesses in this album. Despite being a double album, I don't consider there to be any weak tracks, and the diversity and placements of interludes and long tracks help people digest the material. That being said, it is a very guitar-heavy album and can be hard for a lot of people to appreciate it all until they can listen and pick out each of the tracks, which is fortunately not too hard to do with all the diversity in style and approach. The track order is a huge strength. I think it was really smart to begin with a funky piece to ease in listeners and then get really hard with the guitar to entice them. I thought it was weird it have two psychedelic pieces, followed by two rough bluesy pieces, then back to the psychedelic, but I guess it's a necessary change. I also thought it was smart to end with a bang with those last four songs grouped together. There are a few cuts I would make. "Come On," "Long Hot Summer Night," and "House Burning Down" come to mind, but they aren't bad tracks by any means, just that I don't think they enhance the experience too much. Overall this is where Hendrix is at his peak in skill and composition, and should serve as evidence of why Hendrix is one of the greatest guitar players of all time.

The Flaming Lips at their best in songwriting. Marked the beginning of a modern psychedelia sound that we'll see revisited in artists like MGMT. Tracks are symphonic and beautiful, easy to slip into. Just as good as Yoshimi, except instead of a concept album full of interdepencies, any track here could stand on its own. Many parts sound like 60s psychedelic pop albums, I can hear Pet Sounds and Odessey and Oracle at several points, but they utilize modern production to create an identity for themselves that later neo-psychedelic groups would follow.

An optimistic album with a sunny Caribbean sound. I like the tracks where they get wild or play the guitar well. Not all the tracks offer something, but there are plenty of pleasant surprises all throughout. They know when to sing / shout, or when to just let the instruments do the work. Favorites: Choferito-Plena, Simba, Tribilin Cantore

John Cale, the founder of Velvet Underground, doing a collection of fun catchy pop songs. Nothing out of place. The majority being baroque pop, one of my favorite genres (especially from that era) with a heavy wall of sound, incorporating strings like an orchestra. Different styles here and there like the bluegrass "Macbeth" or psychedelic folk "Hanky Panky Nohow" that never test the boundaries of our comfort zone. Beautiful writing reminiscent of 19th to early-20th century literature. He gets pretty artsy at times, most dramatically in the bridge title track, which draws your attention while still being pleasing and accessible. Has a very British sound, with vocals and writing reminding me of the mods, especially the Kinks. Closer is a satisfying exit. Length and pacing are just right. Favorites: The Endless Plain of Fortune, Andalucia, Paris 1919

One of the better post-britpop bands, but tries to sound too much like Thom Yorke. On the first few listens, everything blends in. But with beautiful melodies that test their boundaries, it's dynamic enough to maintain interest without coming off as annoying. I believe with a more engaging vocalist, the songs would reach closer to their potential. But I really like it, if not for anything other than a pretty melancholy that juxtaposes the abrasive and monotonous alt rock, pop punk, and nu metal so prevalent in the US.

A pinnacle of British folk, the response to Americana's The Band. Great vocals by Sandy, they work well with the psychedelic piece "A Sailor's Life" which I thought I would hate for its length, but I enjoyed every minute of it. Guitars are impressive, some cases as in "A Sailor's Life" clear of their British folk influences, but at times uses standout jazz chords in "Autopsy" and "Who Knows Where the Time Goes?" Then you have songs like the rockabilly "Cajun Woman" where you can hear the British folk very well, such as the fiddle solo, but much of it sounds bluesy and Americana-influenced. Lyrics are entrancing and always deliver, despite the only traditional song being the psychedelic piece. Bob Dylan wrote three ("Percy's Song" sounds like something straight from Freewheelin), while Richard and Sandy each wrote two, exceeding expectations. To be fair, I was already impressed by Richard's solo album Bright Lights. I'm glad this album is on this list... Fairport Convention is certainly an essential listen, but due to their soft sound, they don't get as much love as the flashier albums of the era. Only complaint is that the instruments felt a little dull to me in the first and last two tracks.

One of my favorite albums. Love every track. So simple yet entrancing and melodic. I think a lot of it comes from its jazz-like structure, despite only using rock instruments. This isn't like anything out there. Explores several themes, none of which overstay their welcome, and never tries to be flashy. Atmosphere is wistful and mysterious, sometimes very dark, which works perfectly with Verlaine's haunting vocals and creepy lyrics. This is best exemplified in "Friction," from the beginning tune to the guitar interludes between every line. It amazes me how each track stands out in these remarkable, memorable ways. It helps that there are only 8 tracks, each deserving full attention. The mixing is as best as it could be, you could hear everyone clearly, as subtle as they may be. A bad production job would have likely dulled the contributions of the drums, which I feel play the major role in carrying the power and tempo in this album compared to most. When the drums change, you know we're moving into new territory. The second side doesn't get enough love. Starting with the garage-style wild opener, it feels like the first few tracks are building up the mood to the titular masterpiece, but we abruptly shift to the post-apocalyptic second half. Again, with each track I can pull out 10 things that I obsess over. And yet there's always a commendation about the vocals, guitar solos, lyrics, and drums... no one's being dragged behind in any of them. "Elevation" carries the themes we saw in "Friction" and "Marquee Moon," but "Guiding Light" really mellows the tone for the rest of the album. When people say Marquee Moon is one of the most influential album to the alternative and indie scene, the song I typically thing of is "Prove It;" there's something so standard about that song that really sets the benchmark of how rock music should sound like, simple yet constantly evolving, with dynamic vocals and solos that naturally come in and out of the song's riffs, closing with an extended satisfying ending. Also, it has the abrupt stops, which is one of my favorite things about punk music. Finally, the album closes with the gothic, eery "Torn Curtain." Absolutely love the yearning chorus and the isolating guitar. Best choice to close the experience.

Exceeds my expectations tenfold. It's whimsical and magical, filled with imagery of forests and mountain, tales told by medieval folk singers. Some tracks shrouded by the wide openness ("Tiger Mountain Peasant Song"), while others bombard you with a wall of sound full of optimism and happiness ("Quiet Houses"). Nothing sounds more fairy tale-like than "Heard Them Stirring." Influences are all over, I can hear post-rock / emo in "Ragged Wood" and psychedelic pop in "He Doesn't Know Why." The style of singing is certainly reminiscent of Brian Wilson, but he definitely makes a style of his own that fits extraordinarily well with the album's themes. Some standout tracks, but the album is best experienced front to back.

The Pixies doing what they do best, full of passion and pride in each track. Just like with their other albums, they manage to squeeze over a dozen songs in just 40 minutes, two-thirds clocking no more than 3 minutes. Yet the variety is there: we start with a Dick Dale heavy surf piece, followed by abrasive garage rock, then a romantic, melodic hit. The major pull is that smooth surf sound that blows you away due to the awesome production, so good that even Nirvana sought their producer. No major duds, they each have a unique theme and are short enough that you don't have time to dislike any. Bossanova is an underrated amazing follow-up. Favorites: Velouria, Ana, All Over the World

These guys rock!! Craaazzy vocals, extreme speed, power chords, hot damn! We start off with a radical ode to Little Richard; I like that feedback that closes the song. "Bloodsucker" has cool screeches, and a nice proggy guitar solo in the middle, but otherwise forgettable. "Flight of the Rat" has a really sick extended solo segment, but I'm not a fan of the beginning or end. "Into the Fire" and "Living Wreck" are pretty forgettable. "Hard Lovin Man" has the coolest heavy metal instrumentals, kinda reminds me of Black Sabbath. The star here is the classic "Child in Time," a prog-rock 10-minute masterpiece that strongly borrows from classical genres. The song is so great that all the characteristics I enjoy are perfected here, causing the other tracks to pale in comparison in every way. Love how the song just gets crazier as the minutes pass into a heavy metal frenzy until the 6 minute mark just resets us to the beginning, closing with a climatic finish. "Child in Time" carries the album, but it's the only track besides maybe the first and last to be great from start to finish. Two duds and the rest have their highlights. Nevertheless, this album was huge influential in the emerging heavy metal genre at the turn of the 70s and should be looked in that perspective where they had few contemporaries to base their work off.

Well this is a fun one. Not very polished, full of mistakes, but quite emotional, like a show of Barrett's mind. From the lazy "Terrapin" to the playful "Love You" to the heavily distorted "No Man's Land," this is a record constantly on the move. I really enjoy Barrett's crisp sing-a-long voice and imaginative storytelling. Obviously not for everyone and not to be over-hyped in recommendations, it's a bit of a mess, and feels like a mental breakdown, but for fans of this kind of British psychedelia (Floyd's Piper Dreams, Small Faces, Kinks, Soft Boys), this weird entry is a pleasant surprise.

A pretty solid debut, a lot more bluesier than the polished pop sound they'll grow to possess in later albums. Half the album is ok, like in "Setting Me Up" I only really like that swampy guitar solo. "Six Blade Knife" sounds pretty badass, like a James Dean act, but it doesn't really go anywhere. That's fine I guess: it sounds cool... the major problem is that it doesn't stand out and happens to play between two mediocre blues tracks, so nobody even pays attention to it. "Sultans of Swing" is a fantastic piece, likely his most famous piece contesting with "Walk of Life" or "Money for Nothing," but certainly a candidate for one of the best songs of the year (which says a lot with all the emerging post-punk and New Wave of that year). It does, however stand out from the rest of the album, highly polished, filled with a wall sound, memorable melody and chorus, very fast, but still retaining the cool factor of tracks like "Water of Love" and those that follow. Last few songs were more focused. Favotites: Water of Love, Sultans of Swing, Wild West End

Following the success of "Missing," the duo devote their shift from sophi-pop to dnb / downtempo, which really matches their style: vocals reminiscent of downtempo classics like Portishead. For anyone missing that style, "Mirrorball" is a great transitional track, like sophi-pop using dnb tools. There's a trend with this album, and maybe for the album as a whole, but several of the tracks are repetitive and feel like they're on a 15 second loop until the last minute or so with some cool instrumental piece. "Flipside" and "Big Deal" are the biggest examples. Meh, I still like the tracks, even if I choose to just listen to their hits. Favorites: Before Today, Wrong, The Heart Remains a Child, Walking Wounded

Each track is well put together. Minimalist indie rock that focuses on perfecting each sound in each track. Melodic and whispery vocals appeal to all audiences. Each track has its hooks, necessary to get people's attentions whenever a new song comes along, ending with a satisfying closer that ties together the theme. The codas to "Crystalised" and "Islands" are so short but leave you with a positive note. The star of the album is definitely Jamie Smith. The guitar, bass, and vocals are really nice, but honestly it's Jamie's work on the sequencer and production that really makes each track pleasing to the ear. "Intro" and "Fantasy" do amazing jobs at organizing the tracks and giving the audience room to breath before taking in the next one. Starting with "Fantasy," the following pieces become much more atmospheric and dark. "Shelter" just gives off Joy Division vibes. We re-enter some of the heavy dance beats in the latter halves of "Infinity" and "Night Time." Over a decade after its release, I can agree that this album had a huge influence of 2010s music. I hardly listen to the music of the past decade, but this very much doesn't sound like much from before 2009, but yet this is the kind of music (but worse) I hear all over advertisements and the chill-kind of music I hear in friends' indie music. I can finally hear the transition how we got to this point, which I feel I can now appreciate. Favorites: Crystalised, Islands, Infinity

Candidate for the best Police album, and the only one I frequently come back to listen start to finish. This album doesn't feel like any other. It places you in this surreal futuristic world that feels like several 80s movies snippeted together with scissors and glue. The most remarkable feature that sets this album apart from others is how the first half (more like a third) is full of unusual picks, nothing to really sing and dance to, but then the second half has exactly that, all the hits. This is the opposite of how music is normally done in like every album. And usually, this is a fault, but I find it very interesting how well it works here. Usually you listen to an album like this, you start off with the hits you love, and then the last half or so is full of "whatever nobody cares," except for possibly the closer. I feel that this formula actually works well in the context of this album, and enhances its replayability. Maybe not for people who don't like this kind of music. But if you did, it does place greater emphasis on those beginning tracks that deserve it. The titular opener straps us into an F-Zero-esque high speed race, accompanied by the bleak colors on the cover. The second track feels like a jungle. It's so strange how the tracks on the first half don't scream out, giving proper attention to the unique production. Just hear how "O My God" phases in... very weird to me. It's funky but doesn't have insane dance hooks of the second half. And not to mention the avant-garde jazz solo that's a callback to their prior album, Ghost in the Machine, transitioning to everyone's favorite "Mother." I seem to be the only guy who likes it... it's like the tracks get more and more stranger until we reach this Eastern-style pinnacle of mental breakdowns before snapping into reality with "Miss Gradenko," prepping for the fun music that "Synchronicity II" starts with. "Synchronicity II" is one of my favorite Police songs. I love singing and dancing to it, but I never know the lyrics. Fantastic chorus and power transitions, wonderful work all around on the guitar, drums, and synths. You can tell with that solo that they've really learned a lot from the Ghost in the Machine, and I'm really glad you could still hear this song on classic hit radio (in the US at least). "Every Breath You Take" is that pop outlier that doesn't really fit in the rest of the album, kinda disrupts the flow, and is the #1 reason why I wouldn't claim this album is perfectly coherent, although it's pretty darn close. But then again, it's an amazing pop mellow pop song with a heartbreaking story about divorce. We return with the dance hits with "King of Pain." The synths are the star here, especially in 3-4 minute mark. I really like the muted guitar interludes (before it's louder solo), but there's also a nice beat and catchy chorus. "Wrapped Around Your Finger" has my favorite synths and Sting's vocals. Really smooth, utilizing motifs from the first half, building up to that chorus that reminds us why it's on the second half. It has a bit for everyone, hard to dislike. "Tear in the Sahara" is a personal favorite. At this point, people are probably tuning out. Again, great synths, original and really sets the setting rather than forcing its way in. "Murder by Numbers" is a fitting closer, feels like a jazz nightclub, although I like how louder it gets in the latter half. Few complains, but overall an outstanding album that I recommend to anyone. One of the pinnacle New Wave albums, and certainly their best effort.

My only exposure to Bjork before this was her alt-rock band The Sugarcubes, "Birthday" is one of my favorite songs. And I'm happy to hear her vocal style in still here 13 years later. Dramatic and beautiful, before in the Sugarcubes it gave off a wistful and mysterious vibe, but here we have something much more stunning, carefully arranged with intricate electronics that serve to construct an ambiance for the audience and support Bjork's vocal style and lyrical subject matter. I can tell how inaccessible this could be for most listeners. I mean, the second track "Cocoon" is characterized by moments of silence, light ambiance effects, and a mostly static whisper that rarely breaches its boundaries. This is an aesthetic that contrasts with most pop music out there. For many people, this abstract aesthetic combined with the cryptic lyrics could come off as pretentious. However, her one-line lyrics project brief images that build the subject matter, allowing the audience plenty of time to focus on everything going on, from Bjork's storytelling to her emotions to the production's environment. Major issue is that the second half is significantly weaker than the first. Not bad by any means, but they don't blow me away until the closer "Unison." There are many things I love about those tracks though. "Frosti" leading into "Aurora" sparks images of mythical ice kingdoms. "An Echo a Stain" is a fest of industrial anxiety. "Sun in My Mouth" has some of her prettiest singing. "Heirloom" is straight up trip hop, probably the most accessible, even her vocals are more traditional here. I have nothing notable to say about "Harm of Will," just another decent track, but at this point I'm tuning out until "Unison" snaps me back into a dramatic operatic finish. Favorites: It's Not Up To You, Pagan Poetry, Unison

In terms of Aerosmith albums, this is a strong candidate for their best. Least filler and fairly consistent. But that doesn't mean any of the songs are anything to write home about. "Walk This Way" and "Sweet Emotion" are well-deserved hits, and I'm glad they were re-popularized by Run-DMC, they're catchy and loud. The other tracks are mostly decent... it's polished and coordinated, but dull and uneventful. Their influences are very obvious. It's pretty safe blues rock mixed in with glam rock. They have hooks and riffs that stick out to any listener in all their songs. It's very much popular and riding on the wave of success of their predecessors. It's no surprise that their comeback in the late 80s was modeled on the very same concepts.

This is one of those albums you have to experience everywhere. I've listened to this with headphones, on tiny speakers, and with large speakers and a bass system. I've listened to this while on a train, trying to sleep, working, high on edibles, even on shrooms. Just like mbv's Loveless, there's a lot of ways to experience the album and break down everything happening. It's a psychedelic pop masterpiece: Animal Collective's proudest and most accessible moment. The songs completely envelop you. It's immensely colorful and bright. The vocals are clear, and the lyrics are optimistic and engaging. The synths are used to advance their creativity in psychedelia, tools that had been developing for a decade following Flaming Lips's reinvention of the genre. Some tracks you can dance to, while at other things they serve a more artistic purpose, to wow the audience and glue the tracks together as part of a large continuous scheme. Track ordering is perfect. Starts off with the fan favorite "In The Flowers," setting the standard for the impressive weirdness you're in store for. The next four songs are the accessible pop hits to entice any newcomers to the wonderful world of psychedelic synthpop. The rest of the album has their own merits. They're dynamic, constantly evolving, and very fun to listen to while high. Pick and choose your favorites, but I love them all. I find them all super memorable. There are moments to groove along, and there are moments to just pause and appreciate what's happening. Reminds me of Bjork's work here and there, but mostly The Beatles and Beach Boys during their psychedelic phases. The album ends with the optimistic "Brother Sport." I adore the repetition in this album. Some may find it excessive, but I find it works really well, especially when it takes the focus while noises shift in the background. "Brother Sport" is based around this idea in each of its stages and it leaves with a satisfactory happy ending.

Another genius takes the genre to its pinnacle. Creative use of obscure genres in a consistent manner. Tracks flow seamlessly from one to the next, matching the reoccurring samples and motifs that glue the whole album together. Many songs feel like extensions of the previous. But unlike other sampledelic artists like DJ Shadow, these tracks shift the focus from building an atmosphere in long sequences to short strings of ever-evolving club hits. There's much to digest in this hour-long program, but all of it worthwhile. You can really appreciate all the tracks. First several tracks have a bright summery feel to them (reminiscent of Saint Etienne) before shifting to a harder, funkier groove with "Flight Tonight." "A Different Feeling" is a deep cut that struck out to me, for constantly shifting its tempo and mood. This track really calms down the pacing building up to the Daft Punk-esque "Electricity." The calm "Tonight May Have..." gives off Charlie Brown vibes and reminds me of 2010s Youtube lofi with all the static and chill mood. And then suddenly "Pablo's Cruise" shifts to psychedelic weirdness, leading into the operatic vocal sample-heavy "Frontier Psychiatrist." Next 3 tracks lead us full circle on the bright summery theme, only this time more of the atmospheric low key feel of DJ Shadow. "Live At Dominoes" gives us one final hurrah in another Daft Punk-esque dance mix, which is kinda placed in a weird spot since the psychedelic "Extra Kings" immediately goes back to a mellow but dramatic finish.

A standout garage rock piece from the time. The closest 60s album to resemble punk. Vocals are harsh and direct, using offensive language and touching on sensitive or nonsensical subject matter. It shocked me seeing tracks called "Shut Up" and "I Hate You" on a 60s album. Melody is fast and minimalistic, with short tunes that fly by (much like The Ramones or Wire) and slight variations to a repetitive rhythm that go out of control. Instruments are raw and often abrasive, but I really like the use of the organ. Very typical of the time in garage rock, just look at "96 Tears" by ? And the Mysterions or The Electric Prunes. Every track starts off with a hook that draws my attention, which is great considering many of the tracks have little to no vocals. No bad tracks, although the momentum dies by the last few. The bonus tracks are kinda boring, even their long titles are a bore to stare at. I really enjoyed listening to this album. Probably the most consistent garage rock (outside VU and Stooges) effort out there.

WU WU WU WU WU! These guys are fantastic! 9 skilled rapper taking turns, each with your own personality, a unique style and rhyme you can't resist getting attached to. Theme continues hardcore gangsta hip hop but marks the East Coast Renaissance. Sound is much more minimalistic than we're used to, placing more of an emphasis on what the rappers can show us. The raps are really smart, like insanely smart. These are model raps I look to for inspiration how to rhyme. I love how the samples evolve as the members swap, making each track feel longer and more rewarding. Samples are minimalistic, feels inspired by the jazz rap but low key and fun. Nice kung fu clips. I'm usually not a fan of skits, especially when so often they glue in with the track themselves and last two minutes. But these were fun with all the different characters. Nothing like Biggie and his friend taking on all their roles. GZA the poet and philosopher. Ol Dirty Bastard with the ol loco wubudub voice that sounds like he came from the dentist. Ghostface Killah with his high, loud, and crazy voice, reminds me of Flavor Flav. U-God with that rough almost Jamaican voice that rolls off the tongue. Masta Killa the guy who only showed up for a minute and called it a day. Inspectah Deck the energetic one with the accessible voice. Raekwon the young, slick voice with the heartbreaking stories. Method Man the mature, collective one who really sings in some of his verses. RZA the strong and aggressive leader who incites the audience. There's a strong momentum with "Da Mystery of Chessboxing" that carries to the rest of the album. The songs before them are amazing too, but the long skits more than often serve as a distraction. "Bring Da Ruckus" and "Shame on a Nigga" set up the mood for the album. "Clan in Da Front" is a display of GZA's poetry and highlights his character, also reinforcing RZA's status. "7th Chamber Part I" gives us an overview over the majority of the clan members and their unique styles. "Can It Be All So Simple" is where I start paying attention to the samples, love the stories built. "Da Mystery of Chessboxing" really kicks the album into gear, with "Wu Tang Ain't Nuthin ta F' Wit" carrying that momentum and energy. "C.R.E.A.M." is a natural hit with an often misinterpreted message. "Method Man" highlights the titular character's talent with some awesome samples. I love the way he sings... he changes his tone so much, sometimes you want to sing along. "Protect Ya Neck" has some of my favorite lines, especially GZA's. "Tearz" has my favorite samples, a highlight of RZA and his intense emotional storytelling. Wear protection kids. "7th Chamber Part II" is a fitting closer. Nice mixing and samples.

A pleasant surprise. I didn't anyone was still making fun dance punk songs in the late 90s. It's artsy with New Wave-esque synth weirdness and a fuzzy guitar. Love the dynamic female vocals. I need to check out that riot grrrl playlist Spotify has.

I wish I had liner notes to follow along with the music, picking out all the instruments, but I guess that's what the extended outro is for. I hear Pacific island instruments at 11 minutes, East Asian instruments at 15 minutes... there's a ton of crazy sounds going on here. Insane amount of talent. First 10 minutes are intrinsically beautiful with wonderful transitions, then moves a bit more rough and exotic before a momentary silence. The next few minutes serve as a mild break, low in volume and simple on the guitar, Oldfield credits all his instruments. A bit of an anticlimatic ending, but those first 17 minutes are worth it. The second part is where things get really interesting. First third feels like medieval British folk, before we get some lovely back chorus. I adore the grunts; some love it and some hate it, but I think it adds a nice twist to keep you on your toes, picking up the pace. Apparently the dude got pissed they wanted lyrics so he drank half a bottle of whiskey and screamed into a mic for 10 minutes. Overall it's a really accessible experimental album. Doesn't do anything too groundbreaking once you break it all down, but it's one of the most enjoyable tracks I've heard that last more than half an hour.

Starts off with an acoustic masterpiece, followed by four more decent acoustic tracks. If you're a Neil Young fan like me, you'll love it, but there's nothing outstanding here beyond lyrics that you don't already see surpassed in his other albums. These songs are the reason why I dropped from 4 to 3. I think the real highlight is the other 3 songs and the "Hey Hey My My" outro that rightfully deserves the title of "proto-grunge." I was confused in Ragged Glory why Cobain and Vedder considered Young as a huge inspiration if their albums came out before or the same time. But here it is. It's rough, raw, and distorted, taking inspiration in itself from the adjacent punk movement. There's a progression that keeps get wilder, until we reach the penultimate "Sedan Delivery" which I can't believe is a Neil Young song, reminds me of 90s acts like Primus. Absolutely love the flips between slow, melodic, almost psychedelic to the fast-pace jam. Great callback in that outro to remind where we've gone in under 40 minutes.

I find it fitting this album is called The Blueprint, as much of early to mid 2000s pop music will copy these techniques. I swear I've heard the sound effects in "Song Cry" in like a million pop songs of the era and it's really annoying, but here it's done right. Furthermore, we begin to see a shift toward more soulful styles. Production is polished and clean. Jay Z's vocals are smooth and clean and mixes well with the studio additions. Amazing early work by Kanye. Apparently, this album marked a shift back toward samples as opposed to the keyboard-dominant Timbaland style. No bad tracks, I was pretty satisfied listening to them all which is pretty rare for me, especially in this poppier subgenre of hip hop. Nice surprise track with Eminem, although I think his performance and volume overshadows Jay Z.

Another solid string of Cohen folk pieces. Much darker, much more anxiety-inducing. None like "So Long Marianne" here. There are several reoccurring themes like the idolized Joan of Arc figure. "Avalanche" is a very eery opener, with the dramatic strings and that shifty plucked guitar at the forefront. "Diamonds in the Mine" is a crazy surprise, I really like Cohen's chaotic voice here. But of course the star of the album is Cohen's outstanding writing. Very poetic and dark, often melancholic. You really get a feel of Cohen's emotions through his choice of words and metaphors that project the intensity and images he sees in his head. This is best represented in his masterpiece "Famous Blue Raincoat." There are few songwriters out there who can tell such deep and involved stories, but Cohen has shown to be able to do so time and time again.

An album for the fans. It's a lot of fun, very pop-like and accessible, appeals to the contemporary R&B crowd, tons of synths and a standout drum kit to dance to, and littered with James Brown-esque funk rock. It's not a very good beginner Prince album though. Being a double album already makes it a heavy task to devote to. But nothing resembles hits as in 1999 or Purple Rain. And it's not very consistent either. This isn't necessarily a bad thing. The style, tempo, and mood keep changing from track to track and it can be a lot of fun, but don't go in expecting for a cohesive experience. It feels more like Prince experimenting with a lot of ideas and having them work out. I'll definitely be playing this if I'm looking for variety 80s pop. Especially by one of the kings of pop.

I'm being held hostage as I write this review, so criticisms are limited in scope. Without choice, I've actually listened to all of Swift's albums dozens of times each, and honestly, this one is not only her best, but is a landmark album that deserves to be on this list. I love 80s synthpop, so it's only natural for me to appreciate what this album has to offer. The hooks are in every track... each track could be its own single. The production is top of the notch; Swift's style compliments the synthy overlays and echoey effects that make each track sound very clean. With modern pop music over the past couple decades that have placed a particular emphasis on the singer's voice, you can hear in "Style" how well the music stands on its own but brings out the best in her vocals, avoiding the pitfalls of generic pop music. It's a coherent experience from start to finish. The mood is optimistic and often goofy, used perfectly for a fun dance experience. I do agree that there isn't much room for breathers on the album. Sure, in the first half, "Out of the Woods" has more wistful vibe, and "All You Had To Do Was Stay" has calmer verses reminiscent of Red, but the choruses are still loud and overwhelming. "I Wish You Would" probably comes closest, which is necessary between the cinematic dance craze "Shake It Off" and the heavy beat hip-hop "Bad Blood" (followed by the grand romance "Wildest Dreams"). Last three tracks are what we needed, a really quiet and prolonged finish. A less artsy Kate Bush. Even "I Know Places" doesn't get too wild to make the audience uncomfortable. "Clean" is a satisfying ending that reminds me of the closer "Say Hello, Wave Goodbye" of the synthpop classic Non-Stop Erotic Cabaret.

It's grand and cinematic, but for most listeners it's nothing more than a fusion of late 90s electronica with classical Indian music. Too long, no standout tracks, dated in the sense that it sounds too much like similar music of its time, relying on the Indian music gimmick as an identity. But it's atmospheric and cohesive (kinda), with nothing sounding bad. There are some rough cuts, like "Decca" to "Eclipse" where I'm not sure what to feel, but again nothing that bothers me too much.

This is acid rock alright. The bluesier, harder cousin of psychedelia best exemplified by Clapton's Cream. It's incredibly raw, inspired by garage and jam bands of the time. Most psychedelic tracks are "Summertime", "Oh Sweet Mary", and "Ball and Chain." Janis is a fantastic frontman, her raunchy vocals compliment the chaotic screeches. There's a pop hit "Piece of my Heart" to pull in skeptical listeners. Hopefully Janis's reputation is enough reason for most people to give this acid rock landmark a fair shot.

Juvenile lyrics and concept stays a little too long, but otherwise subject matter is a fun and unique divergence from typical gangsta or political topics. Tracks are solid and skits are a lot of fun. Great to have another underground artist doing something new and interesting, and apparently he was influential to the likes of Dr Doom.

The Damned return with a solid entry as they start experimenting more with a harder punk sound. One thing that sticks out is how smooth the tracks transition from one to another. Didn't even notice "Love Song" and the titular track were different. "I Just Can't Be Happy Today" starts drifting into New Wave territory. We'll see the synths again in the next few and the closer. "Melody Lee" cranks up the speed but still has New Wave-esque vocal style. This and "Noise Noise Noise" through "Liar" are proto-hardcore examples, very noisy and abrasive. Lengths of the early were fine, but the later ones were hitting 5 minutes and overstaying their welcome. There were a lot a misses, and I don't think anything stands against their debut except the first 3 tracks and "Smash It Up" but they're wacky and there's plenty to like.

There's something wrong when my best argument for this being one of Stewart's best albums is that its the shortest at only 35 minutes. We all know the classic rock hit "Stay With Me" but even that I don't think is particularly noteworthy. You have a good diversity though, with the first few tracks being hard rock, funk boogie rock, a ballad, then Dylan-esque roots rock. It's decent. We got some generic rockabilly solos... I'm not feeling any personality or soul in these tracks.

Jangle pop that sounds very much of its time, and specifically inspired by The Smiths, between the jangle, extensive synths, and chambered vocals and instruments. Optimistic tone, with further inspiration from folk, country, and sophisti-pop (hear that easy listening brass). It's solid, some highlights, but nothing outstanding.

When psychedelic rock goes on the extreme end into the hard blues of acid rock we saw of Cream and Joplin's Big Brother, it starts to take the form of proto-heavy metal. The songs hit really hard, like rockabilly taking LSD and going real crazy. It's not known for its songwriting, but with songs unmatched in distortion and intensity, it stands as one of the most influential albums in the vast genre of metal. The groove sounds a lot like 90s doom metal, and thus I could see the connection with Black Sabbath.

Iggy's comeback that serves as Bowie's precursor to the Berlin Trilogy. Honestly shocked Eno wasn't involved, and the intro "Sister Midnight" sounds very similar to "Sound and Vision." The vocals and slow, dark synths would be utilized by the punk movement to evolve into post-punk and gothic rock, most notably its influence on Joy Division (most notably "Nightclubbing" and "Mass Production"). Only 7 tracks, each memorable in their own right. The jazz and melody of "Tiny Girls" reminded me of Roxy Music, another British art rock 70s band. Only two tracks I wasn't a huge fan of were "Funtime" and "Dum dum boys" but even they were good songs. Favorites: Baby, China Girl

Motorhead is one of a kind. Everyone knows the titular track, but the whole album exceeds expectations. Lemmy is a unique vocalist, inspired by the punk movement, raspy and confrontational fitting with the wild theme in the raw sound and arrogant badass lyrics (although now may appear dated and a bit silly, not to mention the infamous "Jailbreak"). The sound is a step forward from the glam metal and heavy metal of the era, fast and hard serving as a precursor to thrash metal, yet still melodic and accessible to contemporary audiences. The songs themselves are short and fast, with enough variety and emphasis on the guitar solos, impossible to get sick of by the time the next one plays. That being said, most of the tracks don't stand out, although several do compete with the anthematic power of the titular track. Yes, the catchiness and beautiful melody of "Jailbreak" is one of them, but damn those controversial lyrics. TIL Lemmy was in Hawkwind, which is coincidentally the album assigned to me the next day. I can't believe how innovative and consistent this guy is... people should definitely be talking about this legend more.

I've been recommended Hawkwind for over a year now, and I'm glad to finally get around to them. Most cosmic rock I've heard is more on prog rock side, with some on the more krautrock end. But this is heavy, a derivative of the acid metal of the late 60s and early 70s. It's a very atmospheric work. Guitar solo isn't what I think of when it comes to this album. There's the wobbly synth effects that give off the cosmic feel extraordinarily well, always the focus but never too reliant on its effect. You have to be really careful when your album and each piece goes on for so long, and they pull it off well. Brock on the vocals and guitar feels more like a compliment, as if he displays himself as the star to the audience, but the atmosphere just overtakes and shrouds him in a cloak. Such characteristics make the album perfect for listening to while high. Nik Turner on the sax and flute are more familiar noises to us, complimenting the synths to add to the surreal nature, while still accessible to audiences. But by far Lemmy takes it away on bass. I can't believe his creepy voice is the same raspy cowboy voice he has on Motorhead. The major downside is its length. By the time you're half way through, there aren't any highlights to look forward to. It's still cool, but after listening to this album twice, I sighed both times by the time I got to the 14-minute "Brainstorm." If the album were cut in half, I would appreciate each track much more and award it a 4. But with an atmospheric album like this, especially considering the time era and the fact it was live, there are limitations on what can be done.

I like shoegaze, but this electronica-fusion piece is a bit on the generic side, no real flavor at all. The guest vocalists were excellent and fitting with the music, but I felt they carried the show.

For an Aerosmith album, this is actually really decent. This is their second album following their 80s revival, and they don't disappoint. It's remarkably consistent, with tracks moving smoothly among each other. There's some repetition, and for sure "My Girl" to "Hoodoo" are complete duds. The songs are marketable and listenable, you can bear through them alright, but I wouldn't exactly call them good. I'm also unfortunately biased to like them cause I grew up on a rock station that played nearly half this album on repeat even 20 years after its release. Despite that, I truly believe "Janie's Got a Gun" is a great song, and "Love In An Elevator" is a nostalgic, anthemic ode to their 70s work, characterized by an outstanding bridge that rivals GnR. Meanwhile, "What It Takes" has a catchy chorus, but it's way too long and I don't like three quarters of the song.

I've already written other LZ reviews, praising their influence and sound, the individual and teamwork between Plant's passionate and diverse vocal style, Page's insane talent on the guitar that often acts as a supplementary vocalist, Bonham's intense drumming that knows when to shush and when to take lead, and Jones's bass and organ that help fabricates the imaginary worlds elaborated by the themes (in sound and lyrics). But this is a general overview on what makes LZ one of the best bands of all time... what can be said about this album? To me, all the songs are masterpieces. The first half starts off with "Whole Lotta Love," a very prog wild piece, beginning off strong with an iconic introduction to the album before a sudden shift into chaos and distortion ensues, which surprisingly goes on for 2 minutes before an epic return to the theme. This song is just perfect all around. It's full of great moments and innovative techniques that come together super well. Has my favorite drumming off the album, you can really hear the power and force Bonham drives in this song. Plant also gives his best performance... he sings and shrieks at least two dozen different ways in under 6 minutes, I have no idea how he pulls it off. Following the showy intro, we immediately contrast with a calm followup "What Is and What Should Be." Love the vibe, between Plant's distorted whispery vocals and Page's melodic riffs, the juxtaposition between the quiet and freak out moments, and the sudden bridge to the coda marked by Page's short riffs coming from everywhere and a gong (for whatever reason). Next we have "Lemon Song," a Howlin Wolf track and of course one of the bluesiest on the album, but LZ's contributions make the track nearly unrecognizable, a complete product of their own. My favorite part is how Page's short-lived riffs compliment Plant's verses, almost like an additional vocalist. The coda sounds like an improvised 50s rock n roll performance. This side ends with a folk "Thank You," honestly reminds me of Simon & Garfunkel with the harmonious vocals and the keyboard, here an organ. It's a quiet, relaxed finish of the first side. The second half begins with the hard "Heartbreaker." What speaks out to me is the bridge when the song suddenly dulls and centers around Page's solo, kicking off into a frantic frenzy before a sudden stop, returning to the verses. The transition between "Heartbreaker" and "Living Loving Maid" is one of the best I've ever heard, I actually spent a considerable time looking up and requesting a feature on Spotify for gluing songs together like this (when playing a playlist). So fast, even the guitar solo only lasts like the 10 seconds (which might I add, sounds NOTHING like the rest of the song, it just sticks out but I love it). Next up is another one of their most famous pieces, "Ramble On." Characterized by a whimsical folk sound that alternates with a hard chorus, and some interesting solos in between that just blow my mind. It just hits you with a wall of sound, excellent work on everyone's part. The Mordor verse is for sure my favorite that paints the mythical setting of this song and has influenced how I listen to other songs (I compare it to the Houses of the Holy album cover). We're back to what appears to be straight instrumental blues in "Moby Dick" until it turns into a surreal drum solo that sounds like congo work until the cymbals come in, bringing us full circle in the last 30 seconds. Album closes off with a blues cover, with the intro and outro among their most bluesy work and staying faithful to the cover, with the middle swinging out of control. A great way to close off the album, keeping that momentum to the very end. No track feels like filler. No duds, although I could see myself skipping tracks like "Moby Dick" not because they're bad, but because I'm not in the mood. By the time LZ formed, their prior experience has ensured that mastery of blues rock, carrying the genre into a heavy style that would be idolized by metal and rock bands to come.

Of course Bowie was a huge fan of the band, the vocalist tries to sound just like him. But eh, the songs are solid, no really obvious blusters, although some of the song go on longer than necessary. I got faked it by the intro track not ending at the 3 minute mark. They're creative and have an innovative sound. They embody the spontaneous goofy spirit of the genre too, so points to them... It's like the comedy rock of the 70s with a lot of effort put in. But little to seek out here besides a decent example of the early 70s movement.

Chicago is a band I always associate with hits. I love over a dozen songs by them, but at most one from each album. But that can't be said about Chicago's first two albums. I failed to see why jazz rock never really took off. Between Chicago and Blood Sweat & Tears, there was potential for some great hits, and it was commercially very successful, although it was utilized better in later forms of rock in the 70s. This album is really impressive from all throughout, and this is coming from someone worried about that double-album length. "Introductions" is a bombastic display to entice you into the concept of the album, showing you the fun, groovy capabilities this album could have on pop audiences. This is followed up by two hits. The first is one of my favorite Chicago songs, "Does Anyone Really Know What Time It Is?" A beautiful pop masterpiece with carefree happy lyrics that reflect the "Saturday stroll in the park" style that they align themselves with. Next up is "Beginnings," I really like how confident the horns are here, and the bright singing. An extended outro reminds me we're only at the start of the album, and there's still an hour of wildness to go. What follows is a series of a diverse tracks that never tire you despite their lengths. First is a milder pop piece, a little catchy and still very upbeat, smoothing the audience. "Listen" reminds us and this is a rock album and whips out the guitar. Is it just me or did the guitar sound hidden before this? Either way it kicks off "Poem 58," a cool groovy piece. Love the bridge in the middle when the vocals kick in. It's rampant, badass, and exciting. One thing I notice is how the back vocals behave almost like horns with more maneuverability. The second half kicks off with some amplifier distortion, an outlier for us all. I was lying in bed sick and was wondering when this will end, but honestly I thought it was really impressive. Thank god I didn't listen to while high. I would have either freaked out or imagined race cars. "South California Purples" continues the cool grooviness, and I like the surprise "I am the Walrus" excerpt. Otherwise probably the most forgettable track. We reach another pop highlight with "I'm a Man," this time really funky and the most wild to dance to. Amazing instrumental carried by the percussions. "Someday" is a political song about when the CTA dragged a Vietnamese protester. I like the ominous bridge but otherwise it's pretty weak. The 15 minute finale was also written by the trombonist, maybe also political with the "Liberation" title but it's a cool jazz fusion guitar show. Doesn't feel drawn out.

They're really pretty and honest songs, and Grant has a lovely voice. Silly at times. Some songs sound Beatlesesque (their more playful songs)... "Where Dreams Go to Die" kinda ripped from "Across the Universe." "Silver Platter Club" is another example. He uses his resources well, but I can't deny he's really limited in what he's trying to achieve and tends to revisit the same styles in his songs, too afraid to branch out. There are some ethereal sounds complimenting the sci-fi and dreamlike imagery. Few songs stand out, but even those don't impress me too much.

I don't listen to much 2010s music so I had to listen closely to this neo-soul entry, which is one of the most raved about. I decided to look up the opinions online, but it all boils down to how gorgeous her appearance and voice are, and how "relatable" her lyrics are. Damn zoomers. One thing I notice is how most songs start off with a unique chillwave sample. Some forget about it immediately but other tracks really morph it as the song goes on. Immediately with "Supermodel" I notice she sounds a lot like Amy Wimehouse. It's a great track to start off the album and entice me. Love the drums at the end. Next we have two collabs. "Love Gazore" has an ok beat, but Travis Scott's autotune is the most horrific sound imaginable. Almost turned me off. "Doves in the Wind" is a much better collab. Lamar really kills it with performance, and SZA does better here too. Check out the music video for this one. Nice samples. "Drew Barrymore" returns the focus to those strong vocals. More and more she sounds like Winehouse. Really impactful chorus, and amazing violins at the end. "Prom" is an outliner synthwave dance track. Not sure why this exists, or why it wasn't a single. It's good. The next song "The Weekend" is the lead single I believe, which serves as an ode to 90s neo-soul. Has the most poetic and unique lyrics but is a tad monotonous. The second half songs were much less impressive. "Go Gina" is the most boring track. "Garden" is boring, especially those beats, but it's bright and I like when it picks up. "Broken Bells" has a grand sound but it still sounds generic. "Anything" was a strange exception, I really enjoyed the 80s computer samples, felt magical and dreamy, and that wall of sound in the coda was really pleasing. The interlude "Wavy" really sucked. A low for me. "Normal Girl" is pretty decent, nice vocal performance and entrancing samples. Is that a guitar ending? The next is a collab, and SZA sounds angelic here, but little can be said. There's some interesting samples, like a jazz piecd. We end with "20 Something." The lyrics are a fitting melancholic closer to the album, and the sample tries to match it (could be better), but the mixing is bad, and she's putting a little too much effort and not enough emotion for what's to be a solemn end.

Peak of 80s pop, when Madonna fulfilled her creative potential, mastering all she learned from her records that decade before she would experiment in the 90s. Pop was really shit in 1989, with such few highlights like Debbie Gibson, Tom Petty, Aerosmith, and some hip hop one-hit wonders (e.g. "Just a Friend", "Ride on Time", "Pump up the Jam", "Bust a Move", "Wild Thing"), none of which really worth talking about. But boom the queen of pop hits us with something big and grand. At this point in her career she's the most famous person alive and has finally started to be taken seriously since True Blue (more than just a teen pop star). She really delivers with this entry, full of diverse styles that hit one after the next. We start off with "Like a Prayer." It's the perfect pop song. From her flawless vocal delivery, the holy chamber sound reinforced by the gospel back vocals, and the disco-esque dance choruses that divulge into something grand and powerful. Ending with that two-minute long gospel coda and return to the chorus feels like a celebration. It deserves its title as one of the greatest songs of all time. We follow this up with "Express Yourself," the second most popular single. Honestly it's fine, and a lot of people seem to like it, but to me it sounds like her most generic single. It's apparently a gay anthem too somehow? Maybe she swapped up the pronouns for some recording? "Love Song" is pretty much a Prince song from head to bottom with Madonna guest vocals. This sounds like something straight out of Sign O' The Times, incredibly funky and weird. Smooth vocals by Madonna, especially in that bridge, reminds me of her style in Erotica. Absolutely love Prince so I welcome his involvement here. "Till Death Do Us Part" is exactly what I've been looking for. It's a really fast and happy song, sounds like no other. Catchy and I love the jangly melody. Is that Prince on the guitar again? Damn that sounds disco near the end. One of my favorites. "Promise to Try" is a ballad. Everyone's doing them, even rockstars, and they always suck. But for ballad standards, this gets all the marks. Her excellent songwriting is truly highlighted here. Doesn't stop it from being my least favorite track, especially when the much superior ballad "Oh Father" is yet to come. "Cherish" is a personal favorite of mine. A doo wop track, this one's also cheery and optimistic, giving me feelings of "Girls Just Wanna Have Fun" without oversaturation. Amazing production on this one, lots of diverse sounds in the guitars, drum machine, and horns that come together. "Dear Jessie" is a Baroque lullaby. A child's melody, it's a really beautiful song that again displays how much her vocals, her songwriting, and the high production value all come together. I really enjoy that grand magical bridge that's like a medieval fairy tale. I was a bit iffy about "Oh Father" until a minute in and instantly fell in love. This is a Baroque masterpiece, I really love her songwriting and the strings in this one, as well as the way she varies her tone and power in her voice. The bridge is a highlight here too. By the time we reach "Keep It Together" I'm reminded that Madonna writes dance hits. She completely moved away from that style until this track, and it fully delivers. An ode to Sly and the Family Stone (you can really hear them in those emphasized guitars), it's super fun and funky like a night at the disco. "Pray for Spanish Eyes" is a return to the Latin music she had played with on True Blue. It's no "La Isla Bonita" but she's really perfected that sound, and it's a nearly flawless piece that further adds to the remarkable diversity of this album. We end the album with Prince on the guitar for two minutes. Fun outro. I don't care much for it though and would probably shut it off here. I have a rule when reviewing albums. Whenever I come across an album with 8 or more tracks, and I can say something very positive and regard as memorable nearly every single track, it signifies nearly flawless album, and I must give it the full 5 stars. My only real general complaint is the length of the tracks. I really enjoyed most of them so didn't mind, but she's really stretching her tracks at 5 minutes a piece. Cutting most of them by a minute and getting rid of "Promise to Try" would result in a more refined 40-minute record.

I listened to this album and Workingman's Dead on repeat almost exactly a year ago in spring, and I haven't revisited it much beyond that following summer. A lot of people like the live albums of these jam bands, but I really enjoy these two polished works. In a lot of ways they remind me of CSNY. The jangly guitar, those harmonious vocals, and the cheery hippie lyrics. No bad tracks, and there's something I enjoy about each of them. All the tracks have a good length. If you want longer, there are the live albums. There's a lot of classics here. It took some time for me to appreciate the bluegrass "Friend of the Devil," but eventually it all grew on me: the fast pace, Garcia's everchanging vocals, and that twingly guitar solo. "Ripple" is by far my favorite Grateful Dead song. Beautiful melody and songwriting. Inspirational, excellent use of imagery and metaphor, each line hits you one after another. "Truckin" is their biggest pop hit (if you exclude their 80s comeback), and it's an outlier as their bluesiest and most passionate vocals, as well as Weir's rockabilly performance. I especially like that last minute finish. The small things - like the distant country guitar in the background of "Sugar Magnolia", the harmonica in "Operator", the ghastly mood of "Candyman", the grooviness of "Till the Morning Comes" - establish each songs' character, engraving each of them in my mind. When the Grateful Dead performed at my school in 1970, they brought along a student to play piano on this album's recording of "Candyman," my favorite country song on the album, which I find really cool.

I don't know the 50s were capable of such powerful music. It's gloomy and heartbreaking, not the kind of happy dance music I'm used to hearing from Sinatra. We've all got to comment on that remarkable album cover, encapsulating the sad introspection this album embodies. Sinatra's somber voice got me through all the songs, regardless of how I feel about the arrangements. But plenty of the arrangements were beautiful, complimenting the intensity and mood, albeit at many times excessive or unoriginal. There were a few recording sessions and you can hear just how different they sound from each other, one more classical while another on the jazzy end. Favorites: In the Wee Small Hours, Mood Indigo, Deep In a Dream, Can't We Be Friends?, I'll Be Around, It Never Entered My Mind, This Love of Mine

Fuzzy, warm, melancholic, nostalgic walls of noise that completely envelop you, simultaneously strange yet familiar. The music is characterized by simple pop structures but filled with so much reverb distortion and subtle shifts in pitch, channels, and volume that it feels so distant. Lyrics are among the most mesmerizing I've seen, but too bad I can't understand without looking them up. This is mbv's most consistent album, feeling like one giant haze if not for the sudden cuts that catch you off guard. Some of the most beautiful songs I've heard are on this album, with my favorite being "When You Sleep." Just like with Ride, I could hear the 60s British rock influence in many like "I Only Said", which would later influence Britpop. There are things I love about every track. Not to mention every song has superb vocals, songwriting, mixing, and effects. Not a second wasted, with plenty of attention smoothing out the rough edges. Doesn't ever feel forced, yet somehow every song feels complete. Perfect track ordering, and I like how tracks segway into each other, although it could be a bit startling at times. Intro sets the theme, and the closer grabs your attention one more time before you fall off to sleep for a final hurrah. I always learn something on every listen. Listening to this album gets me to stop and re-appreciate music for real. If any album deserves a perfect score, it's this one.

When the world needed them most following the release of Rumours, Fleetwood Mac followed up with exactly what fans wanted with a double album of colorful tracks one after the next. This doesn't have the big hits that defined their prior 2 albums and wouldn't produce any new fans, but even the deep cuts have a lot to offer. The experimental nature of the album gives fans something to appreciate, pick your favorites. In a lot of ways this is the Fleetwood Mac equivalent of Prince's Sign O' The Times or The Beatles' White Album, a double-lengthed collection of experimental tracks from the same recognizable band you love. Immediately the first quarter tracks tell us something is off about this record. We start off with the slow, soft, melancholic "Over & Over" before jumping into a bluesy square party in "The Ledge." Then we jump into the power pop "Think About Me," something straight out of a Big Star record. "Save Me a Place" is such a beautiful busy song, love the harmony and the wall of guitar and strange drumming. And finally Stevie Nicks returns with the radio hit "Sara." They really kill with the hyped up guitars and angelic back vocals. I could go on, but with 15 other songs, there's a lot to analyze and appreciate. But overall everyone's on point. Each track is interesting in their own right, even the duds have something I can appreciate about. Everyone kills it on vocals, Nicks, Buckingham, and McVie. Mixing is really impressive. Despite the different styles, everyone always sounds good. Half the time it feels like the instruments serve to back up the vocalists, while at other times the opposite feels true. The psychedelic pop "That's All For Everyone" comes to mind, inspired by Beach Boys' Smile sessions. I wanted to pick my favorites but I really can't. They all stand out to me it's hard to single out anything that particularly appeals to me. I'll be coming back to this one often.

Solange is a great singer, and the production is pretty mild but consistent, focusing attention to her voice and her lyrics expressing her strong discontent with racism and her thoughts on women's values in modern US. I found it to be largely boring. Her voice sounded mostly monotonous to me, not expressing the emotions she writes about. She tries to be a poet at times, and those lines don't exactly hit. Most of the tracks are forgettable, with the only memorable characteristic tending to be an overtly repeated chorus. I didn't like Lil Wayne's contribution, either his voice nor his rap. I did like the funkier songs like "Where Do We Go." Q-Tip appears in "Borderline," but I was just disappointed his role was reduced to a barely noticeable back vocal. I also didn't like the serious nature of the album. The interludes touch sensitive topics, but they're not expressed in a new or interesting way, instead just reiterating issues that are already discussed and known about in our society, and I'm sure anyone listening to her music isn't the audience to learn anything new from this. I'm not saying it has to be entertaining, but when the purpose of the interludes feel like they just want me to agree with them, rather than for any entertainment, reinforcing values is not the purpose I listen to music. At the very least teach me a unique perspective to think about. This wouldn't be such a big issue if they weren't every other song. It felt more interruptive than enhancing.

Very early Britpop, taking inspiration from the later Kinks and the jangle pop of The Smiths. It's really decent. I love the mild jangle sound and the vocals. Pitch changes and sudden shifts in melody keep me engaged. I preferred the prettier, janglier tracks, but the heavy tracks like "American Guitars" reminded me of early Suede and Jesus & Mary Chain (and to some extend shoegaze). There were a lot of duds, but I even songs like "Don't Trust the Stars" but even then I enjoyed the parts where the guitar suddenly stops but gets dragged back immediately by the vocals. Also enjoyed the other instruments, like the cello in "Bailed Out" and the chimey percussion in "Starstruck." Favorites: Show Girl, Bailed Out, Junk Shop Clothes, Starstruck, How Could I Be Wrong

This album itself is a bit too late to be very influential, being 1977 and all. But Muddy Waters was the king of electric blues, the most influential figure in the development of blues rock when he wowed audiences in Britain and pushed the formation of the Bluesbreakers. And three of his classics are re-recorded here better than ever before. This is one of the most consistent blues albums out there. Excellent production done by Johnny Winter. Flow is smooth and satisfying. There's a good mix of energetic dance tracks ("I Want to Be Loved") and slower introspective tracks ("I Can't be Satisfied", "Deep Down in Florida"), but for the most part it's loud and impactful enough to engage the audience all throughout. This is one of the albums I would recommend for newcomers of blues.

It has "Tiny Dancer" and "Levon" on it. The songs have a cinematic feel to them, and the writing is good. There's a lot of interesting instruments used, from horns to organs to gospel back vocals to a mandolin and sitar. I also tend to like the instrumental solos. The songs are too long, and I get bored by Elton's singing.

Raw and energetic, with some parts really rough (inspired by surf rock) while others more smooth (inspired by glam rock and reggae). There's a whole lot of punk attitude. I really enjoy the riot grrrl vocals... something rare I only find in bands like Siouxsie and B-52s. Sax and synths are really simplistic, on the onset of New Wave but still definitely punk, characterized by short track lengths, chaotic vocals, anti-social lyrical matter, and fast yet minimalistic melodies. No signs of weakness on any of tracks; they really go all out. I can't believe these guys made just one album and a few singles but yet are considered one of the classics. I found like three varieties of this album in different track orders, but I don't think the ordering matters at all. Favorites: Germfree Adolescence, Identity, Art-I-Ficial, Plastic Bag, I Am a Poseur, Warrior in Woolworths, Highly Inflammable, Oh Bondage Up Yours

The epitome of gothic rock. It's full of anxiety and dread, with creepy and romantic lyrics, Robert Smith's yearning voice filled with desperation and chaos, and a wall of stressful noise that overwhelms you. Excellent synths and use of feedback and sustains, creating a haunting atmosphere that seems to drag on for eternity. Huge Joy Division vibes. It's fast paced and full of engaging sounds; you can dance to many of these tracks. Tracks are the perfect length for their theme, being slightly longer than your average pop tracks. Yet there's only 8 tracks, and they're all strong entries. The more accessible tracks are in the first half, but it only takes a few listens to appreciate the genius behind them all. "Cold" is probably the darkest song I've ever heard... that drumming is so hollow, and with the ice imagery, it sounds like they're playing in a fantasy-esque dark ice castle. I can't be the only one who finds the abruptness of the closer really unsettling.

The second summer of love in Manchester. Known for raves and its advancements in neo-psychedelia with the whole Madchester movement. It's an excellent example of acid house. On the stranger end, it's filled with a variety of samples that reminisce of 80s hip hop or later artists like DJ Shadow. Fortunately, this follows IDM's principles and offers a compromise between the lengthiness for dancing like crazy and the lack of repetition suited for casual listening. There's a strong momentum, and the tracks are creative and memorable, with a fair amount of replayability. However, most of the tracks are standalone weak, with a few standouts including the acid house standard "Pacific." Favorites: Magical Dream, Cobra Bora, Pacific, 808080808

When I think of indie rock, Pavement is usually one of the first to come to mind. Compared to the indie rock that came before then (i.e. the jangles of REM and Smiths, or the noisiness of Sonic Youth and Pixies), these guys are clean and melodic yet lofi and honest, like a less grungey and polished Nirvana. Even the opening gives off Radiohead vibes before The Bends. It's introspective and unique. There are moments like the post-rock solo in "Stop Breathin" that are years ahead of their time. Yet, it's also super accessible. Arguably, their three most popular songs are here. "Cut Your Hair" is happy, energetic, and catchy, with plenty of memorable moments, from the vocal overlays to the random punk belts. "Gold Soundz" is the most melodic song on the album and the one that stood out to me during my first listen. Gives me goosebumps with those buildups. "Range Life" is my favorite of the hits. Lyrics are my favorite, as well as that country-like melody. As a huge fan of STP (those foxy elegant bastards), I got a laugh out of their Smashing Pumpkins diss, and I can't believe they got kicked out of Lollapalooza. "Newark Wilder" is my personal favorite. I really love the mysterious vibe and yearnful vocals... vastly underrated. The song starts and ends super strong, although I admit the middle is lacking. "Unfair" is a raw punk song with chaotic instrumentals that reminds me of Nirvana's In Utero. "5-4=Unity" is our avant-garde jazzy instrumental, a nice interlude between two highlights. Personally, I lose attention in the last three songs following "Range Life." "Heaven Is a Truck" is solid but forgettable; "Hit the Plane Down" is comedy punk; and "Fillmore Jive" is twice as long as it should be but is a fitting dramatic closer. Favorites: Stop Breathin, Cut Your Hair, Newark Wilder, Gold Soundz, Range Life

Classical Indian music has a real cool sound, I really adore the instruments. And here we have a fusion with western rock, except a little too pulled into appealing to western audiences. "Jumpin Jack Flash" and "Light my Fire" don't really have much substance besides being raga covers... Apparently the former was a huge club pick. "Mamata" sounds like some 60s Spanish hit, but I can't figure out what it was called. Really all the songs suffer from too much westernization. The drumming in "Metamorphisis" and rapid sitar playing comes off as repetitive and dull rather than enveloping as traditional Indian classical music is. I did like the ending of "Metamorphisis" though. The mysterious nature of "Sagar" was inviting, plus the exciting bridge to the 2nd half, and I actually preferred its 13-minute length... This is the kind of raga I look forward to. "Dance Indra" is a bit silly, but it reminds me of Banjo Kazooie music, so I give it a pass. The last song just sucks.

The founder of the Zulu nation, Afrika Bambaataa. The dude was batshit insane. Just look at these lyrics, then his beliefs, and finally his conviction for child trafficking. But let's ignore that for now. Here we have an old-school hip-hop record heavily tied with electronica, no doubt influenced by the rise of synthpop (and of course Kraftwerk). The title track is one of the most iconic tracks from the period. Reminds me a lot of Mothership Connection, with its strong ties to p-funk, silly and fun lines, sound affects, and alien-themed dance-craze subject matter. Note that the title track was released two years before they even had the idea to make an album named after it... that's how BIG this song was in clubs. "Looking for the Perfect Beat" is nothing more than an attempt to follow up on "Planet Rock" and, hey it worked out. It's more of the same, except more fun and suited for clubbing, but it was also super successful, and pushed for this album to be made. This track has my favorite electronica. Just like the previous there's plenty of diversity and wildness to keep me going for the full 7 minutes. It's crazy how Ratm managed to reinvent "Renegades of Funk." The lyrics are a near-perfect match, but Ratm is twice as fast and mindblowing. For that, I have to compliment the writing, but besides the clapping and belching part in the middle, it felt repetitive and dull. "Frantic Situation" was alright, fortunately the shortest, but has nothing new, and the lyrics suck. "Who You Funkin With?" whips out the guitar. Raps are tight, and it's loud and exciting. "Go Go Pop" mostly sucks, but I do like the cool stylistic shift in the instrumental and the distant female vocals. "They Made a Mistake" oh yeah they made a mistake alright leaving this irredeemable track on the album. 2 stars for 2 great tracks, 2 decent ones, and 3 bad ones.

The sound of pure organized chaos. With only 7 tracks, the album flies by, even though a couple of them go past 7 minutes. All the tracks are super memorable. It feels much more distorted and out of touch than their debut. It helps that the acid album cover looks like they're performing from the pits of hell. The first few are reminiscent of their debut, except a lot more aggressive and frantic. "TV Eye" really exemplifies what's so great about this album. The first half is catchy and fun, then we get into an avant-garde mix between the soothing melody and Iggy's belching. But then suddenly the song stops and we start it all over again... That's a common punk technique years before the Six Pistols did it! "Dirt" marks a gradual shift to something much stranger that really defines this album. It starts off slow, melodic, and bluesy. I absolutely adore Iggy's vocals, shifting between smoothness and roughness. The guitar, much like Iggy, sounds normal most of the time but has those moments where it bursts out personality. The mix between the guitar and vocals in the last few minutes is perfect. "1970" pushes us back to the aggressiveness from earlier. The bass is really spot on here. Then half way through we're introduced to the avant-garde saxophonist Steve Mackay, the only band member who got his shit together outside the studio. He just comes out of nowhere and you question if there was always a saxophonist. The mixing is absolutely incredible between the sax, Iggy's chaotic screaming, and the hardcore drumming. This is only an introduction to the strangeness of the final two tracks. "Fun House" is possibly the most impressive song in their catalogue. There's a seamless transition to our final track, as if it's an extended coda: "L.A. Blues" is a fun chaotic avant-garde jazz track that you can't divert your ears from. Nice heavy distortion. It feels simultaneously ordered and all over the place. The ending is satisfying. Out of the Stooges's 3 albums, this one deserves the perfect score. Unlike the other two, there are no weak tracks. It's the most creative and coherent (as ironic as that may appear). Unlike Raw Power, the production is done very well here, with everyone getting their shine.

Hole continued to evolve with each album. Before, they were hardcore punk. After, they took on a clean alt rock sound. Here they are their grungiest. Lots of similarities with Nirvana, substantiating rumors of Cobain's contribution to this album's songwriting. Indeed, this album sounds more like a Pixies album than In Utero, despite Cobain recruiting Surfer Rosa's Steve Allbini. Just like In Utero, Live Through This manages to combine unique melodies with a rough, genuine attitude. Courtney Love's vocal delivery carries the energy and emotion of the show, but Pfaff's basslines shock us with their range of sound. There are accessible pop songs like "Miss World," "Softer Softest," and "Doll Parts" to appeal to most audiences. The first side is much more polished and coherent, whereas the second side takes more risks, kicking off with the abrasive hardcore "Credit in the Straight World." I get Soundgarden-vibes from the bass in "I Think That I Would Die." Pretty consistent through this, and even the weaker tracks were enjoyable due to the diversity. Favorites: Violet, Asking for It, Doll Parts, I Think That I Would Die, Rock Star

The Everly Brothers are among my favorite traditional pop bands of the 50s and early 60s. From the romantic guitar to the longing harmonized vocals, these songs are suited for both casual listening and dancing with a loved one. It's an easy listen, less than a half-hour long, and a mix of fast dance hits, slow romance, and even some blues. Lyrics are abysmal: the Everlys and Bryants can't write for shit. But I do prefer the melodies of their original songs over the covers; they put significantly more effort into their own songs. "Cathy's Clown" is a classic I grew up listening to, great instrumental and chorus. "That's Too Much" sounds like an early Beatles song, but I can't remember which one. "Love Hurts" also has an early Beatles vibe. There aren't any tracks that sounded awful, but I guess I just like their style too much. Favorites: Sigh Cry Almost Die, Always Its You, Love Hurts, Cathy's Clown

This is the 3rd R&B album from 2010s I've been assigned this month, but this is by far my favorite. The background behind the album is pretty remarkable. No leaks, no hype. An album drops out of nowhere with a music video released for each of the 12 tracks, turning this album into a visual experience. Only one of the most famous musicians alive in our modern age could pull something like that off. Taylor Swift would pull similar stunts years later. She moves away from her traditional side into experimentation, taking on a wide variety of influences over the decades into both her music and accompanying videos. Meanwhile, her lyrics cover themes related to accepting her identity and finding her ambitions, whether related to being happy, breaking from the music industry norm, or seductively pleasing her lover. The production is perfect. I found little to no hiccups. They take all sorts of risks, and I'm constantly surprised with each song. Of course, Beyonce's a remarkable singer. I don't really care about these things much, but she has superbly admirable control of what her voice is capable of. Songs like "Rocket" demonstrate how fluid she can change characteristics of her voice in a continuous stream. "Pretty Hurts" sets up the themes we explore in the rest of the album, taking an introspective dive on Beyonce escaping from public perception and exploring her identity and creativity. It's a hit and great way to entice both new and old fans. "Haunted" adopts the dark electric synths of Lorde. "Drunk in Love" reminds me of her early work with Sean Paul mixed with a modern hip hop beat. I really enjoyed the chorus and Jay Z's contribution. Who knew he was obsessed with cake and anime? "Blow" appears inspired by the fun 90s R&B acts of TLC, Mariah Carey, Janet's Velvet Rope with a sound reminiscent of 80s post-disco (e.g. Pointer Sisters). "No Angel" is chillwave and reminds me of FKA Twigs with the high register and pauses. "Partition" sounds crunk, especially in the middle, but apparently I'm the only person who thinks so. It feels heavy and dark, her raps are impressive, and I enjoy the intersection of the high-register chorus. It's one of the more complex songs, composed of several phases that don't sound like they're from the same song. "Jealous" is one of the least interesting tracks, sounding like standard R&B pop, but the production is spot on. "Rocket" is neo-soul, another standout. Impressive vocals, changing tempo, range, and style continuously. It's compared to Prince and D'Angelo, and yes I can agree with that in the song's ambitions of power performance. I'd also say it has the style of D'Angelo and the funk and energy of Prince. "Mine" is one of the weakest tracks. I was afraid Drake was gonna screw it up, but with the exception of a few annoying effects, it was pretty solid. Forgettable though. "XO" is another hit and a fan favorite, one of the cheerier tracks. It has a ton of hooks, but personally, I think it's boring. "***Flawless" is trap and contrasts strongly with the previous "XO." Haha this is the type of music people hate with a passion. In the middle we get force fed a tedX about feminism LOL. It's solid and coherent, and I absolutely love the second half. I'm really impressed the way the lines roll off her tongue. "Superpower" is my first time hearing Frank Ocean's voice, and damn he sounds exactly like Prince. If you told me this was Prince... well, I'd say "didn't he die?" but he actually died in 2016. Ocean's face is derpy as hell though. Beyonce's voice gives off Mariah Carey vibes. I like the open atmospheric samples in the background. This song begins our melancholic closing to the album. "Heaven" is slow tempo R&B, one of the more boring tracks, but definitely the most sensational about a lost loved one. Glad this one is near the end but not the last one. "Blue" is a personal favorite of mine I don't see talked about. I love the bittersweet ending of the album. I'm obsessed with her vocals, especially in the "chorus" part. The samples remind me of those Youtube lofi tracks. The mood reminds me a lot of Taylor Swift's Clean on 1989. Favorites: Pretty Hurts, Haunted, Drunk in Love, Rocket, Baby

Banger after banger. OutKast has consistently put out innovative albums trying new things every album, hitting the mark every time. Our first three tracks make up the strongest opening in their catalog. Tight production, clear, fast, and clever raps, and strong influences from funk, jazz, and rock, though still having the structure of pop hip hop of the late 90s, making it accessible to both mainstream audiences and fans of other genres. "Gasoline Dreams" starts us off strong with some p-funk licks (reminds me of Maggot Brain) and impressive raps with a corresponding fun chorus. The next two are super hits. "So Fresh So Clean" shows like four distinct styles of singing and rapping, super funky. "Ms. Jackson" is reminiscent of other pop songs of the time, but has super memorable hooks, a catchy chorus, and a funk style like no other. "Snappin & Trappin" moves us into hardcore territory, but is characterized by surreal "alien futuristic" samples. Strange how this is so early in the album as it might turn off some listeners, but the raps are nevertheless insane as always. I'll stop talking about each track since that'll take forever, but it's more or less the same strengths, but yet ton of diversity to keep me interested in what they'll do next. The interludes are weird and hilarious. They're inclusions are welcome all throughout the album to keep it fresh and interesting, giving me small breaks to contemplate on what the next track is like. BREAK The only major weakness is the length. I know it's Aquemini and The Love Below are just as long, but starting with "Humble Bumble" I lose focus. They're great tracks for sure, and it doesn't take much to appreciate them, but there's a lack of standout tracks to attract your attention. However, I do speculate it'd be easier with more listens with how much character they all have.

The people's thrash. Out of the Big 4, Anthrax was the most relatable. Contrast with hair metal bands, they wore t-shirts and shorts. Vocal approach reminiscent of hardcore, this was the gateway album for punk fans into metal. And their lyrical subject? Not about politics or Cthulhu. Just looking at the first 3: "Among the Living" is based on Stephen King's The Stand, "Caught in a Mosh" screams rebel, "I am the Law" is about the comic character Judge Dredd... these are nerdy subjects appealing to your average angsty teen. There's humor and energy in every track, Scott Ian and Joey Belladonna giving a hell of a performance. Among the Living was their breakthrough album and the most representative of 80s thrash. Their next album would stray further into skate punk territory. I know them mostly for their collab with Public Enemy, so hearing them for themselves is pretty exciting, and they exceed expectations. Out of the four, Anthrax was always the outcast for not having the insanity or speed of the other three, but I consider them to be just as solid and have just as much personality. The mixing is well done. You can hear everyone well, and they all play well. Belladonna's voice is crisp, and the back vocals serve their purpose. The solos are a bit forgettable, and there's a couple weak tracks later in the album. They usually make up for their lyrics and Ian's and Belladonna's performances. But no track felt too long, and with 9 tracks I fully enjoyed the ride.

Nearly a year into this generator with my first Elvis Costello album. I hear there's a ton. This exceeds my expectations. Costello manages to condense 14 tracks in a single album, at an average length of 3 minutes each. The production is incredibly polished. Everyone is so clear, I'd be willing to just listen to the instrumental. Yet Costello is such an entertaining vocalist, never boring me for a second. This is one of those albums you can hear the transition from punk to New Wave. Not just the direct vocals and forward lyrics, but in the rhythmic, rapid drumming and the guitar controlled yet full of personality. But there's plenty of other genres fused in, like the power pop of "Little Triggers" and "Hand in Hand." It's a very accessible album, easy on the ears, plenty of hooks, and unique synths and other techniques that make each song stand out for one reason or another. And if you don't like one? Easy, just waiting a minute or two and you get something entirely new. Favorites: No Action, The Beat, Pump It, Chelsea, Lip Service, Living in Paradise, Lipstick Vogue

This is from 70s pop soul sounds like if it was not just iconic but could actually put out a good album, something achievable only to the likes of Al Green or Stevie Wonder. It's smooth, funky, but overall sexual in tone and subject matter, reminds me of Barry White. There are horns, strings, and doo-wop back vocals, but all in balance, nothing is ever in excess. Even the solo in "Distant Lover" feels very controlled, contrary to how loud that sax wants to be. The tracks carry a momentum from to the end. Only 8 tracks, good alone but incredible in-line, so the mix of soul and funk never bores you. Each song ends in a quiet prolonged finish, with the next proudly hooking you in. Whoever did the production is astounding, but considering this was a follow up to What's Going On, I can't say I'm too surprised.

Gram Parsons proper follow-up to the highly influential Sweetheart of the Radio. Huge points for creativity, influence, and strong songwriting. The R&B covers work well too. Major problem is that it sounds garbage. I can hardly hear anything besides the vocalist and guitar... nearly all the instruments sound faint and overshadowed (the piano's ok). The instruments are played well, but it's just the horrendous mixing. The tracks themselves are all solid, there's a stronger diverse country influence here than on Sweetheart, but I don't find them as iconic or endearing. It might have to do with the harsher vocals. Still one of my favorite country albums next to Sweetheart. Favorites: Sin City, My Uncle, Wheels, Hot Burrito #1 and #2

A fusion of the jangle pop and harmonious vocals of the Byrds with the fuzzy noisiness of Jesus & The Mary Chain's Psychocandy. Moreso than any other shoegazing artist can I see their influence on the shoegazing and eventual Britpop scenes, Suede being the top example. It's heavy and loud, marked by heavy distortion and drumming. I'm proud to be able to pick out the six-ish channels in the songs. There isn't a single bad track in the original album. Most are great, and some are just incredible. Crank on high volume for max enjoyment. Constantly I had hazy images of lighthouses, seagulls, and sailing the sea, impressionist paintings turned to sound. I have a feeling this album isn't as revered as Slowdive or mbv due to the lack of iconic tracks or emotions. When I first listened to Loveless, I was constantly surprised and experienced feelings of nostalgia or sadness, despite having never heared any of them before. Here, I still felt surprised in a few areas, but it hardly blew my mind, and I mostly knew what to expect going into a track. Meanwhile, the only track I hear talked about is "Vapour Trail." That doesn't stop it from being coherent and full of great tracks I could enjoy alone. While I'm at it, I might as well talk about the two EPs attached. Most versions have the Fall EP attatched, which is just incredible. Each of these 4 tracks (including "Dreams Burn Down") are super memorable and distinctive, leaving more of an impact on me, faster and more passionate. I love their inclusion, although I wish they were integrated, as "Vapour Trail" is the perfect closer. The version on Spotify also has the Today Forever EP. They're enjoyable and not bad, but they're a bit monotonous, especially "Beneath." "Today" is a decent way of closing the album, but I think this EP could be cut out.

There's something about her singing style. Mostly etheral, but it's very forward. It's not so much about her voice as it is the way she chooses to sing. This allows us her to have extreme emotional moments in her music. I also find the accompanying arrangements to be interesting. In the first four songs, we get classical / folk, downtempo, and alt rock (the kind that New Wave evolved into, see Crowded House). It's intentionally repetitive, spotlighting O'Connor's diverse singing styles. I preferred the tracks where O'Connor isn't limited by the instrumentals. "Feel So Different" and "Nothing Compares 2 U" capture her ensnaring style mixed with right level of instrumental. The last 3 songs keep things simple for a solemn folk finish, but I found them to be a bit dull.

Honestly one of my least favorite Black Sabbath records. The production is a bit lackluster, disappointing being their 4th release. The 2021 remaster sounds slightly better. The riffs are less memorable but more creative, "Wheels of Confusion" and to an extent "Tomorrow's Dream" definitely sound progressive. I was not expecting a dull pop ballad with "Changes" and I honestly do not like it, and I can't understand how it's so popular. Album picks up with "Supernaut." It's raw and heavy with awesome moments, and a strange Latino percussion in the middle. "Snowblind" is the best track on the album. The buildup reminds me of their s/t. "Cornucopia" has my favorite doom sound, but I didn't care for the middle bit. I enjoyed the "Laguna Sunrise" interlude; it didn't disrupt the flow the same way that "Changes" and "FX" did earlier. "St Vitus Dance" sounds like a polka dance at a satanic temple. We end with the heavy, progressive "Under the Sun," probably my second favorite song. There are moments where the guitar, drums, and vocals independently grab my attention. Those last 2 minutes are an epic way to close to the album. 3 stars for the poor production (compared to their other albums), the bad track ordering, and the tracks being less memorable and (for most) filled with weak moments or choices. Still, it's Black Sabbath at their most creative and cocaine-fuelled, and their prog spin makes for remarkable dark highlights that no one else could live up to until the 90s.

Can't say I feel too special for pointing out how eerily they sound to Flaming Lips, from the etheral instrumental to vocal style. I wouldn't question it if you told me "Holes" was actually Flaming Lips. It's a lovely dreamy style for us fans of traditional pop and chamber pop. The songs were memorable and pleasant, especially with all the unique strings and other instruments (a saw?) The instrumental tracks were decent interludes to divide the experience. I was only impressed by two tracks. Besides the unique instruments, the lackluster performer failed to satiate me, especially when compared to the crazy psychedelia of Flaming Lips. I do appreciate their efforts to get wild in "The Funny Bird." I would enjoy listening to this again, especially as background music.

My first exposure to this band was given to me by this generator 10 months ago, their 90s Infotainment Scan, and it was absolutely horrendous, and I absolutely hated the conflict with Mark Smith's vocals. But I gave their earlier work a chance, and I actually really enjoyed their range of styles over the decades. This is my first time hearing their debut, and I immediately enjoyed it from start to finish. I immediately knew going in this would get poor reviews from this site. It's super abrasive and hard on the ears not used to post-punk. The production is intentionally low too, but the instruments are well-balanced, which I believe works in their favor. It's post-punk at its rawest yet true to form. The lyrics are nonsensical and punk in spirit, the vocals are energetic and goofy, and the instrumentals are tight and dynamic. I bet if the album were 100% instrumental, people would appreciate it much more. It's dark and mysterious (props to the bassist), and the keyboard serves as an ode to krautrock, sticking out from the rest of the crowd. The solos are quick and subtle, lasting for only a few seconds and lacking flashiness. They're small treats if you can pick them out. As a whole, the tracks roll from one to the next, distinctive yet cohesive. I'm giving 3 stars merely because it doesn't live up to the standards of similar style post-punk records (think Killing Joke). The record is full of creativity, but I only saved "Frightened" and "Rebellious Jukebox" as standalone pieces I'd enjoy listening to on their own. No doubt I'll listen to this time and time again; post-punk is my favorite genre.

James Brown sounds like an incredible performer. He's putting his heart and soul out, and the band does an excellent job backing him up. Sounds a lot more rock n roll and less funk than his studio work. It's a peculiar album, only a half hour in length, with 8 out of 11 tracks taking place in the first 10 minutes, alternating between wild rock songs and slower R&B / doo wop pieces. Brown's interjections define this piece, and I could only imagine how mind-blowing this would be to contemporary listeners. Sounds like his teenage girl audience goes crazy over it! I was impressed by the set list: the progression, styles, and lengths. "Lost Someone" is certainly the star track, after multiple listens the time still flies by. I was expecting a more invigorating experience from Brown overall. Not too many moments stuck out to me. (I was expecting pieces comparable to his hits.) Also, the ending was dull, even the audience seemed to stop caring.

A contender for the most experimental rock album of the 60s. The production is super lofi for 1968, but the melodies catch on, and the vocals are very appealing to listen to. Her voice reminds me of Nico and Grace Slick. Most of this album sounds like a reaction to Sgt Pepper with the influences of music hall, circus, and vaudeville in several tracks. However, it still holds the 60s badge pride. I would mostly classify this as psychedelic pop, as it mostly follows the formula of groovy 60s pop rock, but there's a lot of acid rock, as well as plays on free jazz, medieval polyphony, medieval folk, vaudeville, space rock (was that even invented yet?), classical, Eastern (Japanese?), ragtime, and whatever you call the genre of beautiful strings that play in 1930s movies, among many other genres. There are signs of early dream pop (Cloud Song) and chamber pop (Stranded in Time) here too. This album could be found abrasive to the average listener, especially with the low production. I found myself loving every song. There are groovy moments to rock to and dreamy moments to relax to. Lots of creative moments to appreciate everything going on. Despite the different styles, it's focused, with nice transitions in styles between and during songs. Wish there was more music like this, but at least we got bonus tracks just as peculiar.

Post-rock decades before it populaized, it's no wonder they were a huge influence to the likes of Talk Talk. Out of all their albums, it's the most consistent in scope and objective, ambient but doesn't suffer from boring repetition that I felt in Eno's works. Here you could pay attention to each minute. They continue the influence of world music in the percussion style, but also jazz and horror movie soundtrack(?) in "Spray." There's your Public Image Ltd influence. Suzuki vocally interjects here and there, and I have no idea what he's saying, but it fits well with the instrumental. Never excessive. The exception is our standard pop song "Moonshake" where they dump several experimental ideas in something intended to be accessible to audiences... It's hilarious. "Bel Air" pays off for me in the middle, leading to wondrous tension and a decisive 3 minute conclusion.

Expected an ok album with just 2 famous hits. Instead heard an impressively cohesive album that innovates in an inviting way. From the sound of it, they're a bluesy jam band that incorporates Latino percussion (and guitar play and singing in the first few tracks) and jazz fusion in several others. The production is fantastic. It's psychedelic in its echoey sound and smooth transitions between tracks. As a fan of bands like Malo and Chicago, blending Latino and jazz without sounding rough around the edges is one way to keep me engaged. Unfortunately, they mostly abandon both genres in the second half, with "El Nicoya" teasing us. Still, all the tracks have something to offer. After out 2 big hits, "Incident at Neshabur" goes big on jazz, and "Se a Cabo" on instrumental hard Latino rock (with some jazz). "Mother's Daughter" is the bluesiest jam track, but a really good one at that. "Samba Pa Ti" is a softer jam track with Latino percussion, a pleasant listen. Finally, "Hope You're Feeling Better" is a psychedelic jam piece, also really decent.

77. 1977 was a fantastic year for the rise of New Year. Among Devo and Elvis Costello stood a CGBG art punk band called Talking Heads, characterized by lunatic vocals by David Byrne, a voice like no other, and repetitive poetic lyrics on themes of the psychology of an outspoken paranoid social outcast. I also love that Caribbean sound. Is that just the guitar and steel pan? If not for their later albums, people would regard this album much higher. There's no Eno touch, and they haven't quite found their sound yet. But it's raw and full of creative ideas. "Uh Oh Love Comes to Town" starts off sounding like a reaction to disco. "Happy Day" is a beautiful underrated song acts as a sign of their Little Creatures sound. "No Compassion" sees one of my favorite punk techniques: a fakeout of the song ending followed by a re-do. Personally, I quite enjoyed nearly all the tracks. At least something cool and unusual stuck out to me from every track. And sure, some of the tracks are forgettable, but those cool moments stick. Plus, how could you say no to a commie album cover?

Con: It's 2 hours. It's impossible to pick out the good ones and trash. Pro: Lots of replayability. Probably the most accessible way of listening to original bluegrass. Besides, many of them, including the third quarter, are entirely instrumental and can be fun and speedy (but unoriginal). Con: It's country. Pro: It's the type of quality country before it all went to shit. Con: The majority of the songs suck. They're simple, monotonous, and too reliant on the singer (who performs poorly by today's standards). It's as basic as a nobody fiddling with an acoustic instrument singing about their home life as raw as possible, which it is minus the nobody part. If you have a good ear or century-old nostalgia, you might gain something. Pro: There are some oddly recognizable tunes like "Cannonball Rag" you may have heard in random soundtracks throughout your life. Also, there are some wild bluegrass songs that pull of cool instrumental tricks. Otherwise, it's meant for casual listening. Standouts (aka the ones least skippable): Nashville Blues, You Are My Flower (sounds like Grateful Dead), Tennessee Stud, The End of the World, I Saw the Light, Lonesome Fiddle Blues, Orange Blossom Special, Wabash Cannonball, Down Yonder, I'm Thinking Tonight of My Blue Eyes, Both Sides Now, Foggy Mountain Breakdown (Only 2 of those songs are actually crossovers with the bluegrass legends. Guess I didn't care much at all for them)

How can you see no to a budget Kate Bush? Here's how. She wrote lyrics for 12 songs but only had ideas for the first half. I have nothing to comment on about "China", "Mother", and "Me and a Gun" besides the lyrics. I like to think of "China" as a romatic interpretation of a conservative uncle who complains about everything being made in China and building a wall around Mexico. "Leather" has a couple cool piano tricks and a quiet yet hard guitar reverb. "Tear in Your Hand" has an echoey over-the-top 80s production (yes I know it's 1992). I do like the chaotic frenzy of the second half of "Little Earthquakes" to close the album. But otherwise, the second half of the album was forgettable, with tracks going on twice as long as they should. I had high hopes going into the album with "Crucify." I like the overlapping chamber lines, the versatile vocal range, and the fine 80s production. "Winter" is the other super strong song, nice strings and gospel choir. I do think the first half is fine. There's some goofy songs, but besides "Happy Phantom" they're all hidden in the lyrics. Songs like "Precious Things" is quite literally the reason why a lot of people hear an amalgamation of Kate Bush and Alanis Morissette. It has the creative power of Bush's instrumentals (some avant horror and etheral aspects from Hounds of Love) and both of their vocals (Alanis-esque at 0:55 and 3:10). Although most songs have just Bush's vocals. Here's my 3rd listen on the day of my review. Mad respect to the girl for getting kicked out of the Peabody Conservatory as a kid for listening to Beatles and LZ over Chopin and Beethoven. Maybe I started off this review harsh yesterday. With so many amazing works you have to train yourself to find things you genuinely don't like, but honestly it's really good, and it gets better with multiple listens. Her lyrics take on a variety of literary genres whether comedic, romantic, or horror. Her singing is powerful and versatile for many emotions, it's way better than anything you hear on contemporary radio, and comparing her to Kate Bush is a plus. Even on the latter half she doesn't fail. Her piano work is superb, even on the latter half, and she incorporates other instruments and techniques as well as many indie folk artists. Even now, I still believe the latter half is significantly melodically weaker, and her ideas did run short.

Neil Young in his darkest of times. Coping with the lost of his bandmate and roadie from separate heroin overdoses, he writes in his linear notes, "I'm sorry. You don't know these people. This means nothing to you." The world is bleak, and he sounds full of regret and disgust with where his life has taken him. Songs like "Lookout Joe" and "Roll Another Number" simultaneously display a display yet resent for his past, particularly due to the political turmoil of the Vietnamese War. In "Albuquerque," Young screws everything and just drives. He says he has a destination in mind, but the other verses feel like he's just trying to get away from it all. Hell, the title track is Young grieving over one of them, unable to think much further beyond the repeated title line. The songs are really solemn. It's mostly country rock, but you don't get that vibe going in. 4 of the first 5 tracks are hard and bluesy. Oddly enough, "Borrowed Tune" (a desperate ballad) is sandwiched between the two hardest tracks on the album. He quickly loses that style in "Mellow My Mind," only reclaiming that with "Lookout Joe." Young has always been controversial for his voice. There's many who adore and many who despise it. I'm one of the former, and his voice suits these songs especially well. You can hear the anguish in his voice, it hurts in some areas. Most heartbreaking in "Tired Eyes." I'm a fan of all the songs. It's one of those where you have to pay attention to the lyrics to appreciate it more, not just for their own sake, but also because they reinforce some melodies that may otherwise be perceived as uninspired. In the weaker tracks, I can find elements to relish, such as the CSNY-esque harmonious vocals of "New Mama." The track ordering is fine. I'd probably just move "Borrowed Tune" down. Favorites: Tonight's the Night, Speaking Out, Mellow My Mind, Tired Eyes

Like stepping through a contemporary art exhibit. Her sound is more polished and atmospheric. Bjork takes on a more experimental approach here. Unlike her previous albums, not every song is intended to be pop-structured. Instead, we have these heavy glitch pop hits interlaced with simple a capella. It's insane when the channels are isolated and you realize it's nearly entirely a capella, even the heavy noises are beatboxing. This is meant for focused listening. The tracks are ethereal and frankly somewhat surreal that it will be found boring and distracting to listen in other means. It feels like a guide to a capella with how astonishing the producer can make a capella so recognizable yet versatile in utility. Some songs feel like a precursor to chillwave. Many of the simpler songs remind me of a late medieval choir. In terms of complaints, there's not much relistening to with so many experimental tracks. It helps that they're shorter, but you have songs like "Ancestors" which would help being half its length, but I could see how that could lose artistic effect. The album picks up and peaks in the middle, losing its momentum after "Oceania." The simple tracks don't engage me like the earlier ones. "Mouths Cradle" doesn't evolve much and ends anticlimatically, but its grand sound reminds me of the Norfair theme in Metroid. "Triumph of a Heart" is a lighthearted humorous finish. Please watch the music videos to this album.

Q-Tip has one of my favorite voices in the genre. His raps are light and fun, smooth and groovy. Topics are diverse: there's a lot of funny stories to imagine and keep engaged. Production is tight, although there are rough edges and transitions that will be fixed in later albums. It's certainly innovative, combining hip hop with jazz and afrobeat better than anyone else in history. Samples do repeat a bit too long at times but there are dramatic changes that grab your attention. I would prefer less famous samples. Everyone knows "Sir Duke" and "Walk on the Wild Side" and it's a bit distracting. That being said, I do like most of the samples, the breaks are clean and it's a chiller vibe than other hip hop albums I'm used to; I wish more albums like this existed. Album could be significantly shorter, with relatively few tracks that stick out, especially on the second half, but they're all solid.

What a stark contrast from the other Sepultura album Arise. I haven't listened to Chaos A.D. but they dramatically slowed down their riffs, and I am now convinced nu metal is just groove metal with heavier, grungier riffs and hip hop vocals. There's a ton of Korn inspiration here, especially in "Attitude" and "Endangered Species", and in fact they were so obsessed they even got Korn to play in "Lookaway." They also incorporate Brazilian indigenous themes in the lyrics, instrumentation, and sometimes vocals as in the peculiar "Ratamahatta" or the last few tracks. It's a solid album. Production work is good. There's good mixing and nice Korn-esque effects like distortion. It's also super influential, for being one of the first albums to popularize nu metal, which of course would dominate mainstream rock for the next half decade. There's only a few highlights in the album, much like Arise. I didn't find the vast majority to be memorable. Also double album syndrome made it hardly bearable to listen to entirely. Tracks are too long, most of them going over 4 minutes. They try to spice it up near the end with more unconventional indigenous-themed tracks which does blend in well but hardly grabbed my attention. "Itsari" and "Dictatorship" are the only tracks I enjoyed after "Lookaway."

I didn't know Joni Mitchell did sophi-pop a decade before it was a thing. Reminds me of a lot of indie folk from the area, especially Tim Buckley and Nick Drake. Guitars envelop you, and there are jazz and country influences to relax you. All songs start with Joni in some random setting in the country taking in the sights, feels like a drive on Route 66, although Memphis is a bit off the beaten path. Few complaints, maybe a little long overall but the songs were fine. Excellent songwriting, voice, and fitting instrumentals. Favorites: Coyote, Hejira, Song for Sharon

I've heard great things about Hard to Earn and Moment of Truth, so I'm glad my expectations were met with this record. In a time where gangsta rap was on the rise, we have rappers like Q-Tip and Guru with smooth verses and intricate samples. It's simple, no experimental sounds, the songs don't evolve much, and they're fairly short, with tracks in the 2nd half hardly ever passing 3 minutes. This just an MC and his DJ, and it's among one of the best I've seen. Excellent scratching, beats, mixing, and pacing. Samples are groovy: jazz, funk, and soul. It suffers as expected. It's a bit too long for 50 minutes. And I found myself spacing out for many of the tracks. By the 2nd half, there were only a few highlights that would attract my attention. Also the cut to "As I Read My S-A" was harsh and loud. Favorites: Step Into the Arena, Who's Gonna Take the Weight, Check the Technique, Precisely the Right Rhyme

This album probably has the best production I have ever seen in a hip hop album. So much care and attention has been made to each second, which is especially incredible considering the lengths of each song. Versatile samples and moods and many collabs keep each song new and exciting. On top of that, there is top-of-the-notch songwriting, with incredible performances by not just Kanye but most of the collabs. You have influences from many genres: RnB, classical, psychedelic, rock, folk, and jazz among others. Dark Fantasy: Straight away blowing us away with the grand production of this album. A repetitive invitive chorus that comes in and out seemingly randomly, even when you think the song is over. Lyrics show first egotistical signs, but there are also some funny and trippy lines, showing us we're in for a psychedelic experience as well. Gorgeous: Loving the Hendrix-esque guitar playing, the hazy voice filter, and the catchy chorus. Great rhymes and flow here but damn he really bitches a lot about how underrated he is, doesn't he? Songs fly by despite their length. POWER: Gives me goosebumps with the crazy production. Grand and confident. Creative use of the King Crimson sample. But he's mostly talking about how great he is again, what the hell? Is this every song? I like how he's able to blend spoken word and rnb singing styles so seamlessly during verses. Satisfying outro envelops you. All of the Lights: Back to back with another candidate for the best song of 2010. An incredible grand collaboration, super anthemic and powerful. I really enjoy the imagery. This and this next song has my favorite verses by collabs, even better than their own songs. Notable examples are Fergie in this and Nicki Minaj in the next. Monster: A fierce and creepy psychedelic track. Love the collabs here again, the overly dramatic styles fit them well, and I wish more songs were like this. I actually started to like Nicki Minaj for the first time, but honestly besides Super Bass this is probably her best performance. So Appalled: Yeezus, another major collab. Another eery track, the samples capture the hopeless dystopian mood and images. Love how defeated all of the rappers sound, especially in the closing "fucking ridiculous" lines. Devil in a New Dress: My personal favorite track and the most psychedelic. Love the dreamy voice and strings samples, with some beautiful accompanying lyrics by Kanye. Huge fan of the fuzzy Hendrix-esque guitar in the bridge, providing necessary peace and ambiance. The sudden end was nice, pulling the audience out of the trance. Runaway: The 9 minute ballad centerpiece. Still manages to fly by. My favorite verses by Kanye are here. Super emotional and powerful yet again. Really takes his time with this piece, never rushing anything. Hell of a Life: Sounds like it came off his previous album 808 and Heartbreak. Somehow the weakest yet still a great song with creative samples and synths, clever lines and subject matter, and superb production efforts. Blame Game: Another fantastic heartbreaking ballad, and I'm a fan of the strings. Huge fan of that long ending. Lost in the World: A song both fitting for Bon Iver's style and as a followup to 808 and Heartbreak. Cool and catchy with a powerful closer that flows into the closing spoken word track reminiscent of the 60s civil rights movements, with a cool afrobeat in the background. Grand way to end the album, although the clapping is pretty funny considering his ego.

I'm a huge fan of Beck after listening to Mellow Gold, Odelay, and Guero. He's always doing something different. Here we have melancholic folk rock with country and baroque influences. The lyrics are clear and reflective (as opposed to his other nonsensical work), with atmospheric accompaniments that range from tense to relaxed. Songs like "Round the Bend" remind me of 70s folk artists, although I can't remember who. (Leonard Cohen?) Complaints: Too long at over 50 minutes. It's all a bit formulaic. I thought tracks 6-8 were weak and lost the momentum. Favorites: Golden Age, Guess I'm Doing Fine, Lost Cause, Already Dead

I get how this album got its name after I kept having to hunt higher and lower for the right volume. "Take on Me" is at least 4 times louder than "Train of Thought", I had to keep alternate; screw Spotify whether it's their problem or not. Like an uplifting, energetic Tears for Fears. The synth effects are solid, danceable with a bit of melancholy and hope. Excellent vocals, appropriate usage of his higher register. Excluding the annoying volume shifts, the production is all-around superb. On the other hand, the tracks were formulaic and didn't experiment much, but there's diversity while still consistent. I'm a huge fan of synthpop, so I enjoyed all the tracks, but hardly anything grabbed my attention, and if it did it was usually some cool vocal technique. Still, it's a super fun album, and if I was looking for good mood dance vibes, this is a top candidate.

The first solo Wu Tang album, and in many ways it's a proper successor, reusing samples and referencing the gang, with the same vibe that made the debut so amazing. In a lot of other ways, it holds its own identity, clouding itself in an atmosphere of dark, industrial, claustrophobic music. "What the Blood Cot" for example has both RZA and Method Man talking at the same time. Method Man is an incredible rapper in his own right. He's been featured in his own self-titled track on the debut, which I complimented before for being an excellent showcase of his smooth flow and mature, collective attitude. Had a music video and was a successful single and all. I consider him the most accessible member, closely tying with Inspectah Deck and GZA. I did think the 4-track stretch from "Sub Crazy" to "I Get My Thang In Action" was weak. But I did legitimately enjoy everything before and the last 2 to the point where I couldn't pick a favorite. "Mr. Sandman" is pretty much just a Wu-Tang track. I also enjoyed the single "I'll Be There For You" with Mary Blige.

Despite all the hate Kid Rock and this album get, his debut is by far his strongest effort, as well as being the 10th best selling rock album of the 90s. If this was an EP of just the first 4 tracks and maybe a couple others, I would award him a 3 or maybe even a 4. I'm not here to criticize the trashy culture and lies he proclaims (like bragging about growing up in Detroit). Purely looking at the music, the production is funky and tight. The first 4 tracks are pretty good (ignore that cringy child voice), but the rest mostly sucks with just a few decent parts. The riffs are uninspired: it's an embarrassment of a rock album. The raps lack substance and are repetitive, but at least he has energy and has nice rhythm here and there. He tries to sound like Zack de la Rocha, but he's too repetitive to be anything beyond that. I like the old school hip hop half of "Wecome 2 the Party," but fuck the bro who requests "that fuckin 1998 Kid Rock shit." His country songs are the worst. I can't believe "Only God Knows Why" was a big hit... the autotune and dull melody hurt my ears. "Where U at Rock" is the only good song in the second half. "Black Guy White Guy" is a bit decent but it's three times longer than it needs to, and did we really need a copy & paste of "I am the Bullgod"? It's the best song on the album but I didn't notice much different. He loses points for lack of originality, a repeated formula in most of the songs, and for being way too long. Cut the album in half. On the plus side, it is focused and has nice production. This is actually on the borderline of 1 star / 2 star review, but those first 4 songs are enough to redeem itself.

One of the biggest 80s pop stars, especially in the UK, but unfortunately more like a Forgotten Figure. Michael shifts into a more mature sound than his earlier fun Wham work. The production is still top of the notch: distinctively 80s between the synths, drums, and vocal style. They're a fair mix of funky dance tracks and personal adult contemporary. Some songs like "Hard Day" remind me of Prince. The last track had traditional pop jazz club vibes. It's all pretty decent. I enjoyed the synth effects, although it got a little too repetitive to warrant nearly every song going for 4-6 minutes. It also feels a little overcrowded, with hardly a moment to rest. Favorites: Faith, Hand to Mouth, Monkey, Kissing a Fool

It works well as ambient. The second side gets progressively quieter and emptier. It all sounded a bit generic, but I did enjoy the constant change in styles. Tracks blend in well. Somewhat sounds like a PS2 scifi soundtrack. Best track is "Water from a Vine Leaf" which sets an expectation for what the rest of the album should live up to. I wouldn't listen to any of the tracks against besides the first, and I don't see myself replaying unless I want to visit a familiar house ambient record.

One of my favorite albums of the 80s. Everything is on point, from the cryptic lyrics, longing vocals, punchy drums, cloudy riffs and sax, and most importantly the moody synths, confident and expressing feelings of nostalgia and melancholy. One of my favorite things is the ambiance that surrounds the whole album, placing us in the limbo of lost emotions. I like how you can hear New Wave influences like the afrobeat of Talking Heads and The Police in "Listen." It's as if this is the pinnacle of New Wave. The "Broken" and "Heads Over Heels" combination blew me away when I first heard it. Every track is perfect in their own right, and there's excellent diversity between dance mixes and introspective ballads. It's a fairly short album, and there are only 8 songs of which there's so much substance I don't mind them going on for so long. My only complaint is that the track order could be improved to keep the momentum of certain vibes. I can understand why you wouldn't want to collect all the ballads together, but I'd prefer "I Believe" moved down.

A fresh combination of samba, afrobeat, and funk. I'm a fan of his voice, the Nick Cave-esque gospel back vocals, the clear production, and the high funkiness that results in half the tracks being fun to dance to. The percussions are clever, especially the use of the speaky cuica. Riffs are deep and subtle. There were a good amount of highlights. They even embodied the jazz-funk spirituality of Herbie Hancock in "A Historia de Jorge." I hear good things from A Tábua de Esmeralda. Favorites: O Filosofo, O Plebeu, Taj Mahal, Xica Da Silva, Africa Brasil

My first time listening to LCD Soundsystem, and I'm impressed. Vocals remind me of the Strokes but more spunk (biggest example is "North American Scum"). The energy mixed with slightly distorted high vocals also remind me of TV on the Radio (mostly in "Time to Get Away"). Melody is very disco-esque with some notes of the weirdness of Devo and Talking Heads. There's also a lot of techno influence, with the strongest being the opener "Get Innocous" (note the eery vocals that sound just like David Byrne) and "Sound of Silver." It also foreshadows retro / synthwave of the coming decade, especially in "Someone Great." So there's a lot of sounds and influences going on, but overall I'm a huge fan for it's own merit. All the tracks had something to offer. Not being repetitive yet incredibly fun to dance to, all the long timestamps were warmly welcomed. I'm also a big fan of the "New York" ballad closer. The production is on point, all the familiar sounds make it accessible to new listeners and would not stand out too much from being played at almost any type of dance party.

Green Day reinvents their style with a larger inspiration from the mainstream post-grunge movement with those heavy, cloudy riffs. Yet they're still very much tied to the pop punk and power pop they had been associated with the past decade. Here is the rock opera that defined the decade, and what I believed ultimately pushed pop punk into top 40 pop for in the mid-2000s. A lot of thought is put into the songwriting. The lyrics are angsty and open-ended, criticisms of politics for teens and adults alike to appreciate. It's insanely catchy, with lines written intended to be sung along to, despite their storytelling nature. A major complaint I once had was how rock operas were too long and had complicated plots that made it difficult to understand what was going on unless you were paying attention, but here the songs hardly have overarching plots. We have our angsty protagonist and premise in "American Idiot", the tensions in the next two suites, two character introductions in the next 3, then some other events in the last 3 that honestly I'd understand without any context. It makes it incredibly accessible and enjoyable no matter what track you choose to listen and share. As for the music, all of it is super memorable, and it's catchy, but some of it is either abrasive or a bit annoying. The middle 3-suite stretch consists of a pretty yet boring power pop half followed by a rougher hit-or-miss grungy punk half. "St. Jimmy" is a fun punk track that matches the character. "Letterbomb" is my favorite deep cut and perfectly blends the different styles, reminiscing the structure and energy of their late 90s work. I did find that the power pop did grow over time, and I started to somewhat appreciate the singalong anthemic nature of "Are We the Waiting" and the dreamy atmosphere of "Give Me Novacaine." Still "Extraordinary Girl" doesn't offer much but to me I hear a Middle Eastern exotic melody, and the titular phrase rolls off the tongue. As for the last 3, "Wake Me Up When September Ends" is the grungiest, and although I've heard it a million times, I was shocked to learn it was Green Day. "Homecoming" gives huge "Paradise by the Dashboard Light" (Meatloaf) vibes with the speedy transformations. "Whatsername" is my next favorite deep cut, reminds me of "One Headlight" (Wallflowers), although it got a little too heavy in the second half, and it ended a bit anti-climatically.

Pet Shop Boys at their happiest and most energetic, a stark contrast to the melancholy slow nature of their prior Behaviour. These are club tracks one after the other, taking strong inspiration from the ongoing techno movements. The whole album is enjoyable, but the synths don't feel as innovative or interesting as their previous albums, maybe because of my limited listening to techno leads this to sound generic. The highlight to me is the vocals... it's probably a top fusion of 90s pop and techno, but I was hoping to be impressed. I'm also not a fan of the sharp transitions. Favorites: Can you forgive her?, I wouldn't normally do this kind of thing, Yesterday when I was mad, One and one make five, To speak is a sin

In a lot of ways, they remind me of what's so amazing about Fleet Foxes. The soothing baroque vocals, the spacious folk strings and rhythmic drumming that carry you around the room like a dreamy waltz, and a mix of psychedelic - often jazzy -- focused pieces with anthemic sing-along hits possessing standard pop structures. The first 5 tracks juxtapose each other with wonderful hooks that grab your attention. "Southern Point" reminds me of Animal Collective. "Two Weeks" is an accessible folk anthem, but actually good compared to Lumineers and Mumford and Son. "All We Ask" is Beatlesesque and reminds me much of Fleet Foxes, one of the most psychedelic tracks, swinging you in circles. "Fine For Now" sounds like midwest emo, a bit jazzy and frantic on the cymbals. "Cheerleader" follows these themes, incorporating a choir and conflicting instruments that never overwhelm you. Also fan of the drums here. "Dory" is the track that gives me the strongest Fleet Foxes vibes. A weaker track, but has some of my favorite vocals, and I'm a fan of the resolution. "Ready Able" is the best track on the album; I just need to pause and appreciate the beauty of his voice and cyclic instrumental. Incredible bridge. The next two songs are my least favorite but still very enjoyable. Picks up with "While You Wait" which feels like the start of the climax. "I Live With You" is the most ethereal track, full of angel choirs, nostalgic samples, and sudden explosions of noise coming from everywhere, closing just as chaotically but leading into the Coldplay-esque closer "Foreground." I like the calmness, but I felt it ended a bit too sudden, so either the ending could be improved or just swapped with "While You Wait." Being amazed by more than half the tracks, and still having a fine time with the few I didn't care for much, I'd say it's a perfect album, and certainly one I will revisit again and again.

A series of instrumental covers of classic soul songs performed with rock n roll instruments with the vocals performed by a Hammond organ. Of course we have the classic "Green Onions" that shook the music sphere. You may be saying "so what?" until you realize this album was released in 1962. The jazzy groovy nature of this album is a push away from the intertwined nature of soul with rock n roll, propelling it into its own genre. Most importantly everyone tried copying them. I enjoyed most of the songs, recognizing half of them. Today I learned "I'm a Man" (Spencer Davis, Chicago) ripped off "Comin Home Baby" (Dave Bailey). Favorites: Green Onions, Rinky Dink, Behave Yourself, Stranger on the Shore, One Who Really Loves You, Comin Home Baby

The Isley Brothers is the group that managed to score a Hot 100 hit for 6 decades straight. They're also one of the most sampled artists in hip hop. Play any of their top hits and you can name several songs that sample them, notoriously Biggie. But as for funk, this album offers few weaknesses. There's a fair mix of pre-disco funk rock and slower soulful songs, with many somewhere in between. I'm a huge fan of the energetic front vocals with backing support and the various keyboards, whether the organ, clavinet, or synths. The guitar really shines when it electrifies. They redefine the covers as their own, still recognizable, yet fresh and exciting as they put their hearts into each cover. There's several songs I don't care for much, but only two I find purely boring. It's not the most impressive funk out of the 70s, nor is it even close to being my favorite, but you can't deny this album is full of great tracks that grab your attention, never drawing out its stay. Favorites: That Lady, Listen to the Music, Summer Breeze, The Highways of My Life Least Favorites: You Walk Your Way, Sunshine

Bon Jovi's breakthrough and possibly the most mainstream 80s rock album out there. It encompasses everything there is to love about glam rock. High energy, iconic riffs, and catchy choruses begging the audience to sing along. An unpopular opinion, but this is my favorite Bon Jovi album. Lots of fans prefer their 90s work, but the excitement here is unmatched. There's rarely a boring moment here, and it never drags on. My least favorite track is the required-by-law hard rock ballad "Never Say Goodbye." Some songs give me classc rock n roll or roots rock vibes, like the Burce Spingsteen-esque closer "Wild in the Streets."

It's an instant favorite for sure. I'm not sure what emotions I feel here, but a lot of people describe it as evoking nostalgia. This music does remind me of the chillwave, trip hop, and vaporwave I listened to in the mid-2010s on youtube, which did evoke those feelings, so I tend to agree. I have a better sense of IDM, hearing tracks like "An Eagle in your Mind" or "Telephasic Workshop" with fun beats reminiscent of techno, but not exactly suitable for dancing. Samples are smart and engaging. Despite being a double album, it never felt too long, despite the intentional repetition of half the tracks going for 5-7 minutes. Yet, there's so much evolution that makes it unusually engaging for downtempo. The usage of shorter tracks worked well, serving to reinforce themes explored and give us small breaks. Many songs are memorable, as I find myself humming to several of them, especially "Roygbiv" and "Aquarium" after just a few listens. There were a few weak songs, but nothing I'd cut out. I did really enjoy the bonus track "Happy Cycling," but "One Very Important Thought" is a better way of closing out the album, especially as the followup to the solemnly optimistic "Open the Light."

Their inspirations are clear. Vocalist sucks, embodying Oasis lazy slurred singing with some Bob Dylan direct spoken word in "How High" and "Get On It." Keyboards reminisce of 60s soul and jazz, particularly the British variety of the Spencer Davis Group. I hear Rolling Stones riffs, as well as some swirly riffs in "With No Shoes" looking back to their Madchester days. There's a lot of diversity, including the acoustic "You're a Big Girl Now", the country-like "North Country Boy", the jazzy "Area 51", and the acid rock "Rob's Theme". The melodies are nice, and I'm a fan of the riffs at times and the keyboards, but unfortunately, nothing grabs my attention. I blame the vocalist, but I noticed in Britpop the instruments serve mostly to back up the vocalist, so there's little to look for until the solos when they're at their most creative. Even the album cover screams boring. Favorites: Tellin Stories, One to Another, How Can You Leave Us, Area 51, How High, Rob's Theme

It's bright and flashy. Modern cool jazz for people with short attention spans and a dated sense of random humor resembling early 2010s Youtube skits. In a lot of ways reminds me of Frank Zappa in scope and jazz fusion style (especially with "Uh uh"), but of course, using much more modern soul and funk grooves. I was a bit fooled at first. I was really into it for the first few songs until quickly realized there's not much more to it. It's a bit directionless, and all the songs follow the same style if not saved for its diverse samples. It's one of those albums where you might like most of the tracks just cause they all follow the same formula. Also, it's really long, with 23 tracks spread across 51 minutes. Could have fleshed out some tracks, diversifying his singing style, and subtracted the boring ones. Absolutely nothing grabbed my attention after "Them Changes." There's potential for sure. Favorites: Bus in These Streets, Lava Lamp, Show You The Way, Tokyo, Friend Zone, Them Changes

One of the most underrated highly critically claimed albums. As in, everyone loves this album, past and present, but a lot of people listen to it and "so what?" Based on the user reviews on the Internet, especially on this site, people can acknowledge it tries to be something grand but that it falls flat. I argue that it succeeds in what it tries to do and deserves all the praise, but I won't spend time detailing the music theory so I hope other 5 stars get the upvotes. I think for a lot of people, this album is just too unfamiliar. It's jazz rock, but it's not like anything you listen to. Closest thing is Chicago. I will say this is my favorite Steely Dan album. I might play Can't Buy a Thrill more just cause it's more fun to vibe too and has the hits, but this album has the intricacies that I enjoying picking out. It's 7 tracks in 40 minutes, which each minute perfected. There aren't any drawn out moments, no unnecessary repetition or formulas being rehashed. Each track innovates constantly to feel fresh. Instruments pop in and out of nowhere, getting their highlight. Production is magnificient, no one sounds buried, it's never busy. They're fantastic songwriters, and there are so many moments in the album where they have these ideas in their heads they have to bring studio musicians in to replicate. Soul influence in Black Cow, disco influence in I Got The News, and all sorts of artsy jazz all over. My favorites tracks are in the middle.

Has everything you could possibly ask for. 8 songs in just a little over 40 minutes. Incredibly heavy riffs - fast, energetic, sometimes suddenly powerful - propelled the heavy metal genre influence in a new direction, serving as the primary influence of the creation of thrash and doom metal many years later. It's accessible, not just because its top hits have been cemented in pop culture, but because the riffs are simple and catchy, the vocals are clear, and the lyrics cover easy-to-understand, engaging topics of apocalypse and destruction. Production and mixing are well done: everyone can be distinguished and sounds good. Drumming gets their shine in the last two tracks.

Who knew Damon Albarn was always so experimental? The dude knew how to make strange yet entertaining pop-rock with all sorts of unfamiliar sounds and witty lines. Compared to his next two Britpop records, this one rocks much harder, and its influences are too clear, making this record seem a bit less original. You'll notice "Colin Zeal" sounds like "Sleeping Gas" by Teardrop Explosions, "Miss America" sounds like "Terrapin" by Syd Barrett, "Pressure on Julian" and "Resigned" like Ride, and "Oily Water" like MBV with the swirly guitars (there's other shoegaze like "Intermission"). It's clear they're still finding their sound, but I don't think there's much wrong with that. He's taking inspiration from unconventional rock sounds that are hardly explored in other music. It knows when to be punk ("Advert"), 60s sunshiney ("Sunday Sunday"), neo-psychedelic, or grungey. The diversity is enough to keep me entertained on every track, but with an hour-length, I found myself worn out by the last few tracks. Still, the tracks are outstanding. A few "weak" ones, but when I listen to them standalone I get to appreciate them more and pick out what I enjoy the most. The stretch from "Blue Jeans" to "Miss America" has my favorite tracks. I'm a huge fan of the vocals, lyrics, guitars, punchy drums, and the million synths and percussions they use to achieve the unique effects. Production is pretty good, could be a bit improved. Favorites: For Tomorrow, Blue Jeans, Chemical World, Oily Water, Miss America, Resigned

Back by popular demand, Frank Sinatra is back to appeal to two trends that the aging crooner population and Grammy judges can yet again eat up. Sinatra combines his ballad style of classic dramatic strings and smooth voice with the jazzy waiting room music of Jobim's bossa nova. For reference, Jobim is the guy who popularized Bossa Nova, composing the songs on Getz/Gilberto, including "The Girl from Impanena." It sounds really good, but thankfully it's only 28 minutes. They don't take the formula too far. It's pretty repetitive, and Jobim only served as backup, in the background and not diversifying as much as I'd like. They try to spice it up with bells and whistles, but the guitar straight up sounds the same on many tracks. Favorites: Change Partners, I Concentrate on You

The king of pop strikes again with a flawless combination of funk, rock, disco, adult contemporary, and many other genres (calypso, gospel, etc). It's a proper followup to Thriller, with songs following the formula hit on overdrive. The whole album is full of hits, whether a ballad or dance track, so it only reasons that 9 of the 11 songs became singles. The production is one of the best of the 80s. I'm a huge fan of the innovative synths and drum machines. There are themes like the atmospheric exotic jungle synths of "Liberian Girl" and the highway racing of "Speed Demon," but it's the best on the rock tracks "Bad" and "Smooth Criminal." My only two complaints are that (1) some tracks don't resolve very well, leaving you hanging, (2) the two middle tracks "Just Good Friends" and "Another Part of Me" while not bad (carried by the cool synths and MJ's performance) are nothing more than outtakes and ruin the momentum. I'm also not a fan of ballads, but I admit "Man in the Mirror" and "I Just Can't..." are soulful ballads that beat anything in the genre. Last 3 tracks are my favorite.

I once listened to A Storm in Heaven about a year ago in my car and it just flew by without me paying attention to any of the songs. I quickly realized it's an album I'd have to sit back and listen to... I have yet to re-visit it. But here we have Urban Hymns, a later album I had only known for the hits "Bitter Sweet Symphony" and "Lucky Man." Reading up on the band, they shift from shoegaze into pure Britpop. Two comments: (1) I've heard this trend plenty of times before in early Suede (Drowners) and Blur (Oily Water), and (2) this is complete bullshit. These songs are still very heavy in psychedelia, having a fuzzy space sound reminiscent of Flaming Lips or Spiritualized. Combined with Will Malone's strings produce a symphonic effect in the hits which explains the impact they have on people. I'm personally a bigger fan of the psychedelic deep cuts. It's slow, melancholic, and atmospheric, with his somber vocals staying consistent throughout the entire ride. Despite being over an hour long, there are only 13 tracks, each well fleshed out. They all left an impression on me, although I do admit I started to lose attention in the final stretch after "Lucky Man." But honestly "This Time" (so energetic!) and "Velvet Morning" (that country influence!) are both awesome tracks, so that confirms "One Day" is the weak link that should be cut. Whoever says they're generic is just a flat liar... they're clearly Britpop but it's too cloudy to be lumped together with anyone else. People already complain about how different the Big 4 of Britpop sound from each other, no need to pull The Verve into this label too. I could see why one might think that though, as the songs didn't innovate much and mostly stuck to a formula that I assumed followed from their only earlier work. Sure, I like the effects, violin(?), and swirly guitars, but I couldn't say much about the riffs, bass, or drums beyond they're fine and mixed well. The only other complaint I can offer is to reduce the length, as the hour+ is a bit too uncomfortable. I can only understand how unbearable it can be for people who are not as crazy as I am about their sound.

I saw the Lemonheads open for Dinosaur Jr last year. I think it was to advertise for the 30th anniversary of this album actually. I thought they sucked except for the drummer. That drummer was crazy whoever it was (I bet it was a random guy to fill in). There was a middle-aged fanboy there, and I thought "geesh is this the type of forgotten 90s bands people talk about that appeal to this demographic?" Well, I actually appreciate them much more listening to this album in its entirety. Alternative rock is a broad genre that became mainstream in the 90s, but this actually came a bit too early, even before grunge took the whole market, so despite fitting in with the aesthetic, it more so aligns with a power-pop movement that was happening the same time, which would soon evolve into pop punk. I'm pretty sure it aligns with this movement not just because the vocals and melody sound like power-pop, but because there's a jangly guitar that matches adjacent alt rock 80s bands like REM and Replacements. Wikipedia labels it as grunge, and I could see some signs of it with the distorted guitar and deep bass, but I theorize that mostly follows from popular noise rock acts like *cough* Dinosaur Jr, Sonic Youth, or the Pixies. Genre discussion aside, it's a pleasing listen difficult to despise. There are a lot of duds, but on the bright side the songs are short (nearly half are under 2 minutes), so if you tire of an idea, just wait another minute. I can't tell if I like or dislike Juliana's contributions. I like the slide guitar happy tropical sound in "Hannah and Gabi." The mood is cheery in general, but it gets heavier in the last few tracks. I like the style and it has its highlights, but I wouldn't consider them influential or essential. Favorites: It's a Shame About Ray, Rudderless, My Drug Buddy, Bit Part

Johnny Cash plays his hits with a new classic "San Quentin." His performance is a bit dull but I appreciate the tense connection between him and the prisoners (feels much more lively than Folsom), although the rowdy nature shrouds the actual music, and I found the stories in "Darlin Companion" to be disruptive (I also didn't like the song itself). This isn't an album I'll play much often again in my life, as I'd take At Folsom Prison any day. I also didn't like the anticlimatic finish, but I did get a laugh out of it. But there's a lot to like here, and of course, all the album merits aside, this is Johnny Cash: one of the best country artists to have ever existed. And it is due to his strong songwriting, lyrics, and vocals that I can say this was an enjoyable listen, and I wish I was part of the crowd, even if I'd had to kill a man to see it.

So this is the type of music trip hop youtubers ripped their samples off, makes sense for them to steal the work of an already talented musician. It's really diverse, taking samples from funk, reggae, techno, latino, and jazz. I get a lot of nostalgic vibes. It's an inoffensive album, nothing stuck out as awful, but I can't say I enjoyed much of the album. It's a coherent record to relax or study to. Too long, and the songs are also too long, especially so reliant on repetition. Favorites: Night Interlude, Wait a Minute, Bless My Soul, Mission Venice

Their breakthrough album (in a time of dire crisis), and an early example of prog metal. Certainly much more understandable and influential sound than King Crimson. I read the comic book alongside the album, which made it really easy for me to digest, but it also ruins the creativity that your mind may picture the scenes. It also reimagines some of the scenes, giving it a happy ending where the protagonist doesn't commit suicide, and the ones who "regain control" are the same music-loving ancestors from the dream. I'm not a huge fan of their sound on this record... I prefer their innovative production on the synths and their more metallic sound or later albums, but you can't go wrong with Geddy's performance, and the guitar and drums hit hard and demonstrate they can handle different styles. The highlight is the titular epic, and it's engaging to follow on the story that feels like a Legion of Superheroes storyline. The second side is weaker, but there's a good amount of diversity from the heartfelt "Tears" to the exotic "A Passage to Bangkok" and mysterious "Twilight Zone," all of which incorporate the acoustic guitar well to match the corresponding mood.

It's a good balance of the subtlety of Yellow and the anthemic nature of Viva la Vida, and probably the most like Britpop of their discography, with the best example "In My Place." I'm no music theorist, but the music sounds simple to me, yet it doesn't sound the least generic. I'd be able to identify songs like "Politik" and the piano of "The Scientist" even if you plugged in several filters. I'm a huge fan of Martin's slow falsetto. It really stands out, haunting and melancholic, and I frequently find myself comparing other artists to him. All the songs are good. There are a few weak ones, but they all have excellent production and never reuse ideas, staying consistent. My favorite parts are the trace shoegaze influence of cloudy instrumental that overwhelm you but undergo subtle transformations, sometimes burying the vocals to be nearly incoherent, best exemplified in "A Whisper." The use of reverb in the closer "Amsterdam" is a sign of the empty atmospheric work they'll follow in X&Y.

Their most ambitious, experimental, yet coherent pre-disco album. You can tell by the felt on the vinyl, an attention grabber for any kid browsing the record store. They fit in well with their 60s pop rock contemporaries, most notably the Kinks, with this reminding me of the humorous concept album Arthur. They're still influenced by their former psychedelia, but here we see a lot more baroque pop, country, and folk. "Marley Purt Drive" sounds like The Band's "The Weight." There's an equal number of strengths and weaknesses. As expected, the highlights are in their vocals, and it's intriguing to see their voices used in such a different way than their disco masterpieces. I like the different styles, with more experimental production that works well in "Odessa" and "Edison." The strings are good as well as the experimental sounds, but the other instrumentals are severely lacking, especially the mulled drums and some of the guitars. The production does sound dated for 1969. It's way too long, and many songs can be cut. But for the most part, they just needed to be developed more: most felt like outtakes. Lack of hooks disinterested me. Favorites: Odessa, Marley Purt Drive, Edison, Melody Fair, Whisper Whisper, Give Your Best

The Byrds continue their jangly folk rock sound but delve into psychedelia, who would popularize the genre. Early usages of psychedelic pop are employed here: cryptic surreal lyrics, beautiful yet ominous singing, raga-structured guitar, and cloudy repetitive instrumentals where everyone seems to do their own thing. Sounds like they're still trying to copy Bob Dylan with the vocals in "5D" and harmonica in "Captain Soul." Some early country rock with "Mr. Spaceman." As a fan of their jangly guitars and harmonious singing, there were only a few songs I didn't care for much. It's a fantastic effort as always. Favorites: Wild Mountain Thyme, I See You, What's Happening, Eight Miles High, Hey Joe, 2-4-2 Fox Trot, Why

One of the most impressive thrash metal bands out there. The most progressive of the big 4, they combine a hair metal 80s style (especially in the vocals) with experimental effects, constantly evolving their songs by the minute. The intro track "Holy Wars" is the perfect example, where you get comfortable in one phase of the song before an abrupt riff comes out of nowhere and pulls your attention elsewhere. All of them do this to some extent. The lyrics are awesome, painting gruesome scenes full of danger and spite. Everyone is super talented, and the production is incredibly impressive. There sounds to be hardcore influence in songs like "Tornado of Souls." I'm a fan of most of the songs, even though it can be hard to identify between them at times (but that goes for metal in general). Good mix of hardcore speed metal and the creepier groove tracks.

A masterpiece in 90s downtempo. It's beautiful, nostalgic, and a vibe for every occasion, whether for background, study, relaxation, or dancing. There are accessible pop songs back and forth with atmospheric spacey instrumental tracks. Every sound is perfected, not a single weak track. They nailed down the track ordering. Did they seriously make all the sounds themselves? With the only (possible) samples being small artistic choices like the children laughing in "New Star in the Sky"? Not sure how to describe it well, but I like how the songs carry me through feelings of anticipation and resolution, there's no repetition but I look forward to how to resolve parts they build up to.

What a cute forgotten psychedelic record with folk, jazz, country, and baroque influences, by the guys who wrote the psychedelic staple "Get Together." It's a groovy and silly album, much in the same vein as the Small Faces. It's fine, fairly inoffensive to the point where not much can be said, whether compliments or criticisms. I didn't care much for the uninspired jazz all over. "Quicksand" was an interesting clash between jazz and baroque instrumentation styles overlayed with that typical 60s garage rock vocal style. The vibraphone jazz makes it sound like elevator music here and there, but the vibraphone was prominent in folk-rock in the era. Favorites: Smug, Sunlight, Don't Let the Rain Bring You Down, Quicksand, Ride the Wind

Metallica and Megadeth were the leaders of heavy metal well into the early 90s, constantly reinventing the genre with each album. But here, Metallica walks in a direction that absolutely no one expected. If you want to get anyone into metal, start here for a million reasons. Obvious reason: several of the singles are among the most popular songs in metal, anyone who doesn't dwell in a rock has heard at least "Enter Sandman" and "Nothing Else Matters" hundreds of times. Less obvious: it's a pop metal album, with an emphasis on the vocals and less so much on epic instrumentals. The vocals are clear and forefront (it's not common you can understand every line spoken), the production couldn't be better, the choruses are catchy and invite people to sing along, and the riffs are distinct and memorable. And yes, it has everything you'd expect from the genre. It's heavy and grim in lyrical subject. It has power, speed, and a doomy sound unmatched by anyone since Black Sabbath. Nearly half the tracks are popular singles that are all excellent, despite how overplayed 2 of them are. My favorite of these is "Wherever I May Roam." I do see the merit in putting the singles at the front to entice new listeners, but it does cause odd track ordering decisions. Looking at the deep cuts, there's something I like about all of them, but "Holier Than Thou" is a bit of a misfit in between the singles, and doesn't make up for its competition. "Don't Tread on Me" is decent, it was supposed to be the 6th single, and follows a similar formula. "Through the Never" is one of the heavier tracks looking back to their thrash style fused with a doomy guitar, which is a bit weird coming right before their most melodic track "Nothing Else Matters." Next track "Of Wolf and Man" is another decent song, following the groovy formula. The next two are the strongest deep cuts, demonstrating the creative versatility they're capable of taking each song. Great guitar solos. The closer "The Struggle Within" is a bit boring at first, but I like the bass and where they take it 1.5 minutes in, and it's the most faithful to their trash style. Weird to end on it. Keep in mind that when I say decent, the production still makes them all sound excellent, and nobody ever plays poorly in any of the tracks; it all comes down to the songwriting, which is weak on several tracks. It's close to a perfect score, but they had potential to improve their songwriting and track ordering.

I've already left my love for Depeche Mode in my Violator review. They're one of my favorite bands. I'm obsessed with their dark gothic synths and creepy expressive vocals. Never repetitive, always full of surprises in each song, it's hard for me to come up with favorite songs. Black Celebration and Violator are my favorite DM records, but this one sounds nearly identical to Black Celebration except more cinematic. I feel like the songs are weaker, but that may just be because I haven't spun it a dozen times and that they'll grow on me, but I admit the synth work here is highly impressive and intriguing in every track. I lost interest in the last 3 tracks, but cool to end off with the Sephiroth boss fight theme.

Alice Cooper is a highly influential artist, shocking audiences with his punk attitude and controversial shows years before the movement was popularized. This album isn't his best nor does it accurately show his wild displays he does in live shows. The highlight of course is "School's Out" one of his most famous songs and a landmark in glam rock. The other songs are nothing to talk about, although they're decent examples of the genre and show his wild and wacky sides. The lofi sound works against them. There's a few quirks (especially in the keyboard effects), but Cooper could be more energetic, and the instrumental progression is predictable. At least the first side has some interesting ideas ("Blue Turk" has jazz and rockabilly influence), but the second side is just generic glam rock (and a Lennon copycat).

One of my favorite albums of all time. I've listened to this countless times since I discovered it 3 months ago. I've listened to it while hiking, working, walking around the city, riding a train in Europe, lying in my bed, and lying on a rock in the woods in the rain. I've listened to this high on weed, shrooms, and LSD. The production is much more sophisticated and involved than their prior two albums, they go really far with the capabilities of their keyboards and how to manipulate Legrand's vocals as another instrument, a tool frequently employed in dream pop. "10 Mile Stereo" is the biggest example of how far they take synths you would never see in their s/t or Devotion. I'm a fan of every single song. It was very hard for me to resist not adding every single song to my liked songs on Spotify, which after listening to over a thousand albums, is something I've only struggled with on Pet Sounds, Sgt Pepper, and Abbey Road. For reference, the songs I hesitatingly convinced myself were not needed to be added were "Better Times" and "Real Love." So what do I love about this album? I'm not going to do a song-by-song analysis, as I believe the album is highly coherent, and their strengths are not unique to each track despite how special each of them is. In short, it's one of the most optimistic, hopeful albums. In general, Beach House albums are dreamy, hypnotizing, nostalgic, and comforting. Songs like "Used to Be" lift my spirits and put a smile on my face despite the conflicting longing lyrical subject. But they all put a smile on my face... I'm not making this up... only this album is only to do this to me!! Every song starts with a peculiar hook that pulls you in, and the dreamy keyboards, rhythm, and entrancing vocals stop you from diverting your attention. Teen Dream is peculiar in that nearly every song has this bridge into what could be an entirely different song. The whole record is coherent. "Zebra" pulls you in with the mysterious opening chords and hits you with powerful and emotional synths. Then when you think that must be the highlight, "Silver Soul" shows you that yes, the WHOLE ALBUM is just as strong. "Norway" is *probably* not my favorite, but it's what I might consider being their best song. Skipping to near the end, we have one of the most complex, exciting tracks "10 Mile Stereo" which drops into "Real Love" which calms the nerves and anticipates the climax of the album. "Take Care" is my favorite closer of all time... it feels like a warm hug that almost makes you cry, and you wish that the album would never end. Teen Dream hit me in a huge way, as I started listening to their discography in order and was stunned at how dramatic the shift was from Devotion. I had not felt the same way about later albums, but they're different moods. I'm happy this is the Beach House album chosen on this list, but I highly recommend everyone to check out the rest of their discography. Beach House is among the most consistent bands out there, having 8 incredible records. They haven't sold out. They churn out creative ideas in every album. I admit I only started listening to them 5 months ago, but they're my new favorite band, and I can't wait to see them live next month.

One of the most influential albums in history. Patti Smith is a poet, and although there's not much relation to the punk sound, her music represents the spirit of everything punk stands for. Immediately in the opening "Gloria", we get one of the strangest covers in history. Starts off with a poem with some truly iconic lines and use of pathos in her word choice. Jesus did not die for her sins: straight away we see how free spirited and expressive she wishes to be. There are references to her androgynous image by the ambiguity of the subject. And of course the only actual part of the song they cover is the "GLORIA" chorus. One of the most influential songs in punk for sure, be whoever you want, express yourself however you want, and fuck society's standards. "Redondo Beach" is a bit of a strange one. A favorite if only because reggae sounds cool. But it's reggae a couple years before Bob Marley made it mainstream, so seeing a reggae song here is out of left field. Ska and punk have a strong relation, and I guess this is where it started. But besides that, reggae music sounds happy, yet this song is about a girl drowing at the beach. "You'll never return to my arms cause you are gone gone" jfc "Birdland" is a disturbing 10-minute poem expressed by a piano, distortion, and her distraught voice, based on Steve Reich's Book of Dreams. "Free Money" starts off soft but immediately becomes the hardest song on the album, displaying her ability to swap between loud and expressive (very punk-like) and melodic and controlled. "Kimberly" is probably my favorite song, a very early example of New Wave with the groovy bassline and uplifting organ. "Break it Up" has Tom Verlaine on the guitar, which is why it sounds like something from Marquee Moon. By far the most chaotic track. John Cale worked in the production, and apparently he wanted strings. I agree with the decision not to, I can't imagine this to be a Paris 1919 copycat. "Land" is a 10-medley that serves as an ode to early rock n roll. I personally think this is the best song in her discography, excellent work on Cale's part between the use of two track vocals and the instruments coming in and out, having a strong garage style. I also enjoyed the solemn nature of the closer "Elegie" and the intense wild nature of the bonus cover "My Generation". Horses embraces itself in its minimalistic instruments, but I consider that to be its greatest weakness. The chord progressions and simple, which ties well with the punk diy model and puts emphasis on Patti's vocals and lyrics, and there's nothing wrong with that, but I wish the simple instrumental they did choose could be more interesting. This is more problematic in the first half. Otherwise, her lyric writing skills rival that of Dylan.

Call this whatever you like. A blue eyed soul phony. A sell out. An experimental transitional period. Regardless of your thoughts, this is another excellent entry in Bowie's prime. Not a masterpiece, but Bowie gives an excellent performance, the production is fantastic, and I find the gospel back vocals and funky instrumental to be interesting and never too generic. We also have the famous tracks "Young Americans" and "Fame." Nowhere near the best or my favorite Bowie album, but nevertheless incredible.

Harry Nilsson was one of John Lennon's best friends, and you can hear his influence in this album. Quite a Beatlesesque soft rock album with folk influences. Lots of goofy songs like "Early in the Morning" and "Coconut," some expressive and dramatic songs like "Without You," and experimental songs like "Jump Into the Fire." The songs feel complete despite their short lengths, and I'm satisfied with how quick the whole album is. I already knew the 2 major hits, but I was pleasantly surprised by a few more highlights, and meanwhile, there were only 2 or 3 songs I did not care for.

Elvis Costello makes his 90s revival with several new ideas, but for the most part, you know what to expect. This is an album for fans: it's not experimental but more-or-less the same type of New Wave music he'd been making with the Attractions since the 70s. More fuel for pleasure. Classic New Wave music. I'm a fan of his voice and optimistic instrumentals, with jazz influences and sick keyboard effects. None of his best songs are here, and there's many boring ones (and it's also too long), but there's a lot of quality. Favorites: Kinder Murder, This is Hell, Clown Strike, 20% Amnesiac, London's Brilliant Parade

Following Rubber Soul, their transformation is refined and almost complete transitioning into their psychedelic phase. Rubber Soul put a focus on folk songwriting and featured forays by Harrison into raga and Starr into country. Here the songs experiment with what their high studio efforts are capable of. Here we have 14 perfect tracks in the span of just 35 minutes. Not a single track is more than 3 minutes, and yet they all feel complete and satisfying. I've listened to this album dozens of times and yet I've never felt the need to extend any of them, nor drop any either. "Taxman" can be seen as a precursor to New Wave-style music (without synths of course). "Eleanor Rigby" is among the most influential track here and stands as a landmark in baroque pop, certainly the best-sounding of its era. "Here There and Everywhere" and "Tomorrow Never Knows" perfect Harrison's raga, and are my favorite Beatles raga songs after Sgt Pepper's "Within You Without You." The psychedelic tracks are by far the most interesting. It's crazy how psychedelic pop was limited at the time to Pet Sounds and 5th Dimension yet they come up with the dream-like "I'm Only Sleeping" or "She Said She Said." I just can't see the natural progression. "And Your Bird Can Sing" is a personal favorite of mine, so short and cheery I just have to sing along every time. "Doctor Robert" is the only weak track I couldn't say much about but I still sing along to it and adore Lennon's vocals. My only complaint is that "Tomorrow Never Knows" should have been the first track to make for the perfect opener and closer ("Got to Get You Into My Life"), but obviously I understand why they didn't.

Second to only RHCP in the genre, Incubus blends funk rock with the rising nu-metal scene, noted for its unique vocalist and use of turntables. I've listened to a few albums, and I find this to be their most original and notable release. It's coherent, distinctive, and full of bangers, including 2 of the most recognizable rock tracks of the period. Lyrics poetic with nice flow, vibing well with the funk instrumental. Also a fan of the heavy and fast grungy guitars. Few duds, good length, maybe a little too reliant on the formula. A fantastic breakthrough into the mainstream and one that I revisit every now and again. Favorites: Nowhere Fast, The Warmth, When It Comes, Drive, Pardon Me

This guy took the name of the genre a little too literally. A less expressive Thom Yorke copycat who plays over clashing melodies lacking depth, but at least there are plenty of diverse recognizable styles not typically explored in pop music. I hear bossa nova, trip hop, bluegrass, Latin, country, jazz, and classical. Pretty and expansive but long and dull. Favorites: The One You Love, Peach Trees, Gay Messiah, Crumb by Crumb

My only exposure to PJ Harvey was her 1993 Rid of Me which I thought was ok but hated how quiet it was. This album 20 years later is just amazing. I'm a huge fan of the crazy production, her versatile vocals (reminds me of Bjork), expressive lyrics, and folk instrumental structure. It's aesthetically pleasing with tons of unique noises without making it inaccessible, evoking an ethereal atmosphere and ranging from campfire anthemic to emotional and personal. I appreciate it more and more on each listen, blown away by half the tracks, and the other half growing with each listen, but they do blend it at first.

The album that changed rock forever, fusing blues rock with a polished alternating heavy metal and folk sound, shifting away from the chaotic garage style of their acid rock predecessors. The mixing and overall production work are fantastic, especially for 1969. You can hear everyone clearly. I've already complimented LZ in my other 3 reviews thus far so I won't reiterate, but that doesn't change that these are 4 of the most talented musicians in music history demonstrating pure talent. Only 9 tracks, with 6 of them being either perfect or close to it. "Good Times Bad Times" is an insanely strong opener, with an iconic buildup and short but catchy melody. Next three are masterpieces blowing people away with what this band is capable of. I can't believe they wrote "Babe I'm Gonna Leave You" so early in their careers, my favorite use of the mystical acoustic and sudden jumps. Loving the faithful rootsy organ and harmonica in the blues "You Shook Me". What appears to be gimmick tracks turn into rock staples with how well-produced and structured they are despite their unusually long runtimes. Personally "Dazed and Confused" is a candidate for one of the best songs of all time, innovative and clever, carrying the feelings of paranoia through stages of isolation and busyness. Second side opens with the organ on "Your Time is Gonna Come," another folk track with a gospel chorus. Is that the steel guitar making that high-pitched tropical noise? Doubtful if Page is already on the acoustics. We get a sudden transition into the short raga instrumental track "Black Mountain Side," a bit sharp but fits with the psychedelic vibe. We get another sudden sharp transition into the loud and rampant "Communication Breakdown." It's a fun energetic track to rock to, in a lot of ways proto-punk, probably the most simple but also the most refined. "I Can't Quit You Baby" is our second full blues track, this time much more faithful to the original formula except harder. Finally, we end with my second favorite: the long and rhythmic "How Many More Times." Huge fan of the bursts of the drums with the satisfying reliefs. Has a bridge halfway through with a hazy and distressing atmosphere before returning to the original structure and ending with a wild and memorable finish.

Seems to be a common trend of combining stereotypical electronica with various music genres, and in this case we see bossa nova (with elements of funk and Latino in specific tracks). A lot of it is trash and it's too long, but the vocalists meet my expectations, and some of the songs work super well. There's also a bit of versatility while still maintaining coherency. That is, some tracks like the first two flow super well, and nothing is too out of place (maybe in mood, but even the techno "Samba do Gringo Paulistica" fits with the spirit of the genre). Favorites: Tantos Desejos, Segredo, Felicidade

I was saving this review until after I took shrooms to really appreciate its inner beauty, but I didn't realize they were super potent APE. 2.7g felt like 4g and I was traveling through the metaverse. That didn't stop me from clumsily searching for this album on spotify and playing to completion. Time felt like an eternity and I don't think my mind was able to pay attention. But whatever, I've listened to this album maybe 3 times now sober and once on 15mg THC, so I think I have a good idea. I'd classify myself as a dream pop guy. Gotta love shoegaze and psychedelic music. What can I say? I love busy noise. Huge Sonic Youth fan. And this is full of noise, swirly shoegazy sounds. In 1997? When it was all but abandoned excluding parts of Verve's Urban Hymns? This album is the epitome of space rock and you can see why when it knows how to employ atmosphere, shrouding you in clouds of sound and gospel choirs but also utilizing silence and repetition well. You don't need much lyrics when it takes you on a magic spaceship. The music's like a 12 course meal at a fine dining establishment. You get a taste of what they're capable of in each track, yet it's coherent... these transitions are smooth from one to the next. There's no best song so fuck off raving that the title track is the objective best song of all time. Dude, it's all fantastic. Some of these songs are LONG, but I don't even realize it until I look at the timestamp. They just pass by. You start off with the beautiful baroque pop titular piece to the Beatlesesque with horns "Come Together" to the shoegaze "I Think I'm in Love" to the dreamy "Stay With Me". Later we got the industrial "The Individual" followed by the peaceful "Broken Heart." Like dude. That's fine dining. Oh and that 17-minute dessert "Cop Shoot Cop" is simply gorgeous, finishing with a bombastic explosion of chaos. Favorites: I Think I'm in Love, Stay With Me, No God Only Religion, Cop Shoot Cop

I fell in love with T. Rex on my second listen of Electric Warrior last year, but I've never explored their discography much. This is more of the same, and that's great news! In a lot of ways sounds like 90s indie music. T Rex and Roxy Music show what glam rock is possible of. It's groovy and cool, in a lot of ways looks back to 50s rock n roll. All fantastic songs despite there being 13 of them, from the mellow guitar playing to fine production that escapes its comfort zone often, I couldn't think of one I disliked, and I can't wait to have new favorites that compare to "Jeepster" or "Life's a Gas." Favorites: Metal Guru, Mystic Lady, Rock On, The Slider, Telegram Sam, Chariot Choogle

Huge fan of the Smiths, all of their albums. Some of their most enegetic (Rusholme Syndrome, Barbarism Begins at Home) and most miserable tracks (That Joke Isn't Funny Anymore, Meat is Murder). Some nice influences like the postpunk "I Want the One" or surf rock "Nowhere Fast." Several weak songs, but it's pretty solid, and I love the Morrissey's yearning vocal style, his introspective lyrics, and the mix of New Wave synths and jangly guitar. Would listen again as with the rest of their discography.

Waylon Jennings is famous for pushing outlaw country against the popular Nashville sound. These songs are slower, more personal, and reminiscent of 50s and early 60s songs (Elvis comes to mind). And here I thought Willie Nelson sung about actual old Western outlaws. It's good shit. For country, it's good. Lyrics and production are great. I sorta like the country instrumental, but it's not as interesting as folk musicians from the era. I noticed some rock influences like "Black Rose." I like that it's short, and I didn't care for most of the songs, but I noticed I enjoyed them all at least slightly. 2 stars for personal enjoyment, but 3 for the merit I see. Favorites: Honky Tonk Heroes, Omaha, Ride Me Down Easy, Ain't No God in Mexico, Black Rose

This is my type of music. Music like this reminds me we all have different tastes in music and so it's ok for most people to like Drake and for just me to like Country Joe or Pere Ubu. The stereo mixing makes it engaging to pinpoint locations of the surreal noises around your room, especially if you're high. It's cool and bluesy, which makes it chiller to listen to compared to the heavier more garage-influenced acid rock of their contemporaries (e.g. Electric Prunes, Big Brother). In a lot of ways this is like a slightly less experimental and more accessible United States of America. A never-ending surplus of fun and surprising moments. I like his dreamy voice and share of high pitched guitars. Lots of variety, just listen to the difference from the acid "Love" (performed at Woodstock alongside the first 2) to the surreal "Bass Strings" to the whimsical "Masked Marauder." Their use of silence and sharp transitions allows these different styles to be coherent and smooth rather than harsh. Will seek out again. Favorites: Flying High, Lorraine, Porpoise Mouth, Bass Strings, Masked Marauder, Grace

Compared to their previous albums, I found this to be much heavier in synthwave, with busier and darker synths. "i used to" is very gothic, with Cure-like drums and longing vocals. James Murphy still sounds like Byrne in his melodic and punk singing styles, but not as versatile and more predictable. Still really fun to dance and vibe to, with a fair mix of energetic New Wave and techno with ballad tracks. I'm a bit disappointed none of the tracks except "call the police" and "american dream" impacted me as much as previous albums, but I still enjoyed them all. Also, it was too long... cut it under an hour. Favorites: oh baby, tonite, call the police, american dream

The closest thing to a true rock opera I've heard. Story is very easy to follow with clear lyrics and basic yet tragic concepts of domestic violence, drug abuse, prostitution, corruption, and suicide. Personal and emotional. The sound is more acoustic-driven but follows his glam rock sound from Transformer with gospel and baroque influences. Reed follows his usual performance, which is fine except when the songs go for so long. But I found the music itself to be fairly boring. There are cool effects like the angelic synths of "The Bed" or the bright ensemble of "Sad Day." Songs are too focused on the storytelling that it doesn't pay enough attention to the melody. The guitar riffs I heard suck, and sometimes the lyrics suffer, but they can work quite poetically. I can see why "Caroline Says II" is the most covered song. Honestly, I'd listen to this again if I wanted to watch a movie with my eyes closed. If you think about it as an art piece rather than a rock or folk album, your perception of it will be higher.

Unique, creative, and catchy with a conscious message. This is the album that got me into Kanye, and this is a top recommendation for anyone trying to get into hip hop. It's like nothing else of the era, linking the golden age to modern hip hop. Kanye was already a fantastic producer years before this release, but he really outdid himself with hit after hit. Full of impactful lines like "We all self-conscious; I'm just the first to admit it." The samples are soulful, light, and enjoyable, and the skits are goofy, something to look forward to. The songs are bangers, but I admit there were 2 or 3 I didn't care for, and I felt the album was too long for comfort. Favorites: We Don't Care, All Falls Down, Spaceship, Jesus Walks, Slow Jamz, Two Words, Last Call

An underground hip-hop band with an empty Wikipedia page and "generally positive" reviews. I wasn't expecting much, but damn am I amazed. Loving the jazzy, cool, and lofi beats and samples with various rappers reminiscent of a calmer group of Q-Tips. Some samples andturntables sound late 80s. They even got Nelly Furtado god damn! Could be cut by a couple songs near the end but otherwise a blast I'll re-explore! Favorites: Freedom, If You Only Knew, What's Golden, Thin Line, High Fidelity, Hey

Stop that! I can see where this album is going and frankly, it's far too silly. I admit the jangles are warm and soothing and frighteningly subliminal. I found the ideas to be a bit incomplete. Besides "I Can See for Miles," I found most of the tracks to have an intriguing hook and melody only to leave me dissatisfied, begging for a more complete track. Nevertheless, I enjoyed the harmonious vocals and groovy instrumentals. I can hear their next album Tommy in "Rael." My favorites tend to be ones that sound like Byrds outtakes. Favorites: Odorono, Our Love Was, I Can See for Miles, Relax

Oh perfect, just what I need to hear. A minimalist classical album in the style and form of tango... classified as "new tango." I can hear influences from 70s folk and pop music (maybe just the classic vibraphone abuse), and it's a bit accessible but mostly boring with some slight remarkable variations. Beautiful here and chaotic there. Favorites: Nuevo Tango, Laura's Dream

Banger after banger. I was expecting something more akin to their garage revival Fever to Tell, but this is just as great. Well-polished indie pop influenced by electropop dominating pop music at the time, but the vocal style is still very punk at heart. I've definitely heard "Heads Will Roll" before and glad this is the album it came from. Only a couple weak songs, and there's a mix of energetic dance tracks and heartfelt ballads, all of which use enveloping synths to create powerful and interesting effects. Favorites: Zero, Heads Will Roll, Soft Shock, Dull Life, Runaway, Dragon Queen, Hysteric

The first masterpiece by a team of extraordinary musicians. This is their rawest, with synths used sparingly to create the atmosphere rather than form the base. Instead, that role belongs to the intricate and repetitive basslines and punchy drums that really slam in your face the gloominess of it all. The synths do get their time to shine, such as the intergalactic-sounding, anxiety-driven "Insight" and the fun "She's Lost Control." The instruments are well-mixed, with everyone being heard well, and the drums and bass strong enough to produce their intended dramatic effects. Some may complain about the rawness as it sounds like they're being played through a filter, but I think it works to their advantage to create the fearful atmosphere. My only wish is that it was louder... it's too quiet on max volume on my speakers, but that might just be Spotify's problem. Ian Curtis is one of my favorite vocalists. Speaking through a black hole, his deep and monotonous voice can express hopelessness, desperation, content, and so much more. It's a fairly innovative vocal style of its time, to be adopted by the gothic rock and synthpop movements among other genres. In fact, my interest is maintained throughout each song by a curiosity to see where the emotions are carried, most represented by Curtis's vocals. Every song is a masterpiece. They're not reusing formulae. Each song has a unique hook that pulls you in if you're into this sort of gloomy music, with periods of dance, introspection, or heavy emotion. I'm a huge fan of the track order, with the highlights well-dispersed, pulling in audiences with the memorable "Disorder", and immediately sliding into the moodier "Day of the Lords" which has an accessible hook to intrigue listeners not used to this kind of music. I think it's greatest weakness is that people could lose focus after "Shadowplay." It could feel like that with "Wilderness," but "Interzone" reminds us this is a post-punk album. And I love Peter Hook's vocal contributions, reminds me of the more energetic New Order tracks they'll produce. But by far "I Remember Nothing" is one of my favorite closers, gloomy and distressing with its effects and prolonged ending that takes forever to finish. Favorites: Disorder, Day of the Lords, Insight, New Dawn Fades, Shadowplay, I Remember Nothing

One of my favorite hip-hop albums. Lines are silly and fun. Tons of enthusiasm and energy. Huge fan of the jazzy instrumentation, tight production, and spontaneous samples. Plenty of catchy bangers, but even the less interesting tracks were made up by their humor. All this makes for a very accessible album, even the skits were melodic and nicely bridged the tracks.

A chaotic postpunk entry that, just like many of The Fall's albums, requires several listens to either understand or shrug off. Production is lofi but full of intense energy and humor. Wild instrumentation and atonal devices demonstrate the peak of their creativity. Songs are fully fleshed out, with most of them running for 4-6 minutes, yet you never know where a song is headed. It's unpredictable to the point where many songs are intentionally repetitive but then travel in a sudden and unexpected direction. Few tracks I still find annoying, and I think an hour is too much to process. Thoroughly enjoyed Brix's contributions, who apparently wrote many of the songs. Favorites: Barmy, Spoilt Victorian Child, LA, Paintwork, I Am Damo Suzuki

It's 1979 and CHIC is here to show people disco isn't dead yet. My two favorite tracks are the first two for completely different reasons. The only thing they have in common is how they manage to make 6+ minute repetition sound amazing every second of it. "Good Times" is one of the most famous disco songs of all times and is just a great club track to have in the background, especially during the instrumental. "A Warm Summer Night" is a personal favorite of mine, reminds me of vaporwave: soulful, calming, and mesmerizing. Next are two more great disco tracks to sing along and dance to. What makes this album stand out from all the marketed trash of the disco era is the masterful combination of the arrangements of the CHIC Strings, the New Wave-esque synths (although often soulful), and the cool, punchy, chamber-like harmonic vocals. Despite a million sounds going on at the same time, you can make out everything, from the simple yet fun drums, foundational bass, and the distinctive funky guitar you can immediately recognize as disco. There's even some brass. The last three tracks are weaker, but I still really enjoyed them. "Will You Cry" is just as mesmerizing, especially with Alfa's ghastly melodic singing. The closer "What About Me" felt generic by CHIC standards, did not contribute too much, and ended the album anti-climatically. I personally don't mind the lengths. It's already a fairly short album at 36 minutes, so that gives me time to appreciate each of the 7 tracks.

When other bands were moving to synthpop, The Black Keys and Cage the Elephant made the way for a second wave of garage revival just as bluesy and rambunctious as The Strokes and The White Stripes. It's my favorite of their albums with the fewest duds and a consistent cool simple sound to rock to. First half consists of their hits, with the second half demonstrating their versatility. The production sounds great, and it's amazing how Auerbach is doing pretty much everything but the drums, and yet it sounds seamless. I know "Everlasting Light" is a fan favorite, but it's always bothered me how it's nearly identical to one of my favorite T Rex songs "Mambo Sun" (which was also the opener to their breakthrough album). You can tell they were huge T Rex songs, with many other glam rock tracks like "The Only One" sounding like they're straight out of Electric Warrior. I think the alternating arpeggios of "Unknown Brother" also remind me of some T Rex songs. Favorites: Tighten Up, Too Afraid to Love You, Ten Cent Pistol, I'm Not the One, Unknown Brother, Never Gonna Give You Up

Haha it's so inconsistent you never know what genre the next song will be. But as a skahead, I approve. It's 80s so they incorporate excessive influences from glam metal. Nothing like the blend of rock and funk bands like RHCP were about to concoct, but more like the funk rock of Prince, especially with "Bonin in the Boneyard." Some of the songs just don't work at all, the worst being the short "Deep Inside." The high energy, wild lyrics, and inconsistency make them sound goofy, but like in a more positive way than the abomination of Ugly Kid Joe. It tends to be bright, busy, and catchy. Favorite: Ma and Pa, Pouring Rain, Bonin in the Boneyard, Slow Bus Movin

Linkin Park's first and greatest effort, only coming close with their next album Meteora. Tons of hits, melodic yet hard, and somehow are able to maintain the momentum from track to track. You can hear influences of KoRn in songs like "Runaway." The duo vocalists are an incredible combo, characterizing their unique sound and appealing to different audiences that it's no wonder they were so mainstream. I was going to say it's greatest weakness was that it loses its momentum in the last few tracks, but then I realized the last track is actually "Pushing Me Away" which is actually a decent finish right when "Cure for the Itch" chills the mood. I describe the melody as electronic in form, industrial in the types of samples and effects, hip hop in their style of usage, and doom metal in the medium they use to create these effects ("A Place for My Head" being the most metal). What I'm trying to say is that I can understand why most nu metal and post-grunge bands would suck in the coming years if they tried mimicking this style without properly understanding how it's used. The melodies are mostly boring, but there are some iconic themes stuck in my head after 2 decades. Maybe other people interpret it differently, but this style of rock is like nothing else, with the closest analogue being the intensity and heaviness of industrial and thrash or doom metal. Favorites: One Step Closer, Points of Authority, Crawling, In the End

In her zenith, Adele makes a triumphant album full of power and emotion. Starts out with a ton of energy to dance to before moving to the piano ballad "Turning Tables" and acoustic-driven "Don't You Remember." It's a landmark in the neo-soul movement following the steps of Winehouse and Duffy. Even though there are more songs I like from 19, there's less filler here and I can enjoy the whole thing without wishing to skip a track. The production is so clean unlike other loud pop such as Lady Gaga or Katy Perry who could overwhelm the audience at times. Likewise 21 also contrasts with other R&B pop albums that focus too much on highlighting the singer's voice, by instead balancing Adele's voice with the flamboyant yet controlled instrumentation. To me, it sounds very natural, with almost no electronic devices here. You can probably perform the songs almost perfectly with just a school band (idk I've never been in one). In addition to modern R&B, I hear influences from gospel (not just the choir but also the funky piano), jazz, rock, country, and folk. There's something for everyone, making it a very accessible album. Many of the tracks have enough energy to keep audiences engaged for the full 48 minutes, with very hits well dispersed to keep people looking forward to something. I admit there's several ballads I'm not a fan of, but that's just personal preference and they're still amazing songs with their own moments. Favorites: Rolling in the Deep, Rumour Has It, Set Fire to the Rain, He Won't Go, Someone Like You

These teenagers join the early pop punk back when it was still very much tied to power pop, but it's intensely grungy, with heavy bass and high distortion, with the biggest influencer being Sonic Youth, most obviously evident by the opening track "Lose Control." It's my genre(s) of music, and I thoroughly enjoyed it, all the middle song were forgettable, and the performances (especially vocals) were lackluster. But they did incorporate Sonic Youth's tricks really well, employing engaging non-repetitive ambience in many songs. The closing songs were fantastic, saving this score from being a 2. Those last 2 songs are such a triumphant way to end. Favorites: Lose Control, Girl from Mars, Gone the Dream, Innocent Smile, Angel Introspector, Lost in You, Darkside Lightside

Sounds like a fusion of downtempo, rock, and jazz, mostly the Madchester variety that was popular in the raves. There's also hint influences from other genres like gospel and disco in the first and soul in the second, then pulls a Tom Waits in the third. At this point you might be convinced its just one of the million electronic fusion albums of the decade until the fourth track hits you with a horror movie scene. Enjoyed the psychedelic elements, my favorite being the acid jazz "Big Bamboozle", but silly fairytales like "Vermillion Kisses" just gets kinda dumb. I was always critical of Nick Cave but he sounds quite ethereal in both his vocals the light mystical arrangements. Overall, has more than to like, but too long with several complete duds. Favorites: Set the Controls, Something Wicked, Big Bamboozle, Sweetest Embrace

My favorite album by one of my favorite bands, led by the famous Jim Morrison, and a landmark in the psychedelic movement. The music is mysterious with hard, mesmerizing, and iconic instrumentation. Just look at the crazy album cover! It's no wonder Morrison was such a counterculture role model. The vocalist Jim Morrison displays his talents alternating between multiple personas, from calm and dreamy to a chaotic psychopath. This album is one of my most enjoyable experiences while on psychedelics, as there's so much imagery and strange moments, and it takes the cake on Sgt Pepper by being more consistent. In fact, you can hear this album as a major influence on Sgt Pepper, notably in their famous track "Lucy in the Sky". Every song is fantastic. On first listen, you will be blown away by the epic solo on "Light My Fire" and the eery unsettling mood of "The End." But on repeated listens, you will fall for so many things on each of the other tracks. In fact, many of these songs are still being played on classic rock radio, so it's already an accessible album for most people to get into. Not a single weak song. Some may say it dips after "Light my Fire", but I say those losers are just biased cause they're not standard radio plays. "End of the Night" is one of the first dream pop songs. My only wish is that "Take It As It Comes" should be at a better position, but it does serve to help the dramatic transition into "The End" compared to "End of the Night." Even after dozens of listen, I still notice something new on each song, most notably "The End." I'd advise psychedelics or very sleep deprivation to spot them more easily. Yes, I got like 7 hours of sleep over a span of 78 hours by the time I listened to this album last night following (including an extended DMT trip a day prior), so my ears were already heavily hallucinating and was prepared to go further than what 2 tabs could tell me. Gives me plenty of time to process each mysterious scene pictured.

The guy can write pop songs that's for sure. Has songs to dance to, rock to, think about peacefully, whatever. MJ gives an incredible performance, displaying his extensive personality: loud, fast, and spontaneous, while also exposing several heartfelt or friendly moments. Production is the best among its era, original yet versatile and full of depth. Very electronic-driven but follows his disco formula (like a predecessor to Daft Punk), and deeply incorporates rock and soul. As much of a Beatles fan I am, it disappoints me to say that the only weak song is "The Girl is Mine" (only thing I like is the production). Every other song is an absolute perfect banger (or near to it)! Track ordering couldn't be much better (excluding "The Girl is Mine"), with the first two pulling in the audience, the mega hits in the middle, and the slower, more focused tracks at the end. Favorites: Thriller, Beat It, Human Nature, PYT

Holy shit what a surprise. I've been meaning to get into this band but didn't realize they were this good. I really am a fan of the riot grrrl movement. Tucker's vocals scream energy and emotion, often haunting or filled with ambition or desperation. Drumming is consistent and powerful, not too complex, but adds to the chaos, necessitated by the lack of bass. The guitarists have a post-punk sound to them, making them stand out in the 90s indie sphere. You can hear some grunge influence, such as the finale "Jenny." Songs are fast and short, with an average running time of just a mere 3 minutes. I applaud the feminist lyrics, which use extensive settings and metaphors (nothing obnoxious or meaningless), utilizing both vocalists well to engage the audience. Fan of the whole album, although the formula could get a bit tiresome near the end. Favorites: Dig Me Out, One More Hour, Heart Factory, Words and Guitar, Little Babies, Buy Her Candy, Dance Song 97, Jenny

Chaotic and noisy, true punks doing whatever they want, incorporating humor or drama, nonsensical noise or ordered melody. Yet it all works and sounds fantastic, with huge punk and surf rock influences, going for a rough, raw sound and completely unpredictable every second of the way. It goes by so fast, with many great ideas, less than a third of the tracks go much longer than 2 and a half minutes. Each song offers something new and exciting, but it can get tiresome on too many repeats as the novelty wears off. It got a bit... ant-music in the last 4 tracks... I find it so hilarious. Never understand the grand appeal of this album... people should hate it. I don't hate it, but I feel like most people should. The appeal couldn't just be due to "Where Is My Mind"... Favorites: Bone Machine, Break My Bones, Gigantic, River Euphrates, Where Is My Mind, Cactus, Brick is Red

This album marks their shift from garage rock to humorous pop rock that would serve as a primary inspiration to 90s Britpop. The songwriting is fantastic, full of hooks and unique styles, but suffers from overused techniques such as the vocal style and harpsichord which come off as gimmicks. I personally really enjoyed the atmospheric psychedelic songs, but still found them dull compared to other products of the time. There tends to be a lot of songs I like but am never too crazy about... it's all a bit too tame, and the lofi production works against them. Favorites: Party Line, Rainy Day in June, Holiday in Waikiki, Little Miss Queen of Darkness, Sunday Afternoon, Dead End Street

As perfect as an album could get in my eyes without (good) vocals. Every track is just pure genius, reminding of so many of my favorite artists (Joy Division, PJ Harvey) if they were even more attentive to each note of music. You could hear pop structures if you actually compare it to real works, such as "Golden Hours" with Q Lazzarus "Goodbye Horses." This is the definition of art rock, like walking through an art exhibition. Each song paints a different environment and places you in a unique setting, and yet each one is peaceful or at the very least introspective if you're the anxious "In Dark Trees." You're never overwhelmed or carried by intense emotions, though songs do get fairly close with their beauty. This is achieved by Eno's careful use of space and minimal instrumentation, serving as a forerunner toward his ambient work. It feels like a rollercoaster you can barely handle as long as you don't close your eyes. For the novel listeners, there are a few pop songs dispersed to help audiences become familiar with his style and approach. With perfect track transitions, it only takes a few listens to appreciate at least most of the tracks. One of my favorite things about this album is that 7 of the first 9 tracks don't even run longer than about 3 minutes, and those other 2 tracks are the opener (excusable as we use it to gauge the album) and the catchiest track "I'll Come Running", so audiences wouldn't mind those. What we get instead is a slideshow of Eno's different ideas before we reach his more intricate, refined works near the end, starting with the masterpiece "Golden Hours." Favorites: St Elmo's Fire, The Big Ship, Another Green World, Little Fishes, Golden Hours, Zawinul Lava, Spirits Drifting

A proper successor to the masterpiece of Loveless that evolves into something that seems both very natural to mbv's style and completely foreign and exciting. We start off with some nostalgic, calming ethereal tracks that seem like outtakes to Loveless. Shoegaze fans will immediately fall in love with the 3 fuzzy openers. "only tomorrow" is the most accessible song on the album, definitely something I'd recommend to someone getting into noise pop. Gives me goosebumps, especially during the solo. I love the whispery vocals that add another layer to the hazy cloud of noise. I also love when the sound appears to go in the wrong direction (your ears can tell it's off) but is swayed back to rhythm intentionally. You can tell they perfected each song... and it turns they did over nearly two decades. The songs are long and dramatic, taking you so many places that when they cut off, it takes you completely by surprise, out of the trance they put you in. The 4th song "is this and yes" takes you in a new direction: a lot cleaner with just two layers of synths, Butcher's grunts, and a very distant drumming pattern. My personal favorite is "if i am", a more hopeful and happier track, reminds me of Cocteau Twins actually. "new you" is another favorite, with the intro giving me goosebumps and putting a smile on my face. I absolutely love that transition at the minute mark from the swirly opener to the clear verse. Another noise-pop masterpiece you just wouldn't hear in their previous works. The last third takes a very dramatic shift into the avant-garde with no forewarning as "in another way" cuts into the music out of nowhere. It's fast-paced and could induce feelings of anxiety, but is still just as controlled and beautiful as the rest of the album. There's something nostalgic about the string-like instrumentals between verses; reminds me of PS2-era soundtracks I think. The next track "nothing is" is the most abrasive: characterized by a seemingly neverending second-long loop of the same drum beats and riffs. Finally, the closer "wonder 2" is another fairly abrasive and anxiety-inducing track, although this one returns to the pop roots of the earlier tracks with the melodic and energetic singing and riffs behind all the chaos, before the vocals fade away and the rambunctious noise completely takes over, slowly and silently dying down to a satisfying conclusion. I've been giving a lot of 5 stars lately, but I can't help but have this one join the club too. I'm a bit indifferent because I'd want to play this album for its warm and soothing feelings, but it strays away from that in the last third, and I'd just have to be careful about playing the whole thing. They're all fantastic songs, even the weird, unsettling "nothing is." But nevertheless, it's an incredible listen that leaves the shoegaze fan satisfied.

A true spiritual successor to Funeral, just as anthemic and triumphant as ever before, while still experimenting with plenty of new ideas, some of which take some time to get used to. It doesn't have as many iconic classics as Funeral or Suburbs, but it's just as fun and vibrant. Yet it also feels pretty dark, in a gothic dance way, indicated by the opener (which sounds a lot like a track from Funeral), the album cover, and the cathedral orchestral instrumentation used throughout to amplify the dramatic effect. I was a bit disappointed with the direction of the songs, as they felt a bit too repetitive without much variation, which caused a lot of songs to merge together to me (save for the obvious differences in instruments or vocal styles). Still a fantastic album, and I'll still rotate it, but I consider it to be their weakest. Favorites: Intervention, No Cars Go, My Body is a Cage

Not even kidding but I saw someone wearing a London Calling shirt while listening to this album in the Victoria and Albert Museum today. This is a perfect album. No, this is THE perfect album. When I get an album like London Calling, I instantly start to regret the other 5 star reviews I've given, as if they can't be put to the same standard. This album is a double album with the very definition of all killer no filler. Their "weaker tracks" are objectively great songs! Seriously, how did they write so many amazing songs? There are too many amazing songs, it's ridiculous. They're catchy and energetic with nothing less than a full, wild performance in each one. The vocals are strong, with two juxtaposing lead styles, and added harmonies used sparingly. The riffs are memorable. The production is clear, and they do all sorts of weird and interesting additions all throughout. They employ a unique style in each song so no two are alike, incorporating countless genres, such as rockabilly, jazz, power pop, and ska among others. London Calling: Perfect memorable opener literally howling at you about the doomsday of London. Such an eery vibe Brand New Cadillac: A psychobilly track, and one of the best of the era for sure. Starts off with a surf rock guitar hook with rockabilly vocals and lyric structure on a 50s subject. And the finish is so 50s! Short and sweet Jimmy Jazz: A personal favorite. A jazzy lounge track, catchy and memorable, with hilarious lyrics. Suck it coppers! Hateful: This one makes me want to dance and scream! Holy shit was an energetic and fast-paced track. I can't help but scream through the chorus (and even the verses). Love the back vocals, the beat, and that funny weird instrument in the background. Also, enjoy how the melody slows and speeds up whenever it wants. Rudie Can't Fail: Our first ska track! Such a fun track, and no you can't fail with that chicken skin suit. Gotta love the end where the sax thinks it's over and they're like "Nah fuck it, we're howling!" Spanish Bombs: SPANISH SONGS IN ANDALUCIA. That's enough to get this song stuck in my head. I'm obsessed with that pleasing guitar, so relaxing, and the organ is a nice addition. How do they make so many unique catchy songs? Oh, my core-uh-zahn. Right Profile: This one's weird... it's kinda like ska but also not. Either way love the combination of the sudden power chords with the sax interjections. And that rockabilly-like muddled guitar solo (that lasts just a few seconds) is weird too. There's a lot of weird noises throughout the song. Love it. Lost in the Supermarket: One of my favorite songs of all time. A reaction to capitalism I think. Love the mellow, groovy guitar and vocal style, catchy and melodic but still full of energy and personality. It's said that this was the first real indie rock song, with every indie rock band after trying to mimic this sound. I could only wish. Clampdown: Very punk lyrics I can get behind. Fuck the clampdown. Power pop in the harmonic vocal style (especially in the verses) and melodic power chords. Instrumentation gets interesting at the last minute, is it the distortion? Guns of Brixton: A highlight for sure. An eery reggae song with dark themes and a strange boing instrument. It's the little things like the creepy, agonizing back vocals that get me. Wrong Em Boyo: An underrated fun ska track! Simple and mindless, although it has strange production noises that all the songs have. Death or Glory: Another catchy power pop song with an inviting hook and an anthemic chorus. He who fucks nuns will later join the church. Koka Kola: A really fast and sudden punk song with hilarious lyrics and a slight rockabilly style. Card Cheat: One of the best piano ballads in rock history, full of power and emotion. Lover's Rock: This is where some people lose attention, and understandably since these songs aren't as loud and catchy as the earlier tracks. But this is a fantastic power pop entry, reminiscent of Big Star, with a fun latter half to dance to. Ooh ooh ooh ooh ooh *plays the whistle, baby toy, and a snake* Four Horsemen: This one stood out to me when I first heard this album over a year ago but not sure why. I love the noisy chaos in the last minute, almost reminds me of Sonic Youth. Probably my least favorite track though alongside "Koka Kola." I like the transitions between these last few songs though. I'm Not Down: This one is an underrated personal favorite! Always puts me in a good mood to sing along and dance. A confidence booster for sure! I scream through the last half minute. And what a closing riff jfc. Revolution Rock: One last ska song before we close. A long one too at 5.5 minutes, so take your time, relax, and enjoy the groove. Train in Vain: One of the best songs of all time, and yet the most dreaded on the album because it indicates the end to a masterpiece we invested the past hour into. Can't help but sing along lyric for lyric as the music slowly dies down to a close. A perfect closer.

One of the few sunshine pop albums consistently good all throughout, and possibly the one that popularized the genre in the late 60s. It's groovy with fun singalong tracks but also peaceful folk-like tracks. Incorporates several psychedelic elements, such as the trance-like "Got a Feelin." Puts a spin on other types of pop at the time. Lots of covers look back to 50s traditional pop but put a groovy, almost Beatlesesque rock n roll spin to them. I'm always a sucker for harmonious vocals, and the instrumentation is really light and fun, especially with the strings. I do like the diverse styles, but I'm disappointed how the two massive singles are objectively far superior to any of the other tracks, which indicates potential for an incredible album. There are a few songs, especially toward the end that I just do not see much merit in. Mixing is weird with the completely separate channels but otherwise sounds good. Not bad by a group of psychopaths. Out of the four members, one slept with every rock musician, one impregnated his own daughter and injected her with cocaine, and one suffocated to death on a ham sandwich. Favorites: Monday Monday, Got a Feelin, I Call Your Name, Go Where You Wanna Go California Dreamin, Spanish Harlem, The In Crowd

I disagree with people bragging about how this was so influential to psychedelic music, as this was (probably) released in the west in 1968, and the only one still taking notes from ICM (Indian Classical Music) was George Harrison, regardless of who was a fan. Nevertheless, this was a commercial hit in the west and you can hear why. It's a concept album of fast-paced lush and exotic instrumentation unlike much else at the time. Other ICM albums of the 50s and 60s were by geniuses like Ravi Shankar, but they always seemed more of an academic study of a genius, or perhaps a gimmick as in the case of Ananda Shankar. But here, we have an example of what ICM is capable of. It paints a beautiful, serene image of a pastoral lifestyle, with only brief moments of spiritual intensity interluded. The instruments have their own personality and compliment each other nicely, from the playful flute to the inviting slide guitar. They even seem to be communicating with each other at times. The production is really well done, by creating these effects that come in and out of the music that add to the overall atmosphere without distracting the other instruments or overwhelming us. The lengths of the songs give us plenty of time to explore the setting, but not long enough to tire us of a given concept. Enjoyed the whole album.

When I first started this generator over a year ago, one of the very albums I rolled was Raising Hell by Run-D.M.C. I had never gotten into hip hop before, so as a prep to that one, I listened to their debut, this one. Since that, I've dug very deep into the hip hop world, from Biggie to Wu-Tang to Jay-Z and Kanye. But the weird thing is: I hadn't revisited Run-D.M.C since that first foray despite giving Raising Hell 5 stars as the perfect introduction to hip hop. (Hilariously sad I said in that review, "This a must-listen for sure and I'll keep going back to this one." Oh well.) Not just a perfect intro to me, but for the whole world. But this one is arguably more influential, being the first hip hop album with a more serious tone, a consistent vibe that people can say "wow, this is a hip hop album" on the same level as rock albums at the time. It's a fun and energetic album, with two excited MC's who can't help but divert your attention, joking with each other and finishing each other's sentences. It's an incredibly accessible album, with fun beats and a diverse style. "Hard Times" starts off with an intriguing hook to show their personality and what you're in store for. The production is immediately highlighted here. "Rock Box" pulls in pop and rock audiences with a hard, melodic sound easy to love. Isn't even their best rap rock song. Next two songs "Jam-Master Jay" and "Hollis Crew" are minimalistic, with punchy beats, highlighting their personalities and witty lyrics, with other cool production effects not necessarily relying on common old-school techniques. Personally my least favorite tracks though. The next track is where the album really picks up for me. "Sucker M.C.'s" is known as the first diss track, and has my favorite lyrics. Production-wise very similar to previous tracks and can be considered boring, but I love their performances here. But by far, "It's Like That" is the best track on the album, really loud and in-your-face with a progressive, serious message. Love the sense of urgency and call to action, and those snare drum solos gives us necessary space. I'm a huge fan of the production effects of "Wake Up", although it gets a bit tiring going on for so long. "30 Days" is a personal favorite, with an awesome sci-fi hook, funny verses, and the inviting line "YOU CAN SEND ME BACK IN 30 DAYS." Again drags on a little too long, but you notice this one less. Finally our closer "Jay's Game" is classic old school record scratching, a fun way to end things off but definitely overstays its welcome. Shouldn't have gone much over 2 minutes. Overall, I find this has many of the strengths of Raising Hell, and perhaps even more influential in establishing hip hop, but it's significantly weaker, especially on the production sound being too repetitive. Has lots of filler that could be dramatically cut short. I'd probably cut sick of playing this album more than a few times again, but I definitely need to play more of the highlights individually, and of course remind myself to put Raising Hell back in rotation.

This was a grower for me. When I first heard this album over a year ago, I hated it. I never liked the glam rock genre besides Roxy Music and T Rex (and even those took a few listens for me to appreciate). I just clicked like on "Personality Crisis" and moved on. But after listening to punk albums, Spotify would automatically spam "Trash" in my "related songs" and eventually I started to really like it. I played the album a few more times over the year, and even played their sequel "Too Much Too Soon" and actually enjoyed it. Maybe it was too hyped up as the universally agreed best proto-punk album. Maybe I'm used to glam rock or this group, but I genuinely enjoy most of the songs now. The chords are simple, tending to repeat themselves, which is very similar to the minimalism of punk. The lead vocalist is by far the highlight, yelling into the mic and exploding in energy and personality. A very fun listen, and I could hear his voice being used in less spontaneous genres like post-punk. Their appearance and sound is reminiscent of the hair metal groups that would follow over a decade later, so they're influential to more than just punk. Objectively speaking, only maybe 3 or 4 songs are genuinely good all throughout. For most of the songs, there's equally stuff that I like as much as stuff I dislike, usually in regards to the uninspired generic rock sound. Many of the solos are just a bore. But if you just think about it like rocking out to a bunch of rockstars playing whatever the hell they feel like, it can actually be a very fun experience to dance and sing to. I will replay this album if I'm looking for this specific sound and mood. Favorites: Personality Crisis, Lonely Planet Boy, Frankenstein, Trash, Subway Train

I'm honestly a bit disappointed with how low-energy it is, but it gets better and better with each listen as long as you don't keep your expectations too high (it's not the kind of album to grab you unless you want it to). I like the mellow, dark instruments reminiscent of post-punk and their indie rock contemporaries (e.g. Arcade Fire and Interpol but less flashy). It's clean and multi-layered, with plenty of things to pick out, without much necessarily grabbing your attention away from whatever you want to focus on. Their vocalist is unique, heavily inspired by Bruce Springsteen's mature yet expressive voice. Songs typically pay off, starting off light, perhaps with a hook but otherwise pretty simple, later building up to a grander sound. Pretty solid all around, hoping to fall in love with this record one day. Favorites: Anyone's Ghost, Bloodbuzz Ohio, Lemonworld, Conversation 16

Many months ago I gave Def Leppard's Hysteria the full 5 stars. They were more ambitious in Hysteria, but every other strength I found in Hysteria can also be found here. They truly represent the anthemic pop sound that glam metal aimed to stand for in the 80s. The production is super clean (apparently the drums were sampled), and the delivery is perfect to rock and sing along to, especially on the vocals. I noticed there's a stronger heavy metal influence on tracks like "Stagefright", and does get a bit prog in tracks like "Die Hard the Hunter." There are several duds in this album. Just like Hysteria, the last few tracks aren't very good, except they're actually generic duds here ("Billy's Got a Gun" is decent with cool effects). Otherwise, it's a great record all throughout just like Hysteria but with weaker songs.

My favorite glam rock album ever, and that's not an understatement considering how much I love Roxy Music and Bowie. In a lot of ways reminds me of what The Clash would do with London Calling. Bolan takes all these different styles, from blues ("Lean Woman Blues"), rockabilly ("Jeepster"), doo-wop ("Monolith"), jazz, baroque pop ("Cosmic Dancer"), gospel ("Bang a Gong"), and folk ("Girl") among others, and twists them to create this unique cool rock style that is kept interesting and exciting in each track. I adore his songwriting style: heart-spoken lyrics sung with confidence and in short segments to this mysterious girl. The highlight is definitely Bolan as the vocalist (even his grunts are awesome) and guitarist (really draws your attention), but there's something unique to love about every track, from the back vocals to the variety of instruments (they use congos, bongos, strings, and even a flugelhorn in "Girl"). The flow is perfect, starting off with really strong tracks, putting their massive hit in the middle, and closing off with the shocking out-of-nowhere proto-punk "Rip Off" featuring Ian McDonald on sax, reminding me of a Kurt Cobain stunt on In Utero. Even the bonus tracks are incredible and worth the listen. (I just wish they didn't put "Planet Queen" again.) It's also super influential for its time. Coming out before even Hunky Dory, this was a style of rock that was like nothing else of the era. This "back-to-basics" approach would influence other glam rock and proto-punk acts that would serve as the inspiration for the whole punk and alt-rock movements. I've once called T Rex the indie rock band from the 70s, and I'll say it again here, cause they really could have released this 25 years later and fit in with the crowd. This is a record I put on often to increase my mood.

When a former punk decides to make art pop with light techno influences. In her debut, she's still becoming familiar with electronic arrangements, and so sounds a bit of its time, but these are still beautiful emotional pieces. Most people can either love or hate her voice, and I'm a member of the former. It's expressive, knowing when to be peaceful or eery, matching the background electronic scenery, and in a lot of ways she uses her voice as an instrument just like one of my favorite artists Elizabeth Fraser of the Cocteau Twins. There's a lot of shocking avant-garde choices, some obvious as in "There's More to Life" but others subtle all throughout that make her songs stand out and a bit unpredictable. I don't consider them gimmicks. The beautiful harp of "Like Someone in Love" is something I could listen to over and over, and I don't even like New Age music. Some tracks rely a bit too heavily on the techno, which I believe sets back even the stronger tracks, but unfortunately making some of the weaker tracks like "Big Time Sensuality" or "Violently Happy" somewhat forgettable. But overall, there's something interesting in each of the arrangements to keep me engaged for the full 50 minutes. In comparison to her other albums, this one is the least cohesive and most dated as she still tries to move on from punk into her own sound. They don't flow very well, but with so many interesting picks, it doesn't matter too much for the intentions of this album. Looking at it from the perspective of its time, it's a mind-blowing change of place from the predictable pop and techno scenes. Favorites: Crying, Venus as a Boy, One Day, Aeroplane, Come to Me

I thought people were joking about this being Starbucks music, but literally the reason this album became of the best-selling albums of the century was due to Starbucks' rise in the dawn of 9/11 and them promoting this peaceful music. How I see it is there's a spectrum between two genres she performs: (1) the 50s vocal jazz of Billie Holiday and Sarah Vaughan, reaching into the 60s R&B of Aretha Franklin, and (2) the country folk of contemporaries like Lucinda Williams. I can't believe "Turn Me On" isn't a cover... between the vocals and organ, it sounds straight from the 60s. Her voice is soothing, never too flashy, and gives Nelly Furtado vibes sometimes when she shows her personality. There are invitations to sing along, like "Feelin the Same Way" which helps make this a very accessible album. I think many of the tracks are strong, especially the titular track, but suffer from a number of issues. Let's be honest that the highlight is Norah Jones's voice with relaxing background instrumentation. In almost all the tracks, I can say there's little to be said about any of the jazz or acoustics. It purely serves a supporting role, a nice break from the jazz-absent pop music of the time. She branches off into different styles, from waltz to bossa nova to street Italian(?), which serves its purpose to maintain engagement, but can be tiring. I see little merit in listening past the halfway mark. So yes, this is Starbucks music. This is cocktail party gala music. Not for home listening. Just remember to put it on shuffle to avoid the latter gimmick deep tracks. Fun fact: Norah Jones is the daughter of the legendary Ravi Shankar, as a result of an affair.

The greatest weakness of this album is that the tracks cut too short. Doesn't matter how long the tracks are: 3 minutes, 5 minutes, 9 minutes... I wish they would go longer. After a 20 month break from their masterpiece Stand, they come back this dark, murky funk sound in the followup of the socially conscious What's Going On by Marvin Gaye. It's not a very accessible sound, with unconventional song structures that leave the audience wondering where the payoff is. That's partly why I feel all the songs are too short; even though that's not the case, you know there could be more to it. But it's one of those albums where it's about the journey and not the destination, and you start seeing the insanity behind the music. They're all talented musicians, and Sly gives a performance that I argue even beats James Brown. It makes for a great psychedelic experience. It's deep and complex, with instruments (and vocalists) controlled yet also seemingly doing their own thing. They abuse the overdubs and mixing so much that it can be a very fun and entrancing experience, fitting the genre so well that I wish more psychedelic funk bands existed and followed in their example. There are so many parts of the music to focus on. The intro track "Luv N Haight" is probably the best example of this, with the music almost feeling surreal how chaotic it sounds, instruments overlapping each other and the vocalists randomly coming in and out as if they think they're the spotlight. "Just Like a Baby" is one of the groovier tracks with such a pleasing, dark controlled sound to it. Everyone knows the pop hit "Family Affair", has some great solos and engages with the audience to sing along. By "Africa Talks to You", you're comfortable enough to can sit back and experience the music and pick out something new and strange every time. All the tracks are amazing, but it doesn't feel that way until you pay attention to each of them and see how uniquely strange they all are. We all have our personal favorites, like "You Caught Me Smilin" or "Runnin Away" (love the horns and cymbals!), but deep cuts like "Space Cowboy" and "Time" place me in different surreal settings, like a country yodeler in a sea of funkiness. The high vocal compression and rhythmic bass slapping and drum machine certainly contribute to the psychedelic trance. It's a really fitting closer to end with an extended darker version of their hit "Thank You."

Congratulations, you experiment with what you could make music out of. And you do it in the worst way possible. Out of the first 4 tracks, literally only one of them has any melodic value. The only reason "I.B.M." is the third most played track on the album is that it's the opener and a good amount of people shut off the record before they get a minute in. Most of these tracks are nothing more than either shock value or an academic study into the extremities of meshing various sounds with abrasive electronic effects, but even then little to no worth could be found in comparison to their more refined follow-up "20 Jazz Funk Greats" which actually served as the primary influence of the industrial genre. As a fan of noise rock, I quite fancy the chaotic "Hit by a Rock", but really the album starts with "Dead on Arrival," one of the two tracks alongside "AB/7A" as a harsh response to Kraftwerk. "Weeping" is a personal favorite of mine if only cause they managed to make something that sounds like it came from The Madcap Laughs even more disturbing than anything Syd Barrett came up with. Good for a couple of listens but you get a bit tired of the 5.5-minute length. Next, we have "Hamburger Lady", and if you're wondering why it's the most popular song, it's cause it's actually quite notorious as being one of the most unsettling songs in music history. Personally, I find it intriguing but nothing more emotional, unfortunately. Only one of the next 5 tracks is actually melodic, the beforementioned Kraftwerk-esque "AB/7A", which has nice school cafeteria ambiance in the background and hilariously gruesome lyrics. Brilliant. Finally, we end with an ironically bad punk closer "Blood on the Floor". I fancy it. I give 1 star to albums that have no worth or interest at all. This is not a 1-star album. I'd listen to "Hit By a Rock" or "Weeping" again for pleasure. There's plenty to revisit for curiosity and to share with others, whether to shock them or show them something of note. However, I would advise never listening to the album in its entirety ever again. Favorites: Hit By a Rock, Weeping, Hamburger Lady

I'm a huge fan of rich and complex sounds. In Public Enemy's follow-up to It Takes a Million, they really spam sample after sample into a working mess, only a few months before the sample clearance system put hip hop into chaos. Chuck D is still as strong as ever, preaching socially conscious issues that tackle different issues about race, censorship, and public perception, not repeating themselves much at all. Flavor Flav once again makes his return as the best hype man in history, with supportive and even comical contributions which balance out Chuck D's aggressive nature. It's fast, powerful, and exciting, which changes in vibes but never slows down for more than a second. Funky enough to have you consistently raising your fist to the music, 95 or 22. This can be a bit draining for an hour-long album, but it carries the energy and sense of urgency of the album, making it an incredibly coherent and focused listen. I'd probably just cut it down by a few songs, but really none of them were obvious picks to remove. They were all fine. I think more shorter tracks like "Reggie Jax" dispersed throughout would be more digestable.

I'm not a fan of live albums, but I can see how this is regarded as one of the best live albums. They play the best of their pre-Who's Next discography, loud and raw, with seamless transitions between songs, playing a variety of rougher garage songs with the more refined Britpop of Tommy. For first-time listeners, the 1995 expanded edition is way too much to dive into, but the original album just consists of the "Young Man Blues", "Substitute", and the last 4 songs here, which is much easier to digest. The last two medleys are more than worth the price of admission and are what guaranteed the 4th star. It's why I advise people to start with the original LP, so you aren't tired by the time to get to the final highlights.

This is a gateway record to hardcore music. Alongside the Pixies, their chaotic and rough sound heavily influenced grunge, and thus all rock to come thereafter. The album is called "Repeater" in reference to how the songs feel like a time loop. These multi-layered complex snippets of music are copy-and-pasted over and over with slight alterations. This can bother many listeners, but to me it's rich and aesthetically pleasing, and never drilled in to be annoying. In fact, it perfectly matches the spirit of punk, doing whatever they want, and ironically making them unpredictable, as you don't know where they'll take the music. Good examples of this include the uncomfortable guitar chord in "Blueprint" that goes on for like 10 seconds in the middle. Great track order and smooth transitions. The first tracks are so well put together that it sounds like a medley. And for most other tracks, one ends abruptly straight into the action of the next. No bullshit. Loved the whole album, although loses a bit of momentum following "Greed". But the closer "Shut the Door" is my favorite track, and I enjoy the additional 3 songs (although probably better left out).

A more confident Byrds album as they're more comfortable with their sound, from the folk and baroque pop of the first 2 albums to the psychedelia of 5th Dimension, even incorporating slight country ("Time Between", "The Girl With No Name") that'll evolve more in coming albums. Just as with 5th Dimension, they try a little too hard with production techniques (like annoying mixing and weird studio effects) that work against their favor. My second biggest gripe is that the songs feel weaker or more incomplete, with many feeling a bit unsatisfying. Songs go by fast, with only "Mind Gardens" going much more than 3 minutes. This makes for a very versatile and fun album to listen to, and compliments nicely with the rhythmic and soothing vibe, especially for tripping. My favorites tend to be the entrancing psychedelic dreamy songs, which fortunately dominate the album. Personally, I enjoy it more than my criticisms, and I'd listen to this album again with the bonus tracks. Favorites: Have You Seen Her Face, Renaissance Fair, Everybody's Been Burned, Why

Badass, cool, energetic, awesome riffs and power chords, rhythmic supporting drums, a sexy obligatory 80s sax part, over-the-top sci-fi synths, and plenty of hits to sing and dance to. This has it all. This album justifies New Wave's existence and prevalence as the pop music of the early 80s, being super accessible and consistent (no obligator ballads or other bullshit), maintaining a momentum to the very two last introspective chill tracks. It's engaging and interesting, with plenty of interesting sounds and painted atmospheres to focus on yet never repeating used tricks (thank god they abused what synths were capable of). They really nail down pop song structures, full of hooks with plenty of exciting changes to look forward to, and always leaving me satisfied, which is incredible considering the songs have an average runtime of 4.5 minutes. The greatest strength of this album is it having 9 tracks... you can tell they really roughed out the edges on each one. None of them were forgettable. Why it got negative reviews when it first released, my only clue is the hatred of the over-saturation of New Wave. But I wouldn't dismiss this one. All fantastic tracks, accessible for anyone, and fun from start to finish every time.

This album has no right to be as good as it is. It's a true return of form, sounding straight from the 70s, mostly glam rock but updated equipment. Super versatile, with sax solos, Eno-esque synths, and gospel back vocals. No half ass effort here. Banger after banger, catchy and energetic. Only complaint is a bit too long, but there's something to like about each of the tracks it feels werd to call any of them particularly weak. Favorites: Dirty Boys, The Stars, Love is Lost, Where Are We Now, Boss of Me, How Does the Grass Grow

Generic downtempo & dnb accompanying uninspired indipop. I liked the songs that sound like they were sung by Nelly Furtado, but even those offered nothing new. There are many bad tracks, many decent tracks, and no really good tracks. But at least there's variety. Oh, and it's an hour long jfc. Favorites: Broken Skin, Letting Go, Tides, Nadia, Nostalgia

It shames me to like this. Beyond a select few hits, I hated the predominance of R&B in the 90s pop charts, most of which were super generic and too focused on highlighting the singer's voice than anything. Maybe Mariah invented the trend. But either way, this is almost an exception, or at least the very least when you put effort into making a decent album out of it. The production is fantastic, with interesting arrangements taking influence from hip hop, jazz, and downtempo, both atmospheric and chill, with smooth transitions between tracks that make the whole album consistent despite the varying styles. I love the multi-tracking vocals, allowing the compositions to be colorful and full of life. However, I think it takes a sharp turn into the R&B realm of the generic, uninspired, and lame following "Breakdown." Production is still great, but not interesting enough to maintain my attention, especially with the tiresome overused tricks. My favorite songs were the disco tracks like "Honey" and "Fly Away", and I wish they expanded on that more. But I can see the merit in the well-made ballads "Butterfly" and "My All." In the end, the only track to be taken seriously is "Honey". Favorites: Honey, The Roof, Fourth of July, Breakdown, Fly Away

A very fun Britpop followup that tries a little too hard to be wacky and different. Lots of misses and good ideas that aren't carried out to completion. A bit all over the place, but there's some cool ideas I really like. I'll be overly critical with this song-by-song review. Of course, being a double album, it has high expectations which it does not meet. But they're very talented with great ideas I wish could be explored further. In It For Money: An Oasis song with better mixing. Catchy, triumphant, and energetic, and I love the jazz touch and abrupt end. Good start. Richard III: Fantastic dark noise rock / post-punk song. Fan of the synths, back vocals, and distortion, I can feel influence from both grunge and shoegaze. Awesome solo and coda. Tonight: My favorite song. A psychedelic pop song with instruments and vocals coming in and out in short lived bursts. Love the horns and yelps so much. Incredible trippy jazz section near the end. Late in the Day: A yearnful acoustic folk song, complex, and I appreciate what it does, but it misses the mark in what it tries to do. Found the different sections to be interesting yet incoherent. Lyrics and vocals could be worked on. G-Song: Decent unique song, with slightly hazy vocals and guitars and a trippy chorus with a cool noise rock bridge. Feels a bit incomplete. Sun Hits the Sky: Decent arena rock, triumphant, but moves around too much for its power and speed. Cheesy synth solo comes out of nowhere adds some spice. Going Out: One of the weaker songs, and I don't think the jazz section saves it very much. Too busy. The ending is cool though. It's Not Me: Sounds like they're trying to be mystic folk like a LZ song. What instrument is that? A miss for me. Cheapskate: Their most Britpop song on this album. I like the chorus but otherwise generic. You Can See Me: Pretty good punk song, but can't remember who they remind me. Holly Little Reign: A bit gimmicky but I like the idea. Sometimes I Make You Sad: A bit gimmicky and I don't like the idea much. Tried to be exotic near the middle. Huge miss. Caught by the Fuzz: I like this one. I like the passionate vocals, a bit Beatlesesque. Could be improved, especially the wacky middle part. Sitting Up Straight: Decently good noisy punk. Fast, fun, and hard. Melanie Davis: Psychedelic pop reminiscent of the Kinks. It's groovy and I like the harpsichord, but I don't like their overuse of chords, and the guitar solo is a bit lame. Odd?: Super spooky with an eery latter half. Super trippy. I quite fancy this one. Wait for the Sun: Really good. Melancholic and beautiful that works with their formula, even the solo. Nothing More: Pretty good, these slower groovier songs work better. A bit too repetitive for its length though. Sex: A very silly hodown song. I'm a bit too old to appreciate this one. 20 Foot Halo: Decent but forgettable. Melody is mellow and atmospheric, I think the vocals damper the song, since my favorite part is where there's no annoying voice. Je Suis: A nice jazzy atmospheric finish, but comes out of nowhere.

I'll look at this the same way I see trip hop music. In that regards, it's pretty good. He's a little too close to the mic, but soothing, sexy, and fitting with the grand orchestral music. I enjoy the use of the funky rock instrumental, and the avant-garde touches are nice like the creepy laughing in "En Melody" (swear to god dont let it be pedopholic sex). It's a complete and short album and does what it accomplished. Two songs make up half the album, and they're pretty much the same. Rating this a 3 mostly because the instrumental is a bit underwhelming in many parts, but it's a pleasant listen from start to finish. Favorites: Ballade, Ah Melody, En Melody

Isn't this new? Not on Spotify, Amazon Music, nor is there a Youtube playlist for them, so I had to create my own, which will probably be broken in a week due to potential copyright strikes. This was hard to find, but damn it was it worth it. It's my kind of music! For some reason, I especially love post-punk music with female vocals, from the B-52s to Siouxsie to the riot grrrl movement. The instrumental is cool, dark, and melodic, and the vocals swap across registers to show both eery and beautiful emotions she's able to portray. Gets a bit psychedelic in some parts, like the dreamy segments of "Rabbits Dying" that transition to an off country hoedown. Also gets really fun and energetic to dance to but simple and straightforward (like New Wave without the excessive instrumentation). No weak songs, I enjoyed them all, but possibly for the same reasons. The production can be a bit hollow in some places, but the lofi sound adds to its aesthetic. I can't wait to explore the rest of their discography. Favorites: Call Me, Green, Hate My Way, Stand Up, Soul Soldier

I wasn't ready to listen to this album the first time it was rolled to me 2 months ago. South Park called it the best album of all time, and Pornography is one of my favorites. Since then, I've listened to this about a dozen times in all sorts of settings and states of mind. I've even listened to this dressed as a goth. And I'm not sure I could really dissect this deeply, nor should I. But with Halloween just around the corner, it's time to give it another listen on one of these scary chilly nights to talk about how it speaks to me. It's a beautiful and romantic gothic album. First few songs set up the dark and gloomy atmosphere, with an emphasis on spacious synths and hollow drums and guitar plucks. Lyrics don't even begin until half way through the first song. It diverts our attention to the themes and world this album creates that will be revisited in new perspectives. The energy of the album kicks off with the dance hit "Lovesong". Strange how Robert Smith is as cold and controlled as ever yet displays such a strong sense of yearning and desire. "Last Dance" follows the groove with an anxiety-inducing horror piece that feels like someone's on the verge to snatch you away. Another example where the instrumentals are the focus, and the lyrics are hardly noticeable, feeling more like escaped thoughts in the cloud of powerful emotions. "Lullaby" carries this into our most graphic track with powerful creepy imagery of the spider man, and psychedelic effects to immerse you into the world. Our next track "Fascination Street" carries strong futuristic synths that remind me of Blade Runner or Tron with virtual vectors or space cars on the move. "Prayers of Rain" is one of the coldest songs that can put you in a trance and took me to strange places on my LSD trip. Following that up is a moodier 10-minute track "Same Deep Water". Very hazy and echoey like a ghost singing among the myst of a thunder storm. Final stretch begins with the 8 minute club hit "Disintegration": one of the most energetic and emotionally-charged tracks acting as a final hurrah. "Homesick" is a long, gentle, and sorrowful track (nice violins), preparing us for the nostalgic ending "Untitled" which serves as a satisfying goodbye. At this point, we have a 6.5 minute chill piece with a relaxed Robert Smith who stops singing half way through. His time is done, and we let the song gently take us away. Despite being 72 minutes long with an average track length of 6 minutes, there is never a point where I thought any track overstayed their welcome. Sure, there are "weaker" tracks that moreso contribute to the album experience than standalone. But no matter how long they were, I enjoyed every second. It's patient and knows how to create an easy immersive foggy and romantic environment that other gothic bands should aspire to model after.

Trent Reznor is the man who convinced me industrial music could be more than just a gimmick genre. It could be an art masterpiece. It's an album that reflects inner turmoil. On first listen, it's nothing but a wall of abrasive noise, but underneath lies layers of beautiful melodies and organization that we only get hints at times. At heart it's synthpop, with tracks like "Heresy" and "Closer" perfect for a dance groove at a rave with extreme moments that pull your attention toward the music. It's an incredibly emotional album, displaying feelings of hatred, confusion, and despair that no one else has really done before. I love the reoccurring motifs revisited in several songs which make the album feel complete as a concept album. The track ordering is well designed, with the first several songs showing the chaotic versatility that Reznor is capable of, and the last 5 songs a sense of hopelessness and despair in giving it all up. And the transitions in between are amazing. Some cuts are smooth, like the extended silence at the end of "March of the Pigs", but others can be sharp like the cut of the chaotic "Ruiner" into the mechanical horror show of "The Becoming" which fits with the themes of the protagonist's disorganized mindset. Despite being over an hour long, I wouldn't cut any songs, enjoying the whole experience from start to finish, although I could see how one could lost focus in the latter half. For me, it's a beautiful and introspective extended end. This might not even be my favorite album by NIN, but I'd argue it's their most complete and influential, and certainly one I'll revisit time and time again.

It's all trash, but this list somehow pulls the most tolerable country albums out there. Damn. Hard to hate such calming folk music, with some pieces appealing to 80s adult contemporary audiences. 3 singers in under 40 minutes so you don't get too tired of it by the time its over. Enjoyed the harmonious vocals. Doesn't try to be loud or obnoxious. I wouldn't consider any of these tracks to be essential or even interesting, but it's coherent pleasurable. I had actually heard "Wildflowers" before. Favorites: To Know Him is to Love Him, Hobo's Meditation

One of my favorite hip hop albums. I'll start out with the two major weaknesses. For one, Ice Cube and Dr Dre vastly carry the album. The other rappers don't have the same intensity that Ice Cube has, which can leave you distracted elsewhere. The second weakness is that the sound is super dated. Just like with Run-DMC's debut, it tends to recycle the same samples in the same song too often. In an hour long album where each track averages more than 5 minutes each, it makes it sound too repetitive. This is why I unfortunately can't give it a perfect score, especially when Raising Hell and Licensed to Ill avoided both problems before this came out. Highly influential, with this and It Takes a Million kicking hip hop into the mainstream and serving as the primary influences of the next decade's golden age rappers. But other than that, it's just an incredible listen. Really aggressive with serious topics on racism and gangsta life displayed quite accessibly to audiences not used to this kind of music. The production is fun, and samples are funky (thanks Dre). The lyrics are funny despite their dark topic matter. Some songs like "Express Yourself" even give me goosebumps. There's some dated jokes here, including misogyny, so take some tracks with a grain of salt. Even though Ice Cube did better in his solo work, I love the diversity of the three personalities and their styles, which makes this album feel grander and more collaborative. I loved half the songs, others I enjoyed a decent amount, but there were a few like "8 Ball" or "Comptons N the House" that were just tiresome for their length.

One week ago I was rolled Next Day and today it's Blackstar. You really want me to see the Moonage Daydream film later this month, don't you? Well it worked, damn it, cause once again Bowie hits us with another masterpiece before his timely death. Unlike Next Day, this is not a return to roots. This is something entirely new and unique. Something creepy, eery, and most of all ghastly, the remnants of a man on the verge of death. 7 pieces in 41 minutes, each multi-layered, featuring elements of horror and beauty. These arrangements are incredible, with attention paid to each minute, incorporating experimental elements of electronic and jazz like he has never done before, and yet it sounds like he's perfected these tools for decades. It never feels rushed. Whether 10 minutes or 5, each song sounds complete and incredibly modern, accessible to both new and old audiences. What else can I say? I've had goosebumps several times. No weak tracks. Production is mind-blowing, mixed very well and clear. Good choice in track order, with a perfect opener to entice the audience and a satisfying and beautiful closer to end Bowie's career. Bowie is stealing all my 5 stars. I guess he really is one of the greatest musicians of all time.

Awesome ethereal synthpop. Atmospheric with a dreamy lead singer who shows both a beautiful and quirky side. Has pop hooks, weird sound effects, and is just fun to dance to. Very polished production, distinctively 80s. I can hear the Talking Heads influence, especially with the use of funk and afrobeat, but also things like the random shrieks and multitrack vocals. I also like the synths and horns, with plenty of diversity to maintain interest. I'm a bit biased because this is my type of music, and I admit many of them can be improved, especially in the last few, but it's really solid and I enjoyed every track. Favorites: Love is a Stranger, I Could Give You, The Walk, Sweet Dreams, Jennifer

It's a fun and goofy album with plenty to sing and groove to. It's what their previous album Face to Face sought to do but much more refined and coherent. Features a diverse range of styles, including psychedelia, country, bossa nova, and garage, but I'm particularly fond of their music hall baroque pop sound, with beautiful harpsichord, horn, and string arrangements. As much filler as Kinks albums usually have, I actually found myself enjoying most of the songs (even the bonus tracks), and for different reasons too. Favorites: Death of a Clown, Two Sisters, No Return, Tin Soldier Man, Lazy Old Sun, Afternoon Tea, Waterloo Sunset, Mr. Pleasant, Autumn Almanac

Thanks for the history lesson pops. A couple of good Christian boys singing about family and the love who got away. Boring. The harmony is nice, but only if I was at some fair and saw these dorks performing as I walked by. Too much repetition and no interesting melodies. If you heard one, you really have heard them all. Favorites: I'll Be All Smiles Tonight, Knoxville Girl

The magnum opus of the greatest indie band of the 80s (after REM). Whenever I roll a Smiths album, I always compliment the same stuff which is so distinctive to their sound. Obviously, there's Morrissey's vocals: emotional, haunting, whiny, and echoey with lyrical themes of insecurity and longing for things barely out of reach. The instrumental is characterized by dark atmospheric synths and a jangly sound used in both fun & goofy and emotional & heartbreaking ways. You'd never think a bright jangly guitar could work so well with such a dark gothic sound as in "Never Had No One Ever." I consider this album to be their peak in songwriting, with masterpieces like "I Know It's Over" and "There Is a Light" taking you on a rollercoaster of emotions, evolving in style and subject matter in segments. The album flies by with just 10 songs, but yet these are so diverse and full of personality that they're all quite memorable. There isn't a single weak song, and yes you could argue "The Boy With the Torn" or "Vicar in a Tutu", but I'll bite back with their merits and how they deserve their place. People often argue whether this album is overrated (usually because of how disliked Morrissey is), but with its more sophisticated and mature sound, and the surprising lack of any filler, I'd consider this their best, and therefore one of the best albums ever.

A really enjoyable and interesting experimental synth album with legitimately innovative and pleasing tracks like "Cheree" and frightening tracks essential yet you must only listen to once like "Girl" or "Frankie Teardrop." Sounds a lot like a more advanced and sophisticated Silver Apples. As an art piece, I'd enjoy the whole experience. On repeated listens, I might skip a few. But really, the album is so short that even just skipping "Frankie Teardrop", the 21-minute remainder flies by, especially with how the subtle changes in each song keep each track interesting. Let's hear it for Frankie.

If a less talented Steely Dan threw it more synths and mimicked George Michael's singing style. It's relatively inoffensive (gives off yacht rock / adult contemporary vibes), and has enough variation to keep you engaged, with some added quirks thrown in to give it a sense of identity. Some disco vibes would make a good addition to an 80s dance mix. With only 7 songs, it's a very digestible listen that I wouldn't mind listening to again, but also it's not interesting enough for me to seek out again. Favorites: Arc of a Diver, Spanish Dancer, Night Train

I had really high expectations for this album after hearing the title track on an indie radio a year ago and giving Different Class a perfect score. I do think it's another great entry with a darker, more mature sound, but the songs don't hit me as they did with Different Class. There are a lot of ideas that miss the mark here. "Seductive Barry" is a 9-minute epic that repeats itself, and although I quite fancy the dreamlike sound, there isn't enough variation for repeated listens, and most people just end up skipping it. I understandably hardly see much appreciation for it online. The other songs are not much better at this, with 11 songs over a 69 minute album, over half the tracks go on for 5+ minutes. And with its moderate energy and lack of personality, it leaves you a bit dissatisfied and wanting more. Different Class had incredible songwriting and naughty lyrics, and although the writing is fantastic in some songs like "Dishes", I found most of them here to be quite tame. But at the end of the day, I do think this is a collection of really good songs. "Fear" is a haunting opener that reminds me of Arcade Fire. "Dishes" is a beautiful entry with interesting instrumentation (has strings, a vibraphone, and a bit of a jazz touch) and emotional lyrics. "Party Hard" sounds like something off Bowie's Berlin Trilogy, as I really dig the high energy and distortion. "Help the Aged" is the most accessible song, sounding like it came off Different Class, with cool synths and trip hop effects, but otherwise my least favorite off the first side. "This is Hardcore" gives me goosebumps and is definitely one of their best songs. "TV Movie" is a bit underwhelming but I like the folk vibes. "A Little Soul" has nice psychedelic instrumentation but doesn't fit with the energy of the vocals and piano which almost feels like a generic pop hit. "I'm a Man" is the most Britpop track on here, and I like it but pretty forgettable. I already talked about "Seductive Barry", which I enjoy, and sounds like a song by The Verve. "Sylvia" is alright, and I do like the busy instrumentation but not much else. Not a big fan of the closer "Glory Days" but it's alright and I'd vibe to it as a standalone piece. I had to describe all the songs to help me determine whether to give this 3 or 4 stars, and I think I'm inching toward the 4 stars. In the end, I could comment on something unique about each of them, which is enough reason for me to revisit the whole record and see my appreciation grow with repeated listens.

Tom Waits fulfills the potential he displayed in his 70s era, now using unconventional instrumentation and songwriting techniques to create a rock album that sounds like no other artist, and yet it works really well. It's weird, groovy, and exotic, with a small mix of late night jazz club. It works because despite how strange and unfamiliar it all sounds, I find it to be quite a coherent record, with pieces smoothly transitioning between each other. This makes up for weaker tracks like "Dave the Butcher" to have a fitting purpose. It also works because we have 15 songs in 42 minutes, with only a few of them going much longer than 3 minutes. So you get a sample of all these different ideas and inspirations, and if you get bored of any of them, you can likely just wait a minute for the next one to come through. He's still pretty new at this, and comparing it to Rain Dogs, you can see he would have even more potential. We hear more songs here with weaker ideas that don't work too well but are still cool. There are also fewer strong tracks that blow you away. But in the end, we have a highly coherent experimental record that will blow your ears away, and is pretty hard for even casual listeners to shrug off. Favorites: Underground, Shore Leave, 16 Shells, Swordfishtrombone, Down Down Down

What do you get when you combine the minds of two creative weird geniuses? You get something experimental that many will find mindblowing and unique, while many more will find nonsensical, directionless, and unsatisfying. It mostly sounds like an Eno album, but you can hear David Byrne's goofiness thrown in, along with his love for afrobeat, funk, and punk. With its comfortable and extensive use of sampling and electronic ambiance, this album is over a decade ahead of its time. Runner-ups to early 80s sampledelia came in the form of silly old-school hip hop acts like Malcolm McLaren, but this is so much more mature and in control. The major weakness is the length of the songs. There are only 11 songs, but due to the extensive repetition, if you don't like an idea, then you have to sit through it for the next 4 minutes. Combined with the abrasiveness of some tracks, this can be a chore. "The Jezebal Spirit" comes to mind as the major example, being nearly 5 minutes long, and that's supposed to be the single. There's also a dramatic tone shift in the second half, getting increasingly atmospheric and mellower. Bonus tracks are fun, but also a bit too much. For anyone interested, there's a removed track called "Qu'Ran" you can find on Youtube which is fantastic: dark, psychedelic, and funky. Favorites: America is Waiting, Mea Culpa, Regiment, Qu'Ran, Very Very Hungry, Come with Us

On day 136 of this generator, I rolled my first Beatles album, and their first masterpiece, A Hard Day's Night. I complained over how long it took me to get this first one, as if the generator gods were teasing my inner fandom. And here we are, on day 488, with the 7th and final Beatles album, fittingly Abbey Road. Now, what are the odds all 7 Beatles albums were given to me before the halfway point? (1/2)^7 < 1%, so pretty damn rare. In fact, it's been almost exactly a year since my first Beatles album. The generator gods playing with me again. But I'm ready for this review. Abbey Road has been my favorite album since I was 10. It's my most revisited and beloved album. I always felt a bit embarrassed I had to give such a mainstream answer to "What's your favorite album?" instead of something a bit "cooler", but Abbey Road is as personal to me as can be, and I'm actually proud we live in a world where this is as influential and acclaimed as it is, if for no reason other than that other people see what I see in this album. And after my recent trip to Liverpool a couple weeks ago, and nearly 500 reviews, I can try my best to share what I love about this album, even if I won't be talking in too technical terms. Come Together: We start with a banger, in a lot of ways reminds me of T Rex, cool and subtle, with roots to classic rock n roll, evoking images of James Dean. Catchy with a banging chorus, some trippy elements that add a unique spin, and a climatic ending to excite you into the rest of the album. Something: A dreamy romantic track, a landmark Harrison track. You can feel the yearnful emotions of a confused lovestruck fool. Not too many songs have been able to capture this. Strings are a beautiful touch. Maxwell's Silver Hamner: Next we have a completely opposite type of song. A very wacky story that apparently tore the band with Paul's obsession to get it right. As you can guess by its sound and subject, it was initially intended for the white album but was too complex. Lyrics are humorous, one of the first Beatles lyrics that stuck to me as a kid for its whimsical nature and use of imagery. Excellent production, and I love the use of the Moog. Oh Darling: One of my least favorites, but I still love and sing along to it. A doo-wop track, I'm especially a fan of the harmonious back vocals, Paul's vocal shenanigans, and the cool subtle guitar. Octopus Garden: Honestly my favorite Ringo song. It's pretty simple except for that cool aquatic reverb guitar solo with the bubble effects. Has a bit of a country influence and is fun to sing along to. Awesome guitar bits by Harrison feel fluid and wavey. I once stared at a plastic fake fish tank on acid to this and became a jellyfish swimming into the abyss. I Want You: Once again, the Beatles invent a genre that could only be applied for this one song. Kinda like bIuesy jam rock with elements of noise rock, hardcore, and horror. It's long and repetitive yet unpredictable with alternating segments of coolness and pure chaos. Love how the second half is nothing but this intense instrumental tension that goes on seemingly forever before unexpectedly shutting off the side. And for modern listeners, it's a spontaneous and shocking transition to the bright Here Comes the Sun. Definitely a song I look forward to on every listen. Moog works super well in a way only seen in other prog rock songs, whose droning style would be further developed into krautrock, synthpop, and all sorts of other forms of electronica. Here Comes the Sun: For some strange reason their most popular song. I blame the folk-pop movement in the early 2010s that had a somewhat similar anthemic acoustic style, except nowhere near as well executed as here. It's simple yet complete, with the Moog being a nice addition to add extra brightness. A great introduction leading to the medley. Because: My brain considers this to be the start of the medley cause of how it sets the mood for the next several songs. Inspired by classical music, it's both beautiful and unsettling with slow and eery harmonious vocals and strange instruments with slow deep notes. Always a song that grabs my attention. You Never Give Me Your Money: The longest of the medley, consisting of 5 completely different components, setting up themes that would be revisited later. Everyone gets a vocal performance here and they all kill it, exciting me for the rest with the open-ended coda leading into Sun King. Sun King: This one stuck to me as a kid, with its dreamy vocals and nonsensical Spanish lines. Probably my first exposure to the psychedelic mindset, as I remember being a kid and evoking images of a trippy Aztec emperor performing sacred dark rituals to their gods. It's smooth and peaceful but dazed in its sound. Mean Mr Mustard: The second part of the medley begins. I remember seeing an animation of this on Youtube, and I can still remember it scene for scene over a decade later. It's wacky and fun, with the horns, jangly percussion, and British subject matter reminiscent of their Sgt Pepper vaudeville style. Polythene Pam: A short fun punk-like track. Love the lofi style that feels intentionally rushed, like we need to hurry to the next track. She Came In Through the Bathroom Window: We still talking about Mr Mustard's sister? The vocal harmonies and jangles from the previous track take over here, with an overall groovy sound and confused feeling. Golden Slumbers: We transition to the final third of the medley. A beautiful and dramatic song starting to revisit themes from the first track. Carry that Weight: An extension of the previous track but harder and more dramatic, like an orchestral arrangement with a choir support by all Beatles. The End: The dramatic closer to the greatest band of all time. Starts off with a proud interjection followed by my favorite drum solo by anyone. Then a memorable guitar riff that's been sampled many times. A very dramatic repeated line of "LOVE YOU" set to an awesome guitar solo by all 3 guitarists that showcases everything they're capable of. In the last few seconds, Paul ends us off with a highly impactful and memorable quote and a satisfying instrumental conclusion. Enjoy the silence to take in what you heard.

Damn Gary, chill on the Vox Humana setting on your Polymoog. Nah, this guy fucks. I love the spacey future-sounding synths, along with the cool demeanor in the way he talks, his short lines, and the openness of how he ends them. The lyrics and industrial-sounding instrumentation give off a Metropolis 1927 vibe full of chrome, robots, and a major existential crisis. It's super coherent, at the slight expense of being repetitive. But since I like the sound, that just means I enjoy the whole album. I also like the 7.5-minute "Conversation", which gave itself plenty of time to grow and change, and is placed near the end AND before the massive hit "Cars", allowing people to digest it better in anticipation. But really, all the tracks are so atmospheric and controlled, never overbearing, to the point where most audiences can handle the whole 41 minutes without being pushed off, making this a gateway into more synthpop or even industrial music.

Before Waits entered his experimental phase, he was writing bluesy ballads in the setting and style of a jazz nightclub. He's a talented artist, the production sounds good, it's coherent yet full of diverse approaches, and there are a few highlights. However, I think a lot of it is quite underwhelming. The most popular track "Jersey Girl" has some emotion, but is otherwise a pretty lame ballad. Not even the worst ballad on here. Also, the songs are way too long, and most of them should be cut almost in half, even the ones I liked. I do like the personality he shows in his vaudeville songs, which work really well with his rough voice and blend rock and jazz well. Favorites: Heartattack and Vine, Downtown, Mr. Siegal

In their debut, they served as one of the most influential metal bands of the era, sounding very much like earlier heavy metal but incorporating greater speed, energy, and aggression influenced by the punk movement, and alongside Motorhead would bring about the 80s thrash metal movement. But besides "Phantom of the Opera", I don't think any of the other tracks demonstrate what would make Iron Maiden so incredible by the time they release Number of the Beast. I wouldn't say they're bad or boring... in fact, I find most of them to be fun and full of energy. But they don't pull your attention the same way that "Phantom of the Opera" does with its rich and complex structure. Half of them are a bit forgettable. Still, I did enjoy the whole album, and it's short enough with the right number of songs for most people to bear through whether they like the songs or not.

In just under 40 minutes, we have banger after banger with everything you could ask for in a hip hop album. Let's start with the incredible mindblowing production, by the world famous Q-Tip and DJ Permier (among others) who produced their own masterpieces with similar vibes. It's a chill album, with jazzy, soulful, and atmospheric samples, and hazy and static effects that evoke feelings of nostalgia and despair of the NY state of mind. The record scratches appropriately add on to these emotions, but sometimes contribute to feelings of fun and optimism as in "The World is Yours". There's a lot of diversity in the styles, which give each song its personality. Everyone has a different favorite song. Now for the lyricism. Nas is cool and slick, sometimes loud and in your face, but other times thoughtful and introspective. It's no wonder he's a GOAT. I'm impressed by his extensive metaphors and vocabulary, always smooth yet playing with literary devices as if each song has its own audience and storytelling style. His raps are imaginative; I can picture the scenes, the characters, and the troubles he describes. Sometimes he's self aware of his skills, and at other times he's sending letters to friends in jail. Many songs have catchy hooks that draw your attention, allowing you to participate even for just a one line (or word) chorus. It makes it engaging, but also its limited extent directs your focus to Nas's lyricism. No weak songs. I found something impressive and novel about each of the songs. It's short with no filler. No need for skits either, or at least they're integrated well with the songs that they don't disrupt the flow or mood. "NY State of Mind" starts the album strongly, and "It Ain't Hard to Tell" is an appropriate ending that's atmospheric with bright and dreamy samples: a satisfying way to close the album.

A bunch of crazy kids performing R&B covers to their wildest hearts' contents. Sure, the production sucks, but it adds to the insane rawness that these guys are doing whatever the hell they want, and they pull it off with insane enthusiasm. Even the sax tries to jump out the record, restrained only by the limitations of the medium that controls the music. In under half an hour, we get 12 short tracks, and not a single half assed effort in any of them. The intro "The Witch" already establishes this album's place on this list, as one of the best garage rock hits of the 60s that would influence the the punk movement. There are some weak picks, but nothing you can't enjoy, and they're all short enough that you could wait out for the next pick. The highlights are well-dispersed so you never go more than a couple songs without a song you either already recognize or sticks out. Favorites: The Witch, Have Love Will Travel, Psycho, Strychnine

An excellent collection of 11 fun dance hits that blend disco, funk, pop, rock, and synths really well. We start off with two of his famous songs, setting the mood for the rest of the album. They're catchy full of interesting instrumentation and hooks. The whole album is energetic, with an enthusiastic performance by Prince and his screeching guitar. Out of 11 songs, the only dud was "Free", and not just because of its lyrical subject matter. The major weakness is that most of the tracks are too long, especially since the tracks tend not to justify their lengths well. In fact, some try to incorporate annoying skits that I don't care for, but at least they don't disrupt the music much. On the bright side, they're long enough to put in a party mix. Favorites: 1999, Little Red Corvette, Lady Cab Driver, International Lover

The highlight is the dark and harsh production with elements of retro synthwave, which reminds me a lot of a weaker FKA Twigs. The R&B singing style is nice and echoey, which works well with the unique production, and is reminiscent of the R&B style that dominated pop in the 2000s (think Alicia Keys). It's too long and a lot of songs sound too similar, but there are a few standouts, and there tends to be something impressive in the effects that grab my attention in most songs. Favorites: Frontline, Take Me Apart, LMK, S.O.S, Blue Light

He really does sound like Tim Buckley's teenage son going through his emo / grunge phase. His vocals are the highlight here, haunting and expressive with a dynamic range, reminding me a lot of Thom Yorke yet neither better nor worse than him. It's powerful and dramatic. Instrumentals are rich and complex, melodic and not afraid to show its power or versatility. Sometimes harsh and clustered but other times smooth and jazzy. The dark, mysterious, trance-like sound and use of repetitive themes definitely came from his father's psychedelic folk work, but it sounds so complete and put together here. Production is insanely clean and impressive. Most songs are memorable after just a couple listens. A lot of songs like "Last Goodbye" and "Eternal Life" sound like what 90s pop alt rock would attempt to imitate but would always fail. I actually never heard any of these songs before, even "Hallelujah", so coming into this album blind was a huge shock. Loved every track for completely different reasons. Didn't even notice it was an hour.

If Frank Sinatra had a simplistic and even more depressing sound... he'd do a better job than this guy, but I still like it nonetheless. No amazing tracks, and half of them are pretty boring filler, but there are some cool highlights, and the lyrics are good. He gives an emotional performance, and some of them are even a bit catchy. Favorites: Night Life, Lonely Street, Sittin and Thinkin, Pride, Bright Lights

Screw you list. I win! I finally won! It took us 500 albums but for once you're a loser. This is no Dolly. This is no Willie Nelson. This is none of the 60s country that's actually a bit decent. Doesn't even have any creative spins like the k.d. lang or Lucinda Williams records had. Nope. This is 40 minutes of pure honky tonk horseshit. Unoriginal and boring, neither the singer nor the band players sound they like a give a shit, and the lyrics are lame as could be. Could it get worse? Yes, at the very least this is true to form. Half the pop country you see on the charts since the 90s is much much worse. But that doesn't stop me from calling this irredeemable and of no value at all. I don't care if you throw an accordion in there. The two songs I was able to bear the most: What I Don't Know, Home of the Blues (probably cause my patience got sick after the 4th song)

The only album where I have every song on my favorites. This is my 5th LZ review, I'd just be repeating myself over and over. Four talented musicians banding together, doing what they do best. It's hard to find a better guitarist, or a better bassist, or a better drummer, or such a dynamic and expressive vocalist as Robert Plant. Confident in their sound, they're able to masterfully combine all sorts of genres, and in the first 3 tracks alone we get metal, blues, folk, and garage. 4 completely distinct genres meshed with rock yet coherent and full of distinct personality you could only identify such sounds with these guys. Every song feels complete yet never overstaying its welcome, whether it's 3.5 minutes or 8. Can't even list my favorites cause it would be insulting to the ones I leave out.

Steely Dan diverts from their usual formula and shows us they can write short pop songs. I like the calm aesthetic that feels like I'm in some wacky 70s TV show, whose genre is not really defined. "Night by Night" is like an episode of Columbo. It's not very consistent, with each song tackling a new idea, and beyond the first few tracks, none of them really execute their idea well or feels complete besides the title track, but I didn't find any of them bad. I like Steely Dan's unusual instrumental and jazzy aesthetic, so the diversity of the tracks and shortness of each track is enough for me to revisit, even if I would never listen to most of them on their own. I'd say I enjoyed the whole album.

No wonder politicians love Bruce. An American icon of the 80s with deep songwriting, here he's at his most lovable it's actually a shame this didn't break canon like his classic records did (I blame modern radio formats), but at least it had its mark reaching platinum and winning a grammy. It's classic Bruce with strong ties to country and folk, but fits surprisingly well with the alt rock of the era. The mood is overall very optimistic and uplifting, especially with the gospel back vocals. It's a direct response to 9/11 to cheer up the people, and he's one of the voices to pull it off. The greatest weakness here is the expected double album syndrome. I think his heavy heartland sound is a bit too much for over an hour, especially since it doesn't vary too much. Doesn't help that every song is 4-6 minutes long, where even the songs you kinda like feel like they drag on. The first 6 and last 5 songs are (mostly) great, the whole middle third feels like filler and is at best decent. There's an unnecessary emphasis on happy dance tracks that are a bit too busy or abundant to take it all in, distracting from the quieter, more personal songs like "Empty Sky." But the good songs hit their mark really well, supported by a fantastic production effort where everything is loud and clear, and a wild performance by Bruce that I'd love to hear him perform these songs live. If you want more great songs by Bruce to add to your playlist, here you go. Songs like "Mary's Place" are good standalone pieces, but it reminds me too much of some of his better songs where I have to find things like the sax solo to look forward to. But judging it from a cohesive album point-of-view, it's a bit too much loud Bruce for me to enjoy all at once, hence my 3 stars. Favorites: Waitin on a Sunny Day, Nothing Man, Empty Sky, You're Missing, The Rising, My City of Ruins

When you run out of Steely Dan albums, you'll be ecstatic to find Fagen and Becker both made solo albums. Here, Fagen delivers with (almost) everything you'd expect from a Steely Dan album. But since this is the 80s, we also get synths which work surprisingly well with their jazzy yacht rock formula. Suitable for late night listening by the fireplace. Loved them all for different reasons, and it flew by. There are even some dance tracks like "New Frontier" that wouldn't look out of place in a New Wave mix. Can't give a bad score to an album that throws in ska in the closing track as a treat. Only track I wasn't crazy about was "Maxine", but it serves as a nice break. Favorites: I.G.Y, New Frontier, Nightfly

So playful, colorful, and energetic. It's fast and memorable with domineering basslines and punchy drums. The muddled vocals really fit with their aesthetic and immature and childlike subject matter. It's 15 bangers in under 40 minutes, with the longest tracks being some of the biggest songs of the 90s, so the album really does fly by without any weak points. In the last third, only one song goes over 2 minutes and is arguably the best of the bunch. It also gets a million brownie points for being the first mainstream pop punk record, setting the stage for the explosion that would come at the end of the decade. With the sequence of Chump, Longview, and Welcome to Paradise, I almost thought this was a concept album. Of course, the 5 singles are everyone's favorites, but almost every other track is incredible. We have the opener "Burnout" setting up the themes, the jangly sunshine pop of "Pulling Teeth", and the skate punk "Emenius Sleepus" among other highlights make each track special. Only songs I didn't like much were "Sassafras Roots" and the bonus "All By Myself."

Cool, I'll rotate some of these on a playlist the next time I trip. Not sure my attention span could take 42 minutes of this though, sober or not. Would have to play a few at a time cause they don't even sound complete on their own. I'm a fan of the surreal imaginative lyrics, mystical instruments, and ghastly vocals (including the multi-tracks). It's enjoyable and I can get behind its simplicity, but bands like Fleet Foxes and Grizzly Bear took the genre way further just a few years later. For my later trips: This is the Way, A Sight to Behold, Poughkeepsie, This Beard Is For Siobhan, Fall, When the Sun Shone on Vetiver, Insect Eyes

A patient and atmospheric space rock masterpiece. The sounds are grabbing but simple, never even slightly overwhelming. It's emotional with spaced out impactful and memorable lines, supported mostly by the folklike acoustic guitar. The synths carry the album with their otherworldly approach. "Have a Cigar" stands out as the complex, hard badass track. Each track is carefully crafted, varied enough to keep interest, while also never drawn out.

I had a very difficult journey getting into hip hop last year, since I had rejected pop rap for the majority of my life. When this generator gave me Raising Hell, it was the first step in grabbing my interest. In the coming months, I tried a few other classic records, but I still struggled immensely. 3 months after Raising Hell, I went on a solo backpacking trip for a few days in the Ozarks, downloading a couple dozen albums for me to play out loud throughout the days, and the two hip hop candidates were this and Paul Boutique's, and I absolutely loved them both. This was the more difficult one. As cheesy as the intro is by today's standards, it actually gave me goosebumps because I had no idea what to expect. What followed blew my mind. Chuck D was a powerful rapper. It wasn't about an impressive singing style (as in R&B), or a poetic rhyme and flow (as in Kanye or Outkast), or even the goofiness and fun (of old school hip hop or the Beastie Boys). This was powerful, abrasive, and in your face. Flavor Flav proved to me that a hype man wasn't just a gimmick, and his light and fun voice served as a light and engaging dynamic to Chuck D, motivating audience engagement. In just under an hour, we get 12 full-length tracks and 4 short supplementary tracks that fit really well and keep the momentum going. I played the album twice during the trip, then at least a dozen more times in the past year on drives and other hikes. To this day it's still downloaded on my phone, and I don't plan on removing it anytime soon. To me, this is their best album, among the best samples I've ever heard in a hip hop album. It's incredibly memorable, with quotes and techniques repeated frequently throughout the album. I love the sampling and record scratching to make each track unique and full of substance. They incorporate funk, rock, and jazz samples to make it accessible and diverse. But really, the samples can be so cold and spontaneous it holds a lot of similarities with industrial music. It's busy and loud but the repetition helps us digest what's going on, taking our time to relax and listen to the lyrics but also just appreciating the music in itself. The production is thanks to the famous Bomb Squad, who put so much effort into making such a genuine sounding record. Despite Fear of a Black Planet feeling more polished and complicated with the samples, I still prefer the personality here. By today standards, there are arguments to be made against its position, such as the overused repetition that makes some songs feel dragged on, or the sometimes primitive or dated raps in certain tracks. I could see the issues, but to me it's still a complete listen with no skips. And on top of it, it gets extra points for being highly influential to both American culture and the genre, kicking off gangster and political hip hop of the late 80s and early 90s. Favorites: Bring the Noise, Don't Believe the Hype, Terminator X to the Edge, Caught Can We Get A Witness, She Watch Channel Zero, Black Steel, Rebel Without a Pause

A seminal gothic album. Incredibly polished with a dark mood, with parts being both fun and eery. It's incredibly fast-paced and dense, with plenty of strange sounds that contribute to the horror and sometimes psychedelic feel of the tracks. This is further characterized by the cold distant drums, the lofi compressed guitar, and Siouxsie's shrieks and mystical voice. It's very accessible, with pop and dance tracks put at the beginning to entice new listeners, making this a perfect entry point for the genre. At the same time, it's tense with moments of anxiety and resolution that reward you well. The songs transition well from one to the next, carrying the mood. Second half slows down with a creepier and colder sound that I love. Despite how strange it gets, it never becomes too abrasive to scare listeners away. Personally I think every song is great, and so is the order. Out of all their albums, they really knocked it out of the ballpark with the dark horror approach they were going for in both their sound and lyrical content. As much as I like how varied their discography is, I wish they had a record as consistent in its gothic tones as this one.

Beautiful and calming baroque pop, reminding me of Mercury Rev, accompanied by witty lyrics. Love the cool instrumentation reminding me of certain 70s folk acts like Tim Buckley, but with the cool twingles of country. Start off strong but repeated itself too much and got gradually lamer as the album went on. Could have been a 4 if followed the momentum of the first 4 tracks. Favorites: Old Gold Shoe, Grumpus, Up With People, Petrified Florist

The boys at it again with another masterpiece, but entirely different from the sampledelic approach of Paul's Boutique. Here they take an aggressive blend of a million different genres, primarily hip hop, punk, jazz, and rock in that order, among a million others. 20 songs in an hour, each with a unique style, yet all with a consistent energy that is carried from one to the next. I'm always excited for the next song, and a lot of them link together perfectly. Features contributions by the legendary Q-Tip and Biz Markie. There's so much going on in each song too; none of them are just gimmicks. I genuinely love every minute of it, but I can how viewers can be pushed away by the abrasiveness of certain tracks. It's a fun and crazy album with a lot to love and little to hate. Tons of memorable tracks and strange styles you couldn't find on any other album.

James Taylor is a 70s pop musician. You listen to his half dozen most popular songs and you move on. But this is pleasant and nice. Nothing innovative or extraordinary, but patient and short with its sweet moments. I have a few favorites, and nothing I hated. Favorites: Sunny Skies, Fire and Rain, Blossom

Glam rock with an enthusiastic performance and prog-like creative ideas. I'm not too big of a fan of the genre, and it sounds a bit dull, but the songs are goofy, catchy, and memorable. Each song centered around a different style, so there was plenty to look forward to. Favorites: Billion Dollar Babies, No More Mr Nice Guy, Sick Things, I Love the Dead

A definitive representation of the Madchester movement with clear fusions of psychedelic rock, acid house, and funk. Compared to Bummed, this is more focused and is a better collection of individual songs. I can hear influences from shoegaze and the Stone Roses with their high production and complex fuzzy sound, composed of a lot of trippy sounds and effects that make it unpredictable and interesting to dissect. Compared to Stone Roses, this has less of a groovy 60s sound and instead has a stronger connection to the acid house movement, making most of these songs fun to dance or vibe to, even if they're not that high-energy. My main complaint is that the I find the themes of the songs to be essentially the same, and I could get pretty bored if not for all the cool techniques they throw in. I compare it to the Stone Roses which has a unique style to each song and think how much cooler this album could be if they reinvent some songs entirely. They're all fine songs on their own and I could pick out tons of things I love about each of them, and you can bet your ass I'll trip out to it, but with the exception of "Step On" and maybe the upbeat "Dennis and Lois", I don't get excited for any of them. I do think the track ordering is great, starting off with the club hit "Kink's Afro", putting "Step On" near the end, and then closing off with the satisfying smooth blend of "Holiday" and "Harmony."

It's hard to review an album you've never heard but heard almost half the songs a million times growing up on the radio. Moving away from their funk sound, these songs appeal to the mainstream audience, with pop structures that align with the dominant alt rock style of the time. Now, I will say I really enjoyed most of the tracks and has a ton of replayability. It's loud and energetic with memorable moments, especially during its most chaotic and melancholic moments. But where I believe this album falls apart is in its production and track ordering. Just like Oasis, this album favors loudness over quality. There's such a large emphasis on the vocals and lead guitar that everything else, especially the drums, sound muddled and often barely recognizable. This is mostly due to the high compression. All the instruments suffer from a fizzy effect which cause it to sound distorted, and combined with the high volume can cause an uncomfortable harshness, especially during the choruses. Another major problem is the sharpness of the cuts between clips, which are really annoying and bothersome one you notice them. From what I hear, most of these problems cannot be fixed by mastering, and so we're stuck with most of these problems, but fortunately due to modern techniques in streaming, they sound a bit better (at least what I'm hearing with Spotify). As for the track ordering, they attempt to put all the massive hits toward the front, and the rest seem to be randomly dispersed. Due to the range of moods and loudness, going from track to track feels conflicting and makes the record sound overall incoherent. The first 4 tracks are fine, but then the mindless dance punk "Get on Top" is placed between two introspective ballads. We get to a fun jam track "Easily" to the dream pop "Porcelain" (sounds straight from Mellon Collie) back to the grungy "Emit Remmus." It continues like this to the very end, and it just feels like a compilation. Despite all, the standalone compositions are amazing, beautiful, and unique, and it is unfortunate to say this is the lowest score I've given where I really enjoyed almost all the songs, even the bonus tracks. There's dream pop in "Porcelain", hip hop in "Purple Stain", disco in "Right on Time", baroque pop in "Road Trippin", and I already mentioned the punk, grunge, and pop rock tracks, making it a very diverse and memorable listen.

No offense to Darby Crash, but this sounds like a more polished Germs. It's angry and free, with Henry Rollins saying whatever comes to his mind. It's anthemic with plenty of lines to scream along to, a bit of order among the chaos of spoken word lyrics. "TV Party" is the best example of this, with the clear back vocals, chants, and clapping. His lyrics are unexpected and fun cause you never know when he's done. There are breaks where you think the song's over but then he just keeps going. But the greatest strength of this album is the distortion-heavy doom-like instrumentation. Each songs starts off almost sounding like a Black Sabbath song, but then speeds up out of control, and the crashes really set this apart with chaotic bangs. Out of 15 songs, only 4 of them are over 2.5 minutes (and only 1 of them are in the first 10), so it really flies by and keeps it interesting thinking what the hell he's gonna complain about in the next song. Loved every song, but the energy dies down in the last third (which does fit with the slow and eery starts of "No More", "Life of Pain", and "Damaged I"), which is why I see so many other bands like Minor Threat just settle with EPs.

Incredibly well produced, with creative, bright (often dreamy) samples. Loud and proud, each song has its own style. Has a lot going on, especially small studio effects like the sniffing or the horn injections in "Kilo," or the cheering in "The Champ," which paint a large colorful scene in every song. Ghostface Killah himself gives an enthusiastic performance and works well with the samples and vibes he's dealing with, and the guest performers aren't half-ass either. At an hour long and 18 songs, it drags on too much, but due to the richness and speed of the tracks and the skits, a lot of it passes by. Favorites: Shakey Dog, Kilo, The Champ, RAGU, Back Like That, Dogs of War, Big Girl, Underwater

Much of it is nu metal if instead of the hip hop component, it was Britpop with a mix of Alanis Morissette. But a lot of songs go soft on the opposite spectrum that sound more akin to folk rock, more common as the album progresses (and more like Morissette). And then there are hardcore songs like "On My Hotel TV" and "And This is Nothing." There's a symphonic effect created by the operatic singer, the strings, and the explosions of noise that remind me of Metallica S&M at times and Radiohead at their most chaotic. I thought most of the songs were pretty good (or at least had something notable), but I thought most of the instrumentation was boring, and I was mostly just impressed by the vocals and the incorporation of the strings. Favorites: On My Hotel TV, We Don't Need, Secretly, Cheap Honesty, And This is Nothing

How do they manage to make an acoustic guitar sound so godly orgasmic? The album cover and eery acoustic sound give off old western vibes. It's energetic, witty, and exciting. You can feel the raw emotion and turmoil of the vocalist. It's fun to sing along to most of these songs. The instrumentation is interesting (particularly their unique usage of acoustics and the xylophone), and the solos are especially creative. Every song is fantastic, even the least popular songs feel perfected to every second. This is what punk is all about, and I'm glad there were more bands besides The Replacements in the 80s fusing punk with more melodic rock styles (from a different approach of New Wave). Wish the two bonus tracks were incorporated into the album somehow, maybe with a little more polish ("Ugly" straight up sounds like 60s garage), cause "Good Feeling" is a great note to send off with.

I always perceived soul as tasteless pop music of the 70s, with some highlights throughout. Beyond Marvine Gaye and Stevie Wonder who innovated what was possible with soul, there were little artists who could make something of the genre, but Al Green is the exception of an artist who could make albums of pure soul (no progressive shenanigans) and no filler. Whenever I want to chill and take a break from rock or high energy pop or electronic, Al Green is typically one of the first artists who come to my mind, and the pinnacle of his work "Let's Stay Together" hits the spot in just about every way. Everything is spot on. Highlight is Al Green's energetic and emotional voice, always pleasing to the ear and never boring, especially when he pulls off his falsetto. Huge fan of the back vocals, both Chalmers's support and the gospel-like female vocals. Horns are used sparingly but their delivery is well-received. Rhythm section ensures each song is diverse and maintains its groove, incorporating funk while staying focused and consistent. The strings and back vocals come together so well in "How Can You Mend a Broken Heart." You know they did something right when you hear the song a million times and you're shocked to see it's actually 6.5 minutes long. As for the song themselves, obviously starts off strong but I usually don't get into it until the groove of the 4th song. I'm really into the next few songs, but I feel like the album should end with "How Can You Mend" but "Judy" would also working as an appropriate epilogue. I guess I just wasn't a fan of "It Ain't No Fun to Me." But really, it's a highly enjoyable and short listen, and certainly a top soul recommendation to anyone.

What makes this album great is that it's not exactly country. Obviously, you can hear the recognizable country techniques in each song but they have a sunshine pop feel to them like the Carpenters, with pictures of butterflies of rainbows. She has a light and sweet voice, and the peace-like instrumentation and gospel back vocals compliment her well. Especially a fan of the bass lines. This is Dolly at her most creative. There are plenty of 60s and 70s pop albums that try to do the same and always come off as boring and lame, appealing only to Sunday church children. Not here. This is for everyone. I'm not saying there are bangers, and nothing blows me away. In fact, there's a few songs I dislike like "A Better Place to Live." But for what it does, it does it well. Coming under a half hour, I can get through the whole thing before getting antsy. And despite hating country, I have reason to revisit this record that little others of its kind could offer me. Favorites: Coat of Many Colors, Early Morning Breeze, The Way I See You

Just last week Google did a doodle on Tito Puente. This is an insanely fun album, and the songs sound distinctively different from each other. Yet it's all mambo. I can dance to the rhythm while still listening out to the set of instruments (especially the horns) that do their own thing. A 50s album has no right for me to find something I like about nearly every song. Afro-Caribbean Percussions are the highlights, featuring the marimba, xylophone, timbales, congos, and bongos. Got a little tired in the last few songs, but it was short enough to fully enjoy the record, and it's certainly my favorite mambo record so far. Favorites: El Cayuco, Cuando Te Vea, Hong Kong Mambo, Mi Chiquita, Varsity Drag

Sounds like a fleshed out soundtrack to a PS2 game that takes place in a factory level. Really does give off the grimey vibes of the era it shares with nu metal and the Matrix. The way it incorporates acid house and jazz in an upbeat manner reminds me of the Madchester movement. It's a decent electronic album, with a good track listing that transitions to the chiller ambient side as it goes on. Nothing groundbreaking or impressive, and it's way too long with a few duds, but this is one of the better electronic albums I've heard on this list. Favorites: Kepping Pigs Together, Shellback, Don't Go Nowhere, Bussing

If Pulp was on coke and listened to more glam rock. Production work is well done. It's all over the place, too ambitious for what they planned, with many ideas falling a bit flat. I especially liked their fusion of 60s jangle psychedelia with space noises, though the songs themselves are nothing extraordinary. Nothing really impressed me, and many reminded too much of other bands. Favorites: Something 4 The Weekend, Hometown Unicorn, Gathering Moss, If You Don't Want Me, Mario Man, Long Gone

When I was think of 60s hippies, Donovan is typically the first to come to mind. And in his landmark album, he showcases his acoustic-driven psychedelic sound in a variety of settings. Some songs like "Sunshine Superman" and "Season of the Witch" entice pop and rock fans with a hard catchy sound, while other songs put listeners in a trance. I think the transitions can be quite harsh. For example, I'm sure many listeners who know the titular song are quite shocked that the very next song "Legend of a Girl Child Linda" is the exact opposite. It's a good song, whimsical, trippy, and beautiful with the moody classical arrangements, but soft and story-driven (reminds me Leonard Cohen). There seems to be a dynamic between these two styles throughout the album that could push listeners away. Moving songs like "Season of the Witch" and "The Trip" toward the front would help alleviate this, but I can how having slow songs back-to-back could also get people to turn it off. I found most of the songs to be peaceful, groovy, and memorable. "Guinevere" and "The Fat Angel" were boring, but at least the sitar and lyrics kept me engaged if I were paying attention. My favorite thing about the album is how the instruments are used to illustrate the stories told (it's like they're talking or creating sound effects), and since there are so many of them, it makes a very colorful experience fun to trip to.

As if Sly took a more soulful and orchestral approach. Also reminds me of a more talented and less coke-induced Thundercat. It's groovy, cool, and relaxed with noteworthy psychedelic effects. Each track is diverse and memorable, and there were only a few parts I didn't care for. Especially enjoyed the instrumental finish. Favorites: Island Letter, Aht Uh Mi Hed, Happy House

Sounds like a dramatic opera. It's dramatic and the orchestra is swayed by the emotions of the vocalist, which can range from groovy to chaotic. It's consistent, and the songs are alright, but they all somewhat sound the same, and only one song stuck out to me. Not sure how you could screw that up with just 7 songs. Maybe if I watched more ballets I'd appreciate it more. Dude loves comparing his lover to animals. Favorites: Someone

A proper successor to Low, except louder and catchier with a greater R&B and gospel influence. It's much more refined and confident, and the songs are fantastic: energetic, cold, and industrial with a strained voice filter. Excellent synth work by Eno, distinctive and on point with Bowie's style. First half is nearly perfect, although I had a couple complaints about "Joe the Lion" and "Sons of the Silent Age" (love the Beatlesesque vocals and cymbal crashes). Just like with Low, the second half is characterized by mostly instrumentals, but the ambient tracks don't match the energy and stick out poorly, especially coming back to the disco "Secret Life of Arabia." My favorite was the Blackstar-esque horns in "Neukoln", but yeah they didn't impress me as much as the Low instrumentals.

A fantastic sendoff to one of the greatest bands of all time. They're not trying to prove anything here. It's full-on blues rock, rocking harder than they ever had before, although they still use Jim's mesmerizing voice and a variety of strange keyboards from their psychedelic days (although we get the spooky "L'America"). Every song is a powerful banger, rich and lush in their own ways: each song groovy, fun to dance to, and aesthetically pleasing to the air. The only two songs that didn't stick out much were the blues-heavy "Cars Hiss By My Window" and "Crawling King Snake", but not enough to detract from the full score.

The pinnacle of 70s pop rock following the success of their compilation the previous year. It's characterized by a rampant arena sound that would inspire glam metal just a few years later, except here taking a more accessible approach through country rock rather than heavy metal as other bands were currently doing. Each song sounds very different from each other, and you can tell they're trying to expand their audience. I think this is probably their most refined effort, but most of the songs are still pretty lame, but at least it's inoffensive and listenable. Album started off strong with the three power singles and got a little too tame thereafter. Nevertheless, the only truly awful song was "Pretty Maids."

Dark and gritty post-punk that serves as a perfect companion to the grunge era. Instruments have a lively and atmospheric feel to them, incredibly spacious and synergetic, giving an abrasive undertone to the underlying melody. This is supported by Harvey's eery vocals buried beneath the distortion, as well as the dirty and screechy sound of many of the instruments (e.g. the cymbals and classical strings). Second half is weaker but still full of great ideas. Favorites: Oh My Lover, Dress, Victory, Sheela-Na-Gig, Joe, Plants & Rags

Simple, fast, loud, and anthemic. It's the hard rock that's tough, clear, and dark enough to not quite reach into metal territory like popular contemporaries Van Halen and Rainbow. More like Kiss and Journey, just as catchy and memorable, but better produced and less generic. The guitars are certainly the highlight, melodic and impactful, with awesome riffs and solos. New vocalist Johnson fills the role well - loud, aggressive, and distinct - although less versatile than his predecessor. As for the songs themselves, I think they're really good but certainly carried by the hits. A few of the deep cuts are pretty forgettable beyond a couple cool tricks. It's not innovative, but it makes up for its influence on the genre and high production value. This is my vote for their best album.

It's pretty lame, but it adapts to the turn of the 80s with a fine production and lush instrumentation and back vocals. Doesn't innovate, and I can clearly hear his Philly soul inspirations. Favorites: So Many Sides of You, Games, Stand Up

The highlights of every Buffalo Springfield album had been Neil's songs. He takes full advantage of his newfound creative control, with his new backing band Crazy Horse supporting his vocals and guitar flawlessly. There's a good mix of soft folk songs (Round & Round), hard rock songs (Cinnamon Girl), and those between (Down by the River). I'm a fan of the overall swampy aesthetic with the psychedelic twinkly guitar coming from all over the place. Some love and some hate his voice, and I'm part of the former. Somewhat country-inspired, a bit raunchy capable of tackling feelings of desolation, remorse, or wonder. The songs evolve in all sorts of directions, and I had fun guessing what'll happen next. The production sounds incredible, although it suffers from the 60s style of stereo mixing where you only hear certain instruments coming out of one ear. Only 7 songs, but they take as short or as long as they need, and they all have different styles that all seem to work in their own ways. Favorites: Everybody Knows This is Nowhere, Round & Round, Down by the River, Cowgirl in the Sand

One of the better swing albums I've heard. Ray Charles is the star, playing both rampant and romantic roles, and his piano pulls the strings to control the mood behind the power of the big band accompaniment. The recording's pretty harsh but gets better as the album progresses and calms down. I found the third quarter to be the weakest but his piano is best highlighted here. Favorites: It Had to Be You, Alexander's Ragtime Band, Come Rain or Shine

You can hear the evolution of the Beach Boys in real time. We start off with some generic surf rock teen bops. Beautiful harmonies with cool riffs and plenty of interesting instrumentation (thanks Wrecking Crew). But even these songs in the first half are better than the deep cuts they've written before, with some cool and innovative segments, even if half the song is pretty lame and uneventful. They don't quite hit the mark, and you can tell they have the potential for genius, which they'll live up to in the following 6 years. The first recording "Help Me Ronda" may not be as good but is actually a fresh take from the rerecording, fitting well here, and showcasing their potential in songwriting. The awful volume mixing near the end sounds intentional but it ruins it, on top of the overall muddled vocals. We end the side with their biggest single, the most complete but also the most generic "Dance Dance Dance", sounds like an ode to 50s rock n roll. The second side is where it starts getting really good. These songs tend to simpler and lighter on the instrumentation, with the focus set on the slow, melancholic, dynamic, and immensely beautiful harmonies and emotional lyrics. The depressing hooks are reminiscent of the confusing and unstable feelings in Pet Sounds. "Please Let Me Wonder" and "I'm So Young" have a very 50s traditional doo wop sound except a lot more flexible. The vocals of "Kiss Me Baby" showcases something entirely new and exciting, which continues to the end of the album. The mood gradually slows and depresses to the concluding "In the Back of My Mind", which has my favorite instrumentation, with a quite dramatic and satisfying ending. I wish "Bull Session" was cut cause it ruins it for me. Lots of faults and lots of room for improvement, but also a ton of strengths that make the Beach Boys start to stand out from the rest of the world. Despite being a huge Beach Boys fan, I never would have thought to listen to this record for years, so thank you generator. Favorites: Good to My Baby, When I Grow Up, Help Me Ronda, Please Let Me Wonder, Kiss Me Baby, She Knows Me Too Well, In the Back of My Mind

Beautiful, dark, romantic, and ethereal. This is one of my favorite albums, with masterpieces from start to finish. Frazer speaks in a mixture of English, Latin, and Gaelic among others, using the beauty of language as the primary instrument itself. The guitars echo and create a wave of noise that create space in this otherworldly reality her music is set in. It's optimistic but cold in a gothic romanticized manner. There are some dance tracks like "Lorelai", some emotionally dramatic tracks like "Persephone" or "Amelia", and some that put you in an neverending trance like "Pandora." The simplicity of the song titles, minimal instrumentation, and lack of sensical lyrics place an emphasis on the organized structures of the songs and their linked coherency. It doesn't follow any form of conventional pop structure, so you never know where the song's headed next, but you're pulled in every second. Second half moves into more unconventional, intricate ambient compositions. "Aloysius" is melancholic, calm while still dramatic. "Cicely" is the hardest and coldest song on the album, marked by fast rhythmic drum beats and wailing guitars. "Otterley" is characterized by whipsers and the sound of waves on an eery and desolate beach, haunted by ghosts and sirens. We end with the angelic and satisfying "Donimo", a gorgeous teary closer. I agree with this track ordering, although I could see how some could lose focus in these last few. I find it to be flawless from start to finish, and one I revisit for all sorts of occasions.

A beautiful psychedelic baroque pop masterpiece. It's fun, goofy, and optimistic with a bombastic and dynamic range in harmonies; the vocals blend together to immerse you. The instrumentation has a bright and pleasant classical feel to them. It's spacious, providing room for the keyboards and other instruments to fill the atmosphere while the vocals come in to supplement emotion. Almost all the songs have catchy choruses and memorble melodies. We start with "Care of Cell 44" setting the themes and tricks that the album will convey to set it apart from pretty much any album that has come before or after. They really put all their strengths here, especially how they mix a capella with lush instrumentation. My favorite part is the psychedelic bridge that puts you into a temporary dreamscape before pulling you back into the next verse. Also really love that extended ending that just goes on: it's so satisfying and complete, exciting me for the rest of the album. "A Rose for Emily" is the exact opposite type of song: a simple ballad that shows the power and versatility of our vocalists. The attention to diverted to the lyrics as you learn to look out for it. "Maybe After He's Gone" picks up the tempo and emotion, very folk like but also the way it conveys so powerful and dark, it's almost gothic. My favorite part is the bridge, but again has a satisfying ending. "Beechwood Park" is a personal favorite, happy yet melancholic, with a loud chorus but otherwise a nostalgic and reflective melody. "Brief Candles" features very baroque verses (which I'm not too big of a fan of) and a fantastic energetic chorus. Love the angelic bridge. "Hung up on a Dream" features a trippy jangly guitar (reminds me of Byrds) and hazy angelic vocals, which is followed by another really psychedelic song "Changes" that sounds like a wild drum circle. "I Want Her She Wants Me" is a personal favorite, such a cheery and dreamy song. Fantastic hook to excite me immediately, with lyrics that feel like walking on a street on a good trip, and a dramatic and optimistic coda. I think "This Will Be Our Year" is a romantic ballad, and I like the chorus, but I don't like where it goes, probably one of my least favorites despite its acclaim and how many times it's been covered. "Butcher's Tale" is one of the eeriest tracks, sounding like a ghost ship pirate shanty. Really love the loud chorus."Friends of Mine" is a fun sunshine pop song, a bit chaotic (especially those cymbal crashes) but like exploding in happiness. Finally we end with the summer of love anthem "Time of the Season", groovy and catchy, I love everything about it, but from the echoey vocals to the loving lyrics to the gasps back vocals to the trippy solo. I seriously love this album and all its tracks. Although I have a few complaints, it's impressive how memorable and unique all 12 were, and how I could compliment several things about them all. Honestly, the only major complaint is the track ordering which could make it more cohesive. I feel "This Will be the year" would be an appropriate closer, but since I'm not too big of a fan, I do personally enjoy the bombastic end with the hit "Time of the season."

Unhalfbricking is iconic, but this is just as excellent, just a less memorable cover. They truly are the definitive British folk rock band, with Thompson's guitar taking lead with parts that hit hard or soft, fast or slow, incorporating elements of psychedelia that reinvent folk tunes to be more engaging, whether more fun to dance to, or more imaginative in its storytelling. Of course Sandy is a wonderful vocalist, memorable and dynamic: the perfect narrator of these folk tales. We start with the singalong pop tune "Come All Ye", an accessible track to pull in newcomers. Next we have an exact opposite track with "Reynardine": a patient, psychedelic, and imaginative play. "Farewell Farewell" is the most calming beautiful track on the album, thanks Sandy. "Tam Lin" - with its inventiveness, hard sound, and length - is almost on the verge of heavy metal or prog rock. The earlier "Matty Groves" has some prog-like segments too, and is also a patient track that brings your attention to its creative instrumental. "Medley" is a nice break that showcases their impressive skill at musicians. Really, all the tracks are great in their own way, a fantastic companion to Unhalfbricking.

Punk combines with the newish genre of hip hop to introduce a fresh and exciting fusion of sound to the world, particularly important for pulling in white audiences into hip hop. It's loud and exciting with hard guitar sounds and hollow beats. The quality of the album is certainly carried by the group's fun and hilarious attitude, with select hits that really work. However, the beats are hollow and the riffs aren't impressive. It's the samples and production techniques that are interesting in some areas... but repetitive and underwhelming most elsewhere. The tracks do evolve, so there is variety, but it often feels gimmicky and tiresome upon repeated listens. The reason for my high score is because some tracks do work incredibly well. It's a mixed bag at the start, carried by the novelty, but it picks up with "Girls". "Fight for your Right" and "No Sleep Till Brooklyn" are the best songs, with interesting riffs and an exhilarating performance. It's my least favorite of their first 5 albums, but still enjoyable all throughout. Favorites: She's Crafty, Girls, Fight for Your Right, No Sleep Till Brooklyn, Brass Monkey, Time to Get Ill

I would very likely have rated this perfect had this album been made 4 decades earlier. Smile is the best album that's never been made, and here we have the closest piece of art to Brian's vision. Compared to what I've heard in Smiley Smile, tracks like "Heroes and Villains" are much better put together and less chaotic. "Vega-Tables" and "Wind Chimes" are the two really enhanced by this. And as a whole, the album is perfectly coherent, with one track flowing smoothly to the next. It all comes together beautifully, with wonderful harmonies and full to the brim with countless creative and mindblowing ideas in every song. It pulls your attention in how amazing it all sounds. The production is clean, and this is essential to understand how Brian aimed to put together all of his hard work. I love the goofy imagery that evokes a sense of childlike playfulness and curiosity in the classical-inspired soft and warm melodies. Every song is great and stands out one way or another, and many of their masterpieces like "Cabin Essence" and "Surf's Up" are here. I noticed a shift in the silliness of the songs starting with "I'm in Great Shape", with more attention on the strange instrumental techniques compared to the baroque harmonies, but it does feel a little disordered here, especially with the sudden conclusion with "Good Vibrations." That being said, I can't fall in love with this. It doesn't have the charisma of their 60s production style, and although this might sound better, it lacks the character from their 60s albums. The tracks smoothly flow, but sometimes it feels a little too fast for me, not as patient and warm as their 60s records. The harmonies are there, but they merge too closely together and feel mostly supplementary and a bit artificial at times... I much prefer the voices of the Beach Boys. But for most of all, Brian just has a rusty aging voice. This is mostly noticeable on tracks like "Surf's Up" where he can't hit as high as he could in the 1971 version, but really I just don't like his voice overall too much here.

One of the first albums to incorporate synths into pop so flawlessly, thus affecting the way pop music sounds to this day. I believe the influence of this album reaches recent pop stars such as Lady Gaga, Taylor Swift, and Dua Lipa. It's a fantastic and short album, with highlights all throughout. Pulls in audiences with the energetic tracks and ends with the hits. As sad as it is for bands to break apart, this album is much more polished, accessible, and coherent than anything Heaven 17 put together. The synths are fun, loud, exciting, and all over, feeling spacious and a bit industrial or futuristic. The vocalists are enthusiastic and almost robotic-like, continuing this trend once started by the likes of Kraftwerk. I appreciate the supporting female vocalist, not necessary, but adding another layer to the club singalong vibe. "I am the Law" is the only "weak" song but also the most atmospheric and still nestles tightly between the others. Last 3 tracks are just incredible.

The vocalist and melancholic vibe reminds me a lot of Coldplay. The experimental rock sound is reminiscent of Radiohead. The loud and busy production has been a trend in Britpop since Oasis. No matter which song it is, there are other bands I can find in them, but it's interesting nonetheless. Coherent yet full of innovative sounds, creating this ethereal landscape, evoking both happy and sad emotions simultaneously. I can hear jazz and post-rock, but it's also very fast and rhythmic, almost never calming down. The beats of many songs almost make them sound like club hits, but I couldn't see myself playing this for any dance audience except just to vibe to with headphones. Several weak songs, but this is a breed of Coldplay I really enjoyed. Favorites: There Goes the Fear, M62 Song, N.Y., Friday's Dust, Sulphur Man

Blur won the Britpop wars in my mind. They're the most creative and consistent in fantastic albums of the 4. Damon Albarn puts the fun in music, and it's a shame they were never as popular in the US as Gorillaz. He's an enthusiastic and silly vocalist with comical lyrics and subjects (sometimes black humour that borders the line with serious like "Clover over Dover"). It's probably the most accessible Britpop album, full of incredible hits in the 1st half, and a diverse range of punk and folk tracks in the 2nd half, reminiscent of legends like Syd Barrett. This is my top recommendation to anyone getting into the genre, but to be fair I hate Oasis (too loud and annoying vocalist). There are so many unique and creative ideas in this album... There are only 2 or 3 songs that don't blow me away somehow. Impressive from a record with a 16 track listing. The production is incredible. Despite how busy it gets, I can identify everyone, and all the instruments and sound effects come together so naturally and purposeful. This is especially brilliant with how creative and interesting the instrumentation, incorporating many synths and production techniques along with back vocals and strange instruments to make it an engaging listen, picking out all the components. I couldn't see strange tracks like "Debt Collector" perfected so well by anyone else. Finally, the track order is pretty optimized. The 2nd half starting "Debt Collector" sets a slower and mystical setting, and each of the following tracks feel so naturally glued together. Yet each one has its own identity and pulls your attention. Personally, I argue this is their strongest album, but it really shows when their other albums have countless tracks that match the quality here.

George Michael takes inspiration from the ongoing shoegaze and Madchester movements to produce dreamier and funkier tracks in an accessible R&B style. His voice carries more of a reverb, providing space and feeling ethereal in most of the tracks. His voice and songwriting are certainly the highlights. I'm not a big fan of his piano ballads, but the jangly guitar adds a cheerful vibe to several songs. It's overall a decent album, although there were 3 really boring tracks. Favorites: Freedom '90, Cowboys and Angels, Heal the Pain

Teardrop Explodes were the forefront of the neo-psychedelia movement at the turn of 80s, and here we are a decade later, Julian Cope is continuing those post-punk themes while incorporating interesting instrumentation and elements from contemporary psychedelia: in this case Madchester. Songs like "Double Vegetation" could be confused for the Happy Mondays. It's funky and spacious, which songs taking their sweet time. Some of them do feel repetitive and overstay their welcome, but the track listing ranges so much as I don't get tired despite its double album length. Some go back to their roots, like the psychedelic "Leperskin" is totally a Teardrop Explodes but with lamer vocals, reminds me of the Doors a bit. I like Cope's more forward punk-like vocals, and personally not a fan of his alternate deep baroque-esque voice (too crisp and boring), but the echoey chamber feel to it works for many songs. There's plenty of standout tracks, but nothing remarkable or innovative, no hits, just unique and intriguing. For example, the atonal nature of "If You Loved Me At All" has a groovy post-rock feel to them with a punk approach, not something I've really heard before and would love to hear more like it, but I feel this song could be done better. And just a note, but my favorite tracks aren't necessarily an objective. For example, I really like "Not Raving But Drowning" which is pretty repetitive except for the cool mallet percussion and synth at two points, but I'm obsessed with the slow groovy and tropical feel to it. Now, there are a few accessible pop songs like "Head" and "Beautiful Love" which have a cool instrumentation underneath, but otherwise the structure and vocals are pretty boring. I really like how the album ends with the last 4 songs. We get two highly experimental tracks that work pretty ok, and "Las Vegas Basement" is a pretty decent and appropriate closer, coming full circle to the style of our opener "Pristine." Favorites: Double Vegetation, East Easy Rider, Hanging Out, Safesurfer, You, Not Raving But Drowning, Hung Up

Usually, when artists go solo due to creative differences, they start to suck or become more stripped down. In most cases, even if the songs are decent, you feel like the band could make those songs better, or at least that's how I felt in cases like Stevie Nicks or Morrissey. But just like Donald Fagen leaving Steely Dan, Peter Gabriel shows he's full of a colorful diversity you just couldn't expect to find on their band's records. Not saying they're better, in fact these records tend to be less cohesive, but it goes to show how talented these artists are when they have full creative control. At heart, it shows that Peter Gabriel is a pop rock artist, who will fully realize his potential in his later masterpiece So. For now, he's exploring and finding what works for him. But as an audience member, I find myself enjoying every minute. It's actually a really great introduction to Gabriel-era Genesis, less busy and more spacious but still full of as much personality. "Modern Love" appeals to arena rock fans, "Humdrum" to adult contemporary, "Waiting for the Big One" to blues (and a bit of jazz), and "Down the Dolce Vita" to disco. But of course, the one that shines is the folk-like yacht rock "Solsbury Hill." Favorites: Moribund the Burgermeister, Solsbury Hill, Excuse Me, Down the Dolce Vista

Jefferson Airplane evokes exactly what the trippy 60s were like. A bunch of hippies singing of the mystic arts: groovy and harmonic but with a rough edge. It has the hooks and hits as well as the more magical and experimental songs that take you on a peculiar journey. The lofi 60s style combined with the fuzzy bass, the concerning wailing strings, the anxious hollow drums, and the beautiful harmonies by Slick and Balin bring about models of control (capable of guiding your journey) and comfort (to not overwhelm you). There are plenty of songs that push you to dance and sing along, while the calmer folk tracks sit you back down and pay attention to the strange lyrics and instrumentation. I'm obsessed with these mystical 60s albums like United States of America and Electric Music (by Country Joe), but none sound as polished and focused as this one. The record is fantastic, and so is the track ordering (almost). We start off with 3 loud and fun groovy tracks. Then 2 really trippy tracks full of powerful yearnful vocals by Balin, smoothly bridged together. Then we get 4 tracks that gradually transitions from loud and rough acid rock to slow and loving acoustics. (Why does "Embryonic Journey" have 17 million plays on Spotify?) We reach our conclusion with 2 tracks that feel too short, but "White Rabbit" is our popular commanding track with the least discrete lyrics of the summer of love. "Plastic Fantastic Lover" is our chaotic bluesy finish, but feels a bit anticlimatic. Let's talk about the bonus tracks. As anticlimatic as the closer is, it does transition well to the really bluesy "In the Morning" but that definitely feels too long at over 6 minutes, and sounds like a more polished but less interesting Country Joe song. Not a big fan of the pure blues "J. P. P." "Go to Her" is decent and catchy with captivating melodies, but I could see why it was cut. "Come Back Baby" is an awesome jam track (what a sick guitar solo), definitely warrants Jerry Garcia as their spiritual advisor. My only real complaint is that I wish the last 2 tracks were moved elsewhere. It should have ended with a cheery or dreamy track like "My Best Friend", "How Do You Feel", or "Embryonic Journey", of course changing the ending a bit to feel satisfying.

A proper transition between Something Else and Arthur. They drop the crazy instrumentation into a more consistent and simple music hall baroque pop sound, adapting a concept album approach about the influence of American and European cultures on Britain, an idea that would be taken further with Arthur. I think moreso here than any other album, you can hear the influence on Britpop, in regards to its eclectic music hall style, humorous lyrics, and mix of vocal styles, especially adopted by Blue. They still do incorporate other genres to support their concept, such as the very American swampy blues of "Last of the Steam-powered Train", but never straying far from its formula. The obvious example is the calypso "Monica", sounding like a trip to Trinidad. Likewise, Kinks always tend to have at least a couple psychedelic songs in each album, and this time we have "Sitting by the Riverside" sounding very much like "A Day in the Life." The other psychedelic track being "All of my friends", really goofy with a grand chorus. The most unique song is "Wicked Annabella", a perfect favorite with a chaotic horror theme behind it. Some of these ideas could be improved, and there were several weak songs I didn't find noteworthy, but they were all at least decent. I think with all Kinks albums, it's two primary problems is a hazy lofi production and a feeling the songs are a bit incomplete, but those might just be me. Favorites: Village Green Preservation Society, Do you Remember Walter, Picture Book, Big Sky, Sitting by the riverside, Village Green, Wicked Annabella

A spacious, patient, and beautiful album. You never know where it's going to go next. Songs take as much time as needed, fading into the background, but you never get tired enough to skip to the next track. It's dramatic with strong classical and jazz influences, utilizing space synths to envelop the atmosphere. The vocals are ethereal and yearnful. Enjoyed every track for different reasons. But overall it's a beautiful dreamy album to relax, trip, or play in the background to, with plenty to appreciate. "Svefn-g-englar" felt like dreaming on a cloud. "Flugufrelsarinn" was shoegazy. "Ny Batteri" was mysterious and sorrowful. "Hjartað Hamast" was tense. "Olsen Olsen" was triumphant. "Ágætis Byrjun" was sunshiney. "Avalon" felt like a dark ocean abyss. And I could still describe the others. They were unique and satisfying, and complex enough for me to replay the songs and not get bored.

One of the greatest pop stars of the 80s and 90s, but I always placed her beneath Whitney. However, I was really impressed by her performance here. Hugely influenced by Madonna, she's loud and energetic carried by a strong old school hip-hop production style that would characterize the short-lived New Jack Swing movement (most of it would just be generic pop trash). Still very 80s with the punchy beats, spontaneous synths, and the use of samples almost like another instrument (biggest example in mind is the female shrieking sample used in a few songs). In fact, the whole album gives off 80s TV guide and workout video feels. The interludes really enforce these images, and they're so short-lived they serve to both provide breaks between these spacious and energetic tracks without dragging on to be annoying. I really enjoyed all the songs, although I do admit I got a bit exhausted by the time we got to the last few ethereal nostalgic tracks (which I did still really like, gave off vaporwave vibes). No bad tracks though. The only track I would cut is "Alright", but I did wish the record could further be slightly shorter somehow.

I have no reason in the world to like this as much as I did. Never heard of them, no one here seems to like them much, it's not even influential, and even critics weren't too crazy about it. But I had a blast rocking out to this weird punk blues piece. Embodies a lot of Iggy Pop spirit and imitating Elvis feeling like a rock n roll parody. A bit like The Fall except less controlled and focused. Raw and wild with wacky and creative instrumentation. Only reason I'm not rating it higher is cause the White Stripes showed the world you could make this style leagues better. Favorites: Skunk, Wail, Fuck Shit Up, 2Kindsa Love, Chicken Dog, Rocketship, Can't Stop

Who are the hell are these guys? They're hilarious! Always thought they were a one-hit wonder for "Pepper." It's a bit of a parody album but they actually take themselves quite seriously as musicians. First five are noisy and grimey, very much like sludge metal but incorporating some elements of psychedelia in the production (like the distant chamber vocal or radio effects in "Pittsburgh to Lebanon"). They're chaotic and all over the place, but not loud. The transitional track is the annoying "Hay" which I think is a vegan statement, or maybe they're parodying themselves since it's their closer sped up backwards, but I don't know... it sounds a bit cool. Personally, I think the album does not warrant its existence until this point. "Human Cannonball" is a fantastic noisy punk track. It's simple, with a consistent instrumentation, but has an awesome wailing guitar and of course those unforgettable screaming vocals. "U.S.S.A" starts off annoying but then becomes hilarious and annoying, which is enough for me to approve. "The O-Men" is a funny parody sludge metal track on the band Omen, really interesting crazy studio effects here. I also really love "Kuntz", super funny and unironically not bad. "Graveyard" (again?) brings us back into pure sludge metal and noise rock, a decent track but mostly notable for its parodic nature, sounds a bit like Pavement. "22 Going on 23" is a decent way to close to album, but I didn't find it too notable beyond a couple cool guitar parts.

The underrated record of Hendrix trio. The most diverse in styles, we get a mix of jazz, R&B, folk, proto-metal, and a whole load of psychedelia. Despite all this, it's a really coherent record, with successive tracks flowing well between each other. It has its hard and rough moments, but for the most part it's a groovy and jamming experience. It's very accessible and never drags on. I looked through for any weak tracks, and really there's something unique and special about each one. Each track gets straight to the point, and it's quickly obvious why each one was included, forming a complete experience. Regarding the nature of the music itself, it's obvious even in this record why Jimi Hendrix is considered one of the greatest musicians of all time. A versatile guitar player with impressive and memorable riffs, simple instrumentation that takes each player to their limits, a passionate and powerful vocalist, hard-hitting and imaginative lyrics, and a crisp production style full of cool tricks that make for a strange and interesting listen, whether sober or not. Favorites: Up From the Skies, Spanish Castle Magic, Little Wing, If 6 was 9, Bold as Love

It's one of those albums where if you want to maximize your enjoyment, you should be following the lyrics as you listen. She's a really fantastic and imaginative songwriter, confrontational and emotional when needs be. Honestly some of the coolest lyrics I've seen. The instrumentation embodies much of 70s folk style like Tim Buckley or Van Morrison, while matching her contemporaries like Everything but the Girl and Alanis Morissette, incorporating alt-rock, jazz, and electronic. It's a very spacious and patient album. The biggest weakness is its length, with melodies not interesting enough to warrant their 4+ minute lengths, and too many songs to maintain anticipation. Her voice does a decent job at converying the emotions, you can tell Van Morrison is a model for her, but it doesn't blow me away. I appreciate the diverse genre styles in nearly every song, but it all feels gimmicky and lazy in an attempt to best match the overall mood of the song. If it were lusher or evolved throughout the song, I'd be more intrigued. Favorites: Stolen Car, Sweetest Decline, So Much More, Blood Red River

The group that popularized the Afrocentrist style of alternative hip hop that would strongly incorporate funk (mostly characteristic of old school) and jazz (the style of the 90s). They're accessible with plenty of catchy and fun tracks playing on a variety of styles. With the old school DJ techniques, they're a proper successor to the disco production-heavy style of Afrika Bambaataa, but you can hear how his rapping will be an influence to the likes of Q-Tip. It's a really enjoyable listen with a ton of things to like and grab your attention from almost any track. There are plenty of weaknesses. Obviously, it's too long at over an hour (really padding the time for cassettes) and filled with several weak tracks. It also tends to be over-produced, with a lot of tricks that actually end up hurting the tracks and inhibiting replayability. Too many easily recognizable samples, but at least they're only used in clips and don't make up the entire beat that tends to ruin many hip-hop tracks. The volume mixing is also pretty screwed; I can hardly hear the titular track but gets uncomfortably loud in "Tribe Vibes." All in all, the record is all over the place and not very coherent, but there are plenty of highlights and makes for an engaging first listen. Favorites: Feelin Alright, Whats U Waitin For, U Make Me Sweat, Good Newz Comin, Done by the Forces of Nature, Doin our Own Dang

She's an impressive rapper, open and expressive, but gets a little too carried away in her own skills in several tracks. The production is dark and industrial, spacious enough to appreciate. Not all of though: you also have the bright chiptune "101 FM." "Selfish" has beautiful vocals by Cleo Sol and a nice disco beat with a couple cool samples thrown in, but it's a pretty underwhelming track and lame lines. "Venom" is an excellent lead single... I know a lot of people in our generation are pulled in by fast and strong delivery, which I assume attributes its viral nature, but I particularly love the beat and the use of her voice barely distinguishable in the background. I felt the 2nd half was significantly weaker. Still had cool samples and beats, but the ethereal and spacious nature clashed with her harsh and breathless flow. This was most grating in "Sherbet Sunset," but was a whole problem for all of the last 4 tracks and a few parts of the earlier ones. Favorites: Offence, Boss, Selfish, Venom, 101 FM

A really fun and energetic 50s swing album, a nice break from what I've normally been listening to. Has a ton of tropes I'm used to hearing in 50s music. I'm a fan of both Prima's and Keely Smith's contributions. First few songs are amazing but then the novelty wears off and relies too much on the horns.

I've only known them for their hits from Black Sunday, but I like their stoner hip hop aesthetic, which works well with their wacky vocal style and metallic funky samples. It has an industrial dark sound to it that stands apart from the rest of their contemporaries, more closely aligning itself to grunge and stoner rock, so I can see why they were especially accessible to those types of crowds. This record however has a ton of weak tracks, with many of them hard to stand out beyond a couple unique sample usages. The middle third is all excellent, but then it loses its momentum in the last third. Would be higher if cut to an EP with my favorites. Favorites: How I Could Just Kill a Man, Phuncky Feel One, Real Estate, Stoned is the Way, Psychobetabuckdown, Funky Cypress Hill Shit

A beaitiful landmark in 2000s indie rock, full of rich lush instrumentations, plenty of strings and horns that fill the space and bring out the power of the songs. The lyrics are optimistic, and both vocalists are expressive, with the ethereal back vocals supporting the mood and complexity of each song. The songs are cohesive yet independently complete. Each song has its hook that stands it apart, each one as memorable as last. Not a single bad track, they were all memorable in some way and bought time between my favorites. It's incredible how over half the album could compete for not just the lead single, but for the claim to one of the best songs of the decade. I was a bit disappointed with Neon Bible, but that only brings out how special and genius this record is.

After a hiatus of 2 years in service, Elvis supposedly came up with new ideas to try out in his material, and i can sorta see some of it here, but for the most part there's not much interesting here. Out of 12 songs, hardly any of them are really bad; they're just nothing we haven't seen before whether by Elvis or other pop musicians. On the plus side, there're a lot of genres here, and the average song is less than 3 minutes, so it's hard to get bored by the time the record's over. The biggest highlight is Elvis's increased confidence, fully in control of his sound, although he does sound unenthusiastic and bored in several tracks. "Fever" adds nothing to the original, with the instrumental trying to mimic the original, and Elvis sounds like it's his turn in the classroom to read. Favorites: The Girl of my Best Friend, Such a Night, Like a Baby, Reconsider Baby

This is a grower. I really like the wacky vibe, the surreal lyrics, and of course the atonal jazz fusion instrumental. It's chaotic but simple, and I'm actually not a big fan of that. I like the distorted bluesy guitar sound mixed with the free ranging sax, but there are only a few tracks where it actually sounds incredible. On the plus side, nearly every song offers something unique and weird. But for most of the disordered mess, I often can't see much value. Maybe there is hidden under multiple focused listens, but most tracks seem to provide nothing exciting. Just something to say "huh that's a bit strange," sometimes you hear the same thing in other tracks and you swear it loses its novelty. I really did not like the spoken word tracks, but it did place me in an atmosphere I'd like to revisit while high. That being said, the opener and closer are by far the best tracks on the album, groovy and structured yet unsettling and unpredictable. Favorites: Frownland, Ella Guru, Moonlight on Vermont, Bill's Corpse, My Human Gets Me Blues, Sugar 'n Spikes, Veteran's Day Poppy

Listened to this as I was roadtripping across the corn fields and hills of the midwest, and I certainly felt it complimented my ride nicely. This is folk rock done right. Takes inspiration from all sorts of American folk music, including country, soul, and bluegrass influence and all sorts of folk-like instrumentation which fills up the space to make each song memorable and luscious. Noticed other influences too like psychedelia in "Whispering Pines." Huge fan of the harmonious vocals. Not as beautiful as CSNY, but pretty close and still sounds amazing. There's something to like about each song, and they're all unique so they all contributed positively to the record. It's a relaxed and comfortable listen with both softer, emotional ballads and harder upbeat rock tunes, yet all tied together with common themes to maintain consistency. I have my favorites but there wasn't a song I didn't like, and it was short enough to fly by.

What a coincidence! I just listened to this for the first time just an hour before this was generated to me. Absolutely in love with it. The instrumentals are melodic and punchy, a fusion of New Wave and surf rock with added jangly guitars that just produces an overall optimistic and fun sound, complimented by the pastel colored album cover. As a fan of the Beach Boys, I am obsessed with the harmonic female vocals, especially their punk forward nature. The songs are fast and catchy, with memorable hooks and standout instrumentals, between the rapid drums, space synths, and aforementioned jangly guitars. All songs are great. Wish there were more tracks like their magnum opus "We Got the Beat", and I start to lose attention in the last 3 tracks, but it's a fantastic and quick listen. I'll revisit this often.

It doesn't help that the lead single has been done much better by Al Green. Odessa was acceptable and has it's strengths, but I'm not seeing this here. Here we have baroque pop with heavy string arrangements and piano, soft and mellow with classically-inspired dramatic parts, thanks to the dynamic range of our Gibb brothers. It has its moments, but it's mostly boring and repetitive with little highlights. "Somebody Stop the Music" is probably the only song that really stands out for it's folk-like middle section and ethereal coda. Favorites: The Greatest Man in the World, It's Just the Way, Somebody Stop the Music, Don't Want to Live Inside Man

I've grown to see a 50+ minute-long 90s electronic album from this list and assume it's gonna be long and tedious, but Primal Scream (known for the famous Madchester masterpiece Screamadelica) shows us you could produce a fusion of psychedelia, electronica, and ambiance with a strong rock base to produce something unique and exciting. Every track is busy with industrial and space-like noises to create a strange alien ambient landscape. It's a lot more mellow and subtle than their other records, and although I do think it's weaker than Screamadelica, it's held together by a consistency by fits a certain mood if I'm looking to have this as cool background music or to disassociate into other worlds with. I do prefer the tracks with Gillespie's eery vocals. There were several weak songs, and yes I guess it didn't completely escape from the lengthiness of 90s electronica, but I did find something enjoyable about every one. Favorites: Burning Wheel, Star, Medication, Trainspotting

This album realized the natural transition from the glam metal scene to 90s alt rock. We start off with the instrumental "Up the Beach" which has an arena metal sound characteristic of bands like Def Leppard or GnR, but has a much more unsettling distorted sound. It's a useful opener, exciting the audience in anticipation for the rest of the album. "Ocean Size" starts the record off strongly with everything that makes this album unique. Between Farrell's manic vocals, the punk-like breaks using the acoustics, and the flashy proto-grunge guitar solos, it sets the standards for what countless 90s bands would aim to replicate and fail. "Ted Just Admit It" is one of my favorite tracks, a really complex song full of a ton of really cool parts and an epic finale. I love the grooveline and percussion that remind me of the tribal psybient work of Sphongle. "Summertime Rolls" is another favorite ambient track, groovy and psychedelic. They know how to end a song. Then we have their two most iconic hits, "Mountain Song" and "Jane Says" with memorable riffs and catchy hooks. And of course you have the hollow drums, the distorted reverb wailing guitar (holy shit that solo on "Mountain Song"), and a controlled cool vocalist not to afraid to scat and show personality. I love the subtle things like the distant steel drums in "Jane Says" that's comes out of the shadows at the end. Despite not mentioning their other songs, I did think they were all strong and unique. Not a single song I didn't enjoy. I thought "Thank You Boys" was a funny addition and way to anticipate the ending. The songs were paced well, with an awesome opener and closer, the experimental tracks at the beginning when you're paying attention the most, and the more energetic tracks near the end to keep you going.

The peak of 70s glam rock. It's a coherent album about the strange rock star persona Ziggy Stardust. Songs have an eery jazz-influenced vibe supported by Bowie's smooth and yearnful vocals. There's also gospel influence in plenty of tracks like "It Ain't Easy" and "Lady Stardust". It has some insane hooks, with some catchy choruses (especially "Starman"), and a range of unusual instruments, such as the acoustic guitar, string arrangements, and a sax. I think all the songs are pretty good, although I found a few to be weak (e.g. "Hang on to Yourself"), and hardly any of them blew me away like his other albums, but it does grow on me. For example, I hated "Star" until my 5th listen. It gets extra points for being one of the most influential pop rock albums of the 70s, but I'm not crazy enough about it to regard it among his other masterpieces.

As one of the pioneers of trip-hop, it deserves its recognition with over half the album constituting of masterpieces to show what the genre could do, with their most accessible songs in the first half. Emerging from rave culture, electronic music fills the room with open ambiance and a tight groove. The synths are subtle and ensure there's a lot to focus on. The reggae-infused "Five Man Army" is one of the best examples: with two distinct rapping styles back and forth, but the background is full of creative jazz samples, weird synth effects, and hidden scats to ensure there's always something new to pick up on. The use of hip-hop may sound normal today, but it was completely innovative at the time when you consider their more forward and punchy contemporaries. It meshes well with the R&B and reggae styles singing of Shara Nelson, Horace Andy, and other singers. Despite having several vocalists, they all sound great and add to the diverse styles of these tracks, as if to show the genius is within the production itself, with the vocalists rather serving an instrumental role. I was once assigned Tricky's solo album a year ago, and I found it repetitive, but I much prefer his vocal contributions here, but maybe that's because it's more spread out and not the center of attention, even in his own songs like "Blue Lines." Still, the lyrics in songs like "Be Thankful" and "Unfinished Sympathy" are infectious, with inviting hooks to pull in all sorts of audiences. Even the tracks I didn't care for much became favorites given enough time. Nothing felt like filler, and the last few tracks gave a satisfying ending.

This is classified as MPB just like Jorge Ben's Africa Basil, but they have almost nothing alike, as that sounded funkier and dance-like whereas this is more like a fusion between baroque pop and psychedelic folk, and although fitting to American contemporaries like Tim Buckley, it reminds me more of contemporary folk artists like Fleet Foxes. It's groovy and at times ethereal, especially with his echoey falsetto. I'm not too familiar with Brazilian music, but I can hear the Latin American sound in the acoustics, but I can hear all sorts of genres such as classical in "Um Girassol" and jazz in "Me Deixa Em Paz". The best part was all the strange psychedelic noises and sudden shifts in sounds that many would consider excessive but I found them to be engaging. There's something unique about every song, and there were plenty of outstanding highlights, but several of them were lame and didn't contribute much. This is especially problematic with the hour-long length that seemed to drag on in, becoming tiresome by the final third. Favorites: Tudo O Que, O Trem Azul, Nuvem Cigana, Cravo E Canela, Clube Da Esquina N2, Paisagem Da Janela, Pelo Amor De Deus, Nada Sera

Absolutely obsessed with the raw lo-fi garage sound, consisting of nothing more than a chaotic screaming vocalist, a heavy distorted wailing guitar, drums not afraid to spam its ear-piercing cymbals, and an artsy use of cyber synths that'll feel more complete in their later albums. It really rushes by, with the first 7 songs taking up only 17 minutes. Ideas come and go, but they never feel incomplete; it reminds me of early punk records with their short and fast songs. The last 4 (5?) songs however slow down and shift the mood from wild to introspective (reminding of art punk like Wire's Chairs Missing or even midwest emo). This was a smart pacing decision, as I don't think I could have taken full smack energy the entire time, and I enjoyed seeing both sides, feeling equally consistent. "No No No" was the perfect bridge between these two styles. There's something to like about every song, and many are memorable enough to leave a lasting impression after just one listen. It's no wonder why "Maps" became a defining song of the generation. Favorites: Rich, Pin, Maps, Y Control

The album that defined early grunge. It's hardcore punk with a strong emphasis on a dirty, heavily distorted (often doom-like) guitar and slowed-down, almost evil sounding vocals. It's loud and energetic, and some songs have a surf rock influence that aligns with contemporaries like the Pixies and Sonic Youth. I know this isn't the original album, but I loved almost all the songs, especially the collaboration with Sonic Youth on "Halloween." Favorites: Touch Me I'm Sick, Sweet Young Thing, Need, Mudride, If I Think, In n Out of Grace, Halloween

In an attempt for blues to stay relevant, Hooker employs a range of widely known guest artists. The first song has the classic cyber tropical guitar Santana song, but it's hardly bluesy at all. The next brings in the 70s folk artist Bonnie Raitt who would soon be known for her hit "I Can't Make You Love Me", but this song is pretty standard. The melodies are mostly mellow and generic, not too memorable. Hooker's vocals are haunting and subtle, the exact opposite of what you'd expect from his "Boom Boom" song. The Canned Heat collab was the best. It was punchy with a nice rusty bluegrass guitar sound. "Think Twice" also has a memorable country rock sound. The last 3 songs are simple without collabs, but I only found "Rockin Chair" impressive. None of them were really bad, but I can't say they were essential or representative of what the blues has to offer. Favorites: The Healer, Cuttin Out, Think Twice Before You Go, Rockin Chair

In the first of his tetralogy, Stevie establishes his synth-based progressive soul sound with strong funk, jazz, and gospel influences. The production is crisp and mixed well, hugely necessary for how many channels are present in every song. Stevie is often buried underneath his accompaniment, but I could still hear him well, and the emphasis should be on his instrumentation. These songs are like nothing else from the era, resembling pop structures to some degree but diverging from the formula into something unpredictable. Sure, "You are the Sunshine" is the pop hit but has a few pleasant synth characteristics that make it unique if you pay attention to it. "Maybe Your Baby" however shows Stevie's creative genius; its extensive length and jazz atonality keeps you guessing where the song is heading despite its surface repetitiveness. With "You and I", we are again stumbled upon what is seemingly just another ballad, but its chamber vocals are subdued by spacey synths, resembling a beautiful, heartfelt harpsichord. We move into catchy dance funk with "Tuesday Heartbreak" full of lush instrumentation that fills up the room. You hear gospel angelic vocals, a Sly-influenced funky guitar, a sax, and synths burying Stevie's wacky shouts and scats. "You've Got It Bad Girl" sounds a decade ahead of its time, with 80s-like (and flute-sounding) retro synths and deep vocals forming a smooth, dark, and sexy tone. It's busy and powerful but controlled. This is one of my favorites... the audience is constantly in motion to see where the sound goes, and has like 5 different things to pay attention to. Next we have one of his most famous songs, the funk masterpiece "Superstition." It's triumphant and catchy with some awesome solos and screeches by Stevie establishing his position as one of the leaders of 70s funk. The remaining songs are much smoother and jazzier but still remarkable in their own ways, slowly leading to satisfying close. Nice transition from "Superstition" to the tropical and relaxing "Big Brother." "Blame It on the Sun" is another ballad, but is equally lush and interesting as other songs, filled with emotionally powerful instrumentation and gospel back vocals. We got another immediate and smooth transition to "Lookin for Another Pure Love", a mellow and dreamy jazz song with mysterious guitar and vocals that could put you in a trance. Again, another great transition as we end the album with the melancholic pop song "I Believe." It's a relaxing and optimistic way of closing the album.

In this landmark 70s soul album, Curtis Mayfield creates an emotionally packed soundtrack about the abyssmal result of poverty and drug abuse in a black community. The mood is dark and pessimistic of the state of the world, between Curtis's heartbroken vocals, lyrics ashamed of the unfortunate fate of street life, and the lush string, brass, wind, and rock arrangements. The songs are engaging enough that I could just listen to the instrumentation and it would still be a complete experience. They fill up the space and perfectly convey the moods they're trying to replicate. I'm constantly guessing what instruments they're using. It's a really amazing experience. At 36 minutes, we get a mix of pop hits and instrumentals, wonderful production work, and smooth flow from one song to the next, packing so many emotions together. There's something unique and remarkable about every song, and I consider them all to be essential.

Emmylou Harris is a 70s country artist who contributed with Dolly in 1987 in her famous Trio album and provided background vocals in lesser-known records by Gram Parsons, Bob Dylan, and Guy Clark among many others. In this late-career record, she incorporates modern production skills to fuse a somewhat indie instrumental style with her traditional country folk approach. In fact, the last song reminds me of Uncle Tupelo, a similarly sounding alternative country contemporary. (I know it's supposed to reference Elvis.) The instrumentation can be a bit spacious and ethereal at times, but feels more like minor ornamentation and only makes the songs more bearable. But at the end of the day, it's still just a woman singing about sorrow and family troubles with a guitar, nothing to write home about. I think a lot of is decent, but of course, it drags on, despite most of it is completely forgettable. Favorites: I Don't Wanna Talk About It Now, Bang the Drum Slowly, J'ai fait tout, Hour of Gold

Beth Gibbons is one of the most iconic vocalists in music. Powerful and spooky, chilling the audience to the spine with her range and intensity. All of Portishead's albums are fantastic with unique and memorable tracks that blow you away, but their debut has their most recognizable tracks, including "Roads" and "Glory Box". All tracks are remarkable, characterized by perfect mixing, a creative use of samples, and production techniques that contribute to a complete and coherent listen. We start off with the industrial synth-heavy "Mysterons" that sounds like a stroll through a haunted factory. "Sour Times" is a favorite, with a catchy chorus, strong R&B influences and incorporating 70s spy music samples (resembling surf rock), feeling intense and disarrayed. "Strangers" sounds like vocal jazz layered underneath heavy industrial drones and filters. There are so many production techniques and introduced samples that are added exactly once or twice (like the Disney-sounding classical sample or that chamber echo) that add to the completeness of diversity of the song. There's so much happening in each song that it encourages replayability and makes each second valuable. "Biscuit" is another samplepaedic song, with a million things to focus on, from the slowed down (almost vaporwave-esque) vocal sample, the staticy background, the record scratches, the lifeless hollow drum beats, and what sounds like a distant parade recording at the end. "It Could Be Sweet" is one of the most aesthetically pleasing songs. I love the cool vibe of the samples, and it has possibly my favorite of Gibbons's soothing vocals. "It's a Fire" also provides a nice break with its gospel-sounding organ and relaxing vocals. "Wandering Star" moves us back into the gothic vibes, surely an inspiration to the likes of Evanescence. This is the first song I've heard where record scratches actually contribute to the spooky imagery rather than for its own sake. Absolutely love the instrumental finish, especially that closing organ sample. What I love about the album is that they rarely reuse their tricks. A similar feeling song, "Numb" is instead characterized by its eery vibrato and frantic lyrics. Meanwhile, "Roads" is somber and nostalgic. I find "Glory Box" to be a fitting closer, with a memorable and enticing hook sending shivers, and a catchy and powerful chorus. Her vocals are strong and sexy here. There's so much I love about this song. The hazy bluesy guitar gets its solo but continues despite Gibbons singing again, then disappears without warning only to start up randomly again later, fizzling in and out, screeching one more time with Gibbons's echo. The next 20 seconds absolutely blow me away, abruptly shifting to a super psychedelic and unsettling segment of abrasive beats and echoey vocals, before moving back to the core song and ending the album. I so wish it could just go on longer.

A consistent soothing successor to folklore. As with all her releases, it's incredibly well produced, and Swift has a way of poetically expressing her emotionally-driven lyrics, deserving her title as a folk artist in this record. Her voice carries the record, but the chamber back vocals and acoustics support her well, even if they don't stand out much on their own (with the exception of a few songs). I'm not a fan of ballads, and I think there are too many here. With its slow tempo, it really drags on, not justifying its hour length. But my favorite songs tend to have punchy upbeat instrumentation with catchy choruses, also justifying its role in the pop genre, accessible to both young and mature audiences alike. I do think folklore had more standout tracks on top of being more coherent, showing that this could be stronger. I appreciate her being a bit experimental like "closure" but they never hit the mark. The guest performances are pretty good. Haim guest stars in the country rock "no body no crime" which I actually like, but that might just be because it's nice to get a break into harder instrumental. "coney island" has the strongest instrumentals, are those sleigh bells? Wasn't a fan of Swift's vocals though. Also wasn't a fan of Bon Iver here, but it was an appropriate closer. Favorites: willow, tis the damn season, no body no crime, dorothea, coney island, ivy

In Costello's debut, we get a punk-influenced power pop / yacht rock collection of songs with a touch of wild and jazzy rockabilly. Songs are cool and groovy with a stellar, recognizable vocal performance. Enjoyed it all. No bad tracks, but several fail to stand out. Favorites: Blame It on Cain, Alison, Red Shoes, Pay It Back, Waiting for the End of the World, Watching the Detectives

How did we even get here from James Brown in the course of just a decade? In just 7 tracks, George Clinton takes us on a magical ride through space powered by funk. I was a huge fan of the whole album from the start to finish. The transitions are sharp, and as soon as I'm satisfied with one, I'm excited to move onto the next. They take a lot of funk elements and exaggerate them to the max to create a lush landscape that does not come off as overwhelming. Has plenty of accessible tracks to pull people into the genre. Spoken word lyrics are hilarious, clear, and engaging, while the back vocals are catchy and fill up the space accompanying the other instrumentals. Songs are long, but patient in that they take as much as time as they need. It should be repetitive centering around the same melody with only minimal variations within a track, but the high amount of instrumental interjections keep things interesting. I also think the jazz structure has a lot to do with it. My favorite component though is the laser-sounding space synths and other weird instrumentation (see Supergroovalistic for best example) that adds to the extraterrestial imagery.

As one of the greatest pop albums of the 70s, King incorporates jazz and blues in a soft folk-rock approach to create interesting melodies full of lush instrumentation and tools (like back vocals) to maximize the power of her tracks. With heartfelt lyrics and intricate melodies, you're fully immersed in her music. It's incredibly well-polished, especially important with all the instruments. It's also pretty coherent, with tracks leading smoothly to the next. She starts off with her 3 strongest and most complex tracks. "I Feel the Earth Move" is a perfect opener, catchy and fun to dance to, you already get a taste of her lyrical and vocal power to draw in audiences. These tracks are incredibly lush with sax, guitar, and synth solos to pull in all sorts of audiences. We have some amazing covers "Will You Love Me Tomorrow" and "You've Got a Friend" that are just as amazingly produced despite not having the punch of the originals. There are several tracks I didn't care for much, usually the lighter piano ballads. But just like with Adele's work, I can admit they're all fantastic and certainly much better than what nearly all of her contemporaries were pulling out. I can find strengths in all of them. For example, "Way Over Yonder" has some of my favorite vocals with a nice underlying jazzy melody. Favorites: I Feel the Earth Move, So Far Away, It's Too Late, Beautiful, Tapestry, A Natural Woman

I'm a huge fan of the Temptations' hits. According to Spotify, I have 12 of them liked, definitely among the highest for their genre. This only indicates that they're a singles band, not an album band, and this record is no exception. The highlight here is their magnum opus "Papa was a Rolling Stone", an epic contemporary to Curtis Mayfield's Superfly that takes up a third of the total runtime. Despite being an established artist for almost a decade, the production is still pretty poor in that it sounds more like a live recording in many parts rather than a studio effort. The tracks do have nice diversity, and I'm a fan of the use of the cinematic strings. No repetition, but none of them really stood out. Favorites: Papa was a Rolling Stone, Love Woke Me Up, First Time Ever I Saw Your Face, Do Your Thing

Before Kravitz broke through with hard funk rock hits, he was a successor to Prince with a softer, janglier chamber sound. He has some cool ideas, but nothing really stands out among the crowd. 90% of the time it's a clean and boring sound, trying too hard to mimic his influences. I'm hearing Lennon in "Let Love Rule", "I Build this Garden", and "Mr. Cab Driver". Favorites: Let Love Rule, Fear, Rosemary

In a lot of ways reminds me of Tangerine Dream, Mike Oldfield, and Eno. We get six space rock songs glued together with their own themes and hooks. Accessible to all audiences, the synths fill up the room with vast imaginative landscapes of alien planets and space travel. These tracks are filled with curiosity and excitement, especially the fast-paced pop-like "Part 4." There are a few slow parts that don't make it fully suitable for active listening, but it's a cinematic experience with a satisfying start, middle, and end.

Pet Shop Boys put the pop in synthpop. We've come a long way from Heaven 17 earlier in the decade. It's fun and danceable (yet often melancholic) with atmospheric future and industrial synths, and nonsensical lyrics with themes of insecurity and dependancy. Sounds incredibly well with its polished production, and nothing sounds out of place. It's all pretty coherent with hits well-dispersed. The deep cut highlights were the cinematic ambient songs in the middle, "Hit Music" and "It Couldn't Happen Here". Drags on slightly, but enjoyed every song.

I have yet to meet someone who this album doesn't blow away. His flow and raps are fast, impressive, personal, and introspective, and they mesh perfectly with his production style. He incorporates funk, rock, soul, and jazz to create unforgettable songs that transition well from one to the next. The songs are immersive experiences, evolving by the second to create an engaging and cohesive experience. I was pulled in not only to see how each song would change, but where he would take us on the next one. There's something I love about nearly every song that I couldn't possibly spend time to describing here. You have some incredibly modern and unique songs like "u" that incorporate atmospheric synths, an unsettling sax, lo-fi chillwave samples, and a wacky yet emotional vocal performance. It gets much milder and more structured in the 2nd half, which takes more time to appreciate but is just as good.

Costello offers more of his signature groovy New Wave sound with added crowded raw instrumentation. The singing style and Beatlesesque melodies are reminiscent of power pop legends like Big Star and Badfinger (e.g. Home is Anywhere), but also the lofi sound and synths in some tracks remind me of later 90s power pop like Guided by Voices (Tokyo Storm Warning, Next Time Round). There are a couple standouts here that could belong on a compilation, but otherwise most of the songs here are sonically tame and derivative of his other work. If not for the variation in instruments and synth effects, most songs would be forgettable. Favorites: I Hope You're Happy Now, I Want You, Crimes of Pairs, Poor Napoleon

In this famous live album, Nirvana offers stripped down version of their most famous hits and a series of covers from Meat Puppets' II, as well as a cover by the Vaselines and David Bowie. These songs are simple in instrumentation, consisting of not much more than acoustics, Cobain's vocals, distant drumming, and the occassional cello. The sound is rustic and jangly. When you take away all the intense grungy distortion, these songs become much more personal and emotional, with a greater focus on the memorable songwriting and Cobain's intense mumbly voice. It's really nice to hear the diversity in styles from the covers, especially how they adopted the cowpunk of the Meat Puppets. As far detached it is from country, you can still hear the influences, which work incredibly well with their dark melodic structures. The same can be said for the intense blues cover closer.

A widely influential disco album with two of the most well-known hits of the era. This can be a divisive album, as there are many haters of the commercialization of disco, but this is disco at its best. They take the cinematic power of 70s funk since the days of Curtis Mayfield, and turn it into an accessible and fun platform of groovy dance tracks. The geniuses here are the bassist Bernard Edwards and guitarist Nile Rodgers, musicians who have changed the state of pop music so much, working on highly influential albums from Sister Sledge to Madonna to Daft Punk. To me, the instrumentals are the star here. These tracks are long, with memorable deep basslines, string-like synths, and a twingy guitar hit to the max chorus setting. The gospel vocals are the cherry on top, turning many pieces into pop sensations by inviting the audience to sing to the top of their lungs and express their excitement in dance. There's a lot of variety in these tracks. The instrumental "Savoir Faire" sounds very much inspired by Superfly and the contemporary yacht rock movement, soothing and entrancing, like a Miami drive, but also fitting in for someone to dance to the whole album. "At Last I Am Free" is a dreamy relaxing song that anticipates "A Warm Summer Night" from their Risque album. Love the vocals especially. Some people have trouble with the repetitiveness of these tracks, but as a fan of shoegaze and post-rock, I'm an all for the long arrangements and their subtle changes. It's much easier to digest 8 long tracks than a series of cheap pop filler. And with the diverse palette and excellent unique playing, I always have plenty to focus on. Or, I don't need to focus on anything, and can just mindlessly dance to it or play in the background without feeling like I'm missing anything. Either way, I enjoyed it all, especially the milder 2nd side.

In his late career, Johnny Cash took on a much darker image in the face of his imminent death. Everyone knows the hit "Hurt", which many consider superior to Trent Reznor (not me). At the very least, these songs are intense in emotion with the cinematic strings and dramatic piano, fitting well with his rusty voice and simple guitar reminiscent of his younger days. This album is full of covers. You could hear over half the songs here (in their most popular forms) on an oldies radio station. And honestly, he does a decent job at it. I was especially surprised by the wild west interpretation of "Personal Jesus." To be honest, none of them are anywhere close to the originals, but they do fit his style well. It's coherent, and fortunately, despite being a double album, it only lasts 50 minutes, which is long enough for me to appreciate without getting tired. Favorites: Hurt, First Time Ever I Saw Your Face, Personal Jesus, Tear Stained Letter, We'll Meet Again

With "Gematria" and "Sulfur", you can hear Slipknot ditching their hip-hop elements (save for the small record scratching in Sulfur) in favor of a more traditional thrash style reminiscent of Metallica or Pantera. Yet these retain the alt-rock elements of nu-metal for the melodic verses of most of their songs, as well as the basis of their singles "Dead Memories" and "Snuff." This is one of the weaker albums, with some pretty annoying and uninteresting tracks, and many others not living up to the anger and expression of their self-titled or Iowa. This is one of their most accessible albums, which memorable hooks in most of the tracks that could draw in people trying to get into metal. It's polished with cool production techniques that add to the horror elements they portray. Vocalists give a hell of their performance and perform their roles of providing order and chaos to each of the tracks as appropriate. I'm a huge fan of the rapid drumming and distorted guitar solos. Also a fan of how most of the songs evolve in several segments, maintaining the audience's attention which is helpful since metal songs tend to be too fast and abrasive for most audiences to keep track of. The first side is pretty good, but again nothing stands out like their hits from their previous albums. "Vendetta" has a few cool parts, and I really like the climactic ending, but it's otherwise the most forgettable. The next two tracks "Butcher's Tale" and "Gehenna" are highly experimental, and also very divisive among the fan base. "Butcher's Tale" is all over the place and grating, and I do agree that it's a miss, but it is interesting nevertheless. "Gehena" on the other hand is my favorite song off the album. I'm obsessed with the spooky atmospheric horror elements of the song, and I wish there were more tracks like it. My only complaint is that the instrumental is pretty tame and not multi-layered like many of the other to justify its 7-minute length. "This Cold Black" and "Wherein Lies Continue" are pretty forgettable filler besides a couple cool parts. "Snuff" is my least favorite track, essentially overdramatic post-grunge with a cool guitar part in the middle. The titular closer is pretty good but feels really weird having the tamest are hardest tracks next to each other.

As much as I like Fela Kuti, this isn't an essential record of his. Just like with his other records, you get just a handful long jazzy afrobeat compositions which are all good and I'd kill to see live, but nothing here is extraordinary. We have yet to see from Kuti could pull off in the likes of Zombie, Confusion, or Expensive Shit. "Zombie" for example was an excellent pop track inviting the audience to dance and sing with memorable hooks, and I'm not seeing much of that here. I will admit that Ginger Baker, the drummer of Cream, is an incredible addition and blew me away a few times. These pieces feel more jammy and improvised with a raw live sound. My favorite track here is the groovy and funky "Black Man's Cry."

Frank Ocean is one of those players who changed the game of pop music, paving the direction mainstream artists like Drake and Post Malone will take. But they're missing what makes this album so special. Channel Orange follows from 2000s neo-soul but is uniquely characterized by electronic ambience with the use of jazz, funk, and psychedelia to create mild yet memorable and relaxing landscapes. When I first heard Frank Ocean, I shrugged him off as another pop artist who was just showing off his Prince-like vocals. The tight groovy instrumentation and unique production techniques were what initially pulled me in. But it was "Sweet Life" that showed me what his voice was capable of, incredibly smooth and dynamic, and his falsetto isn't just a gimmick. The album really does fly by. People might be pushed away due to the oversaturation of "Lost" and "Thinkin About You", but coming in with a fresh mindset made me see how each song is special. I was a huge fan of every song up until "Lost", with my favorite being the epic "Pyraminds." After that it started to get a bit tiresome, but the last 3 songs are good. I'm also a fan of the interludes, highlighting production tricks that add to the mood and tie the whole experience together.

I consider this to be the peak of 70s krautrock. In just 36 minutes, Kraftwerk throws six electronic compositions that paint future landscapes of night cities and space travel full of automation and scientific advancement. Usually 70s krautrock can be harsh and sound primitive, but the synths here come together and sound smooth. You could hear the influences on later music genres all over: "Spacelab" in post-rock, "Metropolis" in house, and "The Model" in synthpop, all of which affect music to this day with the likes of Dua Lipa or Flume. All the tracks are amazing, each one complete, memorable, atmospheric, and evoking feelings of comfort and happiness.

This is pretty insane. Eno somehow surprises me with every album he's worked on, even his solo debut. I can name a million artists that sound similar to this record. The humorous lyrics and vocal style remind me of Ween. The haunting distortion has elements of early industrial music and noise rock. The synths can get pretty grating and show their age, but it grabs your attention and works well with the pieces at hand. Most of these are pop pieces, with memorable hooks to sing along to, but there's a good mix of cheery and eery tracks, reminiscent of his work with Roxy Music. Both the synths and chamber vocals add to the ambiance. Sounds like Ambrosia stole "On Some Faraway Beach" for their hit "Biggest Part of Me." A lot of tracks like "Cindy Tells Me", "Blank Frank", and "Dead Finks" are Beatlesesque, certainly inspired by the White Album. "Needles in the Camel's Eye" actually sounds like their glam rock contemporaries, resembling VU's "I'm Waiting for the Man". The next track "Paw Paw" embodies Roxy Music spirit. "Here Come the Warm Jets" it totally an mbv song. Some tracks might drag on, but there's something cool I enjoy out of every track. There's plenty of revisit here, and nothing I would consider non-essential. Favorites: Needles in the Camel's Eye, Baby's on Fire, Cindy Tells Me, Dead Finks

So much better than their debut. All the tracks are smash-hits. This is 80s heavy metal at its finest, and it's rare for me to find a metal album where every track is likable and unique. Only 8 of them, but they all stand out without dragging on or feeling rushed... Ok maybe not Gangland except for that sick guitar part, but it's surrounded by the hits so I don't even notice it other than a nice break. They're loud, dramatic, and energetic with catchy moments to pull in new audiences. Great lyrics, album cover and song titles, and instrumental pieces.

Known for collaborating with Paul Simon on his masterpiece Graceland, this record showcases Senegalese mbalax music, characterized by overlapping percussion rhythms and a distinctive chamber aesthetic. It's pretty dated, even for its time. They have the most basic synths that don't incorporate well, but they do add atmosphere in "Pitche Mi". I prefer these long groovy pieces over a series of shorter tracks, but they still suffer from repetition, especially the 3rd track. I found his vocals to be excessive and grating, but he has his moments in the first track, and he does a stellar dreamy performance in the second. The polyrhythmic grooves kept me engaged for the whole album. I wanted to be more critical of this album, but it's unique, has its moments, and honestly I did enjoy most of it.

Inspired by 60s soul movements like Motown doo-wop, Lauryn Hill fuses the recent popularization of neo-soul with hip hop, characterized by tight luscious production that's both relaxing and gorgeous. The focus is entirely on Hill, but she employs electronic techniques, reggae or afrobeat rhythms, angelic gospel back vocals, and rock instrumentation to achieve attractive and accessible sounds that make each song remarkable. "Every Ghetto Every City" for one embodies Sly energy. I wish Spotify would separate the skits from the songs, but they're funny and positive. I thought I was gonna hate the album with its double length thinking they would put the hits in the front and filling the rest, but I thoroughly enjoyed every song, especially the emotional last 3 songs.

I was really hoping to give this a low score. I hate Oasis. All of it. I listened to this album a year ago and hated it. So why don't I hate it now? This is bearable now, perhaps due to my slow appreciation of noisier rock and electronic music. The vocalist is whiney and the instrumentation is too loud and busy, but not in an aesthetically pleasing way like many shoegaze bands I'm into. More than any other Britpop band, Oasis takes inspiration from the Madchester movement; I'm hearing a lot of Happy Mondays and Primal Scream. It relies on the same repetitive formula of conflicting swirly and groovy guitars and woozy drawn-out vocals. It's not as versatile or interesting as bands like Ride. A lot of fans obsess over this album. Has a ton of hits that were big in the UK, in addition to the fan favorite "Slide Away". They're dispersed well to keep audiences engaged. For me, the only standout is the pop hit "Live Forever", it's catchy and full of energy, and I like the jangly guitars. The only issue is the solo is a bit on the generic side. I can see why this record was so influential with middle-class anthems like "Cigarettes & Alcohol" but besides the hooks and cheery instrumentation, it feels unnecessarily busy, as if it's trying to say a lot without actually saying anything. On the other hand, it was hard for me to hate any of the tracks. And trust me, I tried. "Bring it On Down" is out-of-place, starting out with a Joy Division-like gothic intro and then turning out to be pretty forgettable. Many songs start to get annoying by the half way point due to the extensive lengths, but this is the worst with "Shakermaker". I could see the appeal of "Slide Away" which probably has his best vocal performance and powerful guitar chords to emotionally impact audiences, but it still felt empty to me. This might be a grower. Favorites: Live Forever, Up in the Sky, Digsy's Diner

Dr. Dre moves on from NWA by taking an innovative approach to hip-hop by making a shift away from sample-heavy production to live instrumentation, a change that would influence hip-hop for years to come. As the genre "G-funk" implies, this album is heavily inspired by the works of the famous Parliament-Funkadelic collection. Not just with their use of PF samples, but also in their beats, basslines, and space synths. It's immensely colorful and works well with Dre's style, which is much cooler and more relaxing than the high-energy state of hip-hop at the time. It starts out fantastic, with memorable songs. Some like "Lil' Ghetto Boy" you can hear influence from other funk artists like Curtis Mayfield. The skits are funny, and Dre forms a fun dynamic duo with Snoop Dogg. In the second half, songs don't stand out as much, relying too much on the same techniques. On one hand, we get a consistent experience with songs where almost every song can be enjoyed individually. But on the other hand, it becomes tiresome and drags on too much, not justifying its hour length. Specifically, "High Powered" and "Stranded on Death Row" sound like filler, not adding anything new. Another complaint is that the themes become too repetitive, and although the hooks and flow are there, I became tiresome of the overused gangster subject matter that doesn't say or feel much.

The next transition in post-hardcore from the likes of Fugazi, surely influencing later genres such as math rock and emo. It's loud, chaotic, and abrasive. These songs take however much time as they want, with 2 songs going over 9 minutes. The melodies are incredibly complex and interesting, constantly shifting time signatures and tempo and repeating themes to the point where you never know where a song is going. The music is intentionally off at countless points and it just grabs your attention the whole ride. You can tell there is purpose to what they do, even if the structure isn't well-defined. Much like prog rock and death metal, it's a bit too much to separate these tracks when they're so in your face, and can be overwhelming at its 70-minute timestamp. But the more I listen to it, the more I can separate what makes each track stand out.

Simple and peaceful folk music. Cool... not. Melodies and lyrics are pretty (reminds me a bit of Donovan), but they're all boring and predictable, not capable of offering anything interesting. Everyone loves "American Pie" and I agree it's not just a cultural icon but a fantastic folk rock composition. I started to like "Till Tomorrow" and "Vincent" when the mood was fresh until I realized this was pretty much going to be the rest of the album. "Crossroads" is a pathetically lame ballad, "Winterwood" is shitty country, "Empty Chairs" is the most forgettable song despite having the 3rd most plays, "Everybody Loves Me Baby" is a 2nd-rate "American Pie," and "Sister Fatima" tries to put a Cohen with the guitar but misses the point. I actually like the ominous vibe of the closing two tracks... kinda reminds me of 2000s indie folk like Mountain Goats. Favorites: American Pie, Vincent, The Grave

A pinnacle of krautrock, featuring 6 great extended tracks. The first half is bright, calming, and atmospheric. You can hear the influence it would have on Eno and the development of ambient music. The spacey synths are very Eno-esque. We see a shift in the 2nd half to something faster, harder, and reminiscent of the works of post-punk artists like The Fall. I'm personally a huge fan of "Hero". The vocalist still feels like an accessory to the spacey guitar and the signature motorik beat. Despite being 42 minutes, it really flies by.

A pinnacle of noisy music that led the way for countless alternative rock subgenres through its employment of high feedback. These songs are creative and exciting, influenced mostly by post-punk contemporaries but also greatly by 60s bright sunshine pop music with its soft drawn-out vocal style and jangly instruments. But for sure their fusion with high feedback is modeled after the Velvet Underground. It's echoey and features subtle effects and instrumental shifts (very reminiscent of shoegaze) which makes for a fun and engaging listen. There are soft beautiful songs and harsh abrasive songs, and although I'm a fan of both styles, it sometimes catches me by surprise, like the sharp transition from "Cut Dead" to "In a Hole". Possibly my only complaint, but a wrong track order is not enough to tear apart my experience here. I'm a fan of nearly every song, which is surprising considering there are 14 of them. But they're short enough that you become intrigued by each concept before moving on to the next, yet none of them sound rushed. They're cute short pop songs full of creative ideas.

After a string of highly successful and influential bands (Yardbirds, Bluebreakers, Cream, and Derek & The Dominos), Clapton emerges 3 years from a heroin addiction into his solo career. These tracks are coherent, with bluesier groovy tracks in the first half, and softer heartwarming songs in the latter. As always, Clapton displays his unique rusty vocal style and his outstanding versatile and controlled skillset as a guitarist. I don't think he does much to improve these songs or make them his own (leaving much of it forgettable), but they're all performed well. It's all very accessible, with a poppy sound that resulted in his famous Marley cover push reggae into the mainstream. Favorites: Motherless Children, I Shot the Sheriff, Please Be With Me, Let It Grow

A landmark album of the garage revival movement. Taking inspiration from the likes of the Strokes and Interpol, Franz Ferdinand takes the music into an entirely new direction, more danceable and disco-like that would influence not just other dance punk artists like LCD Soundsystem, but indie rock as a whole to this day. You could hear the post-punk influence all over, such as the strategic use of repetition and atmospheric synths. Some like "Cheating On You" have an almost 60s twist on it. Their songs are rich and complex, which is really brought out by the crisp production. Kapranos is a star vocalist here - with a distorted vocal filter common among garage revival bands like the Strokes - versatile in singing both fun energetic songs to dance to and introspective songs to be taken away by. It's an incredibly accessible album, with something to like from every track. Good length. Good track ordering, with appropriate opening and closing tracks.

An incredibly fun collection of strange pop pieces, characterized by whimsical lyrics, lazy vocal delivery, a spacey chamber presence (filled up echoes and drawn-out instrumentation), surf rock riffs, and a wide variety of creative and standout instrumentation styles and studio techniques that evokes a ton of wild imagery, pulling from all sorts of genres and in general random sounds you'd encounter in life. They're all memorable, full of rich and colorful melodies. Some exciting but mostly mesmerizing. Every track contributes something unique for a full experience, and never a minute feels wasted. In a lot of ways sounds like Sgt Pepper, from the Beatlesesque harmonious vocals to the experimental stereo mixing, and even that weird tape outro just like A Day in the Life. Favorites: Astronomy Domine, Lucifer Sam, Flaming, Interstellar Overdrive, Gnome, Bike

In just 41 minutes, we get spammed with 28 songs that take on so many different styles, influenced by 60s pop (Beatlesesque, psychedelia, sunshine) and their contemporaries in power pop. It's a unique sound and concept that feels like a strange mix of poorly recorded pop songs, which is exactly what it is. The jumps are sometimes smooth but sometimes sudden. They execute the lo-fi style incredibly well to the point that I feel the album would be far worse if not for the high distortion and muddled distant vocals. There're a ton of strange and cool sounds in here. You can tell they swapped what instrument everyone played, and I've heard they did things like drumming on trash lids and slapping Pollard's back to get a vibrato (sounds like "Chicken Blows"?). There are plenty of standout songs that I'll for sure throw in my playlists as a short intermission. Some catchy, some mesmerizing. But for the most part, this is an experience to be enjoyed all the way through. I started listing my favorite songs but the list ended up being over half the album and I'm not even sure there's a single song I wouldn't put on that list if I thought about it hard enough.

Davis, Coltrane, Cannonball, and Bill Evans come together to create quite possibly the most famous jazz record of all time. A collaborative attempt at establishing modal jazz, we have here a truly accessible album. Losing the repetitive nature of jazz standards or pretentiousness of bebop or swing, Kind of Blue is full of simple yet interesting hooks and smooth catchy melodies to attract all audiences and fit both mellow and energetic vibes. Not only did it change jazz as a whole, but it also changed its reputation to be appreciated by all. Despite only being 5 tracks, deep care and attention are put into each second. Their pop-like structures are engaging and justify their extensive lengths. Everyone is doing their own thing, giving us plenty to pay attention to and increasing replayability. But by maintaining restraint, they all come together to create coherent established pieces that never seem out of place. I could always find something new to appreciate with each listen. For example, Bill Evans tends to stand out for his hazy, emotional impressionist piano style, characterizing the most famous track here "Blue in Green". And despite being produced in 1959, this is among one of the best-sounding albums I've heard from the era. Everyone is clear and smooth during both its quiet and crowded moments.

Compared to their hard rock contemporaries, ZZ Top stayed faithful to their blues roots. A remarkably bluesy guitar and vocal style layered with heavier, doomier bass and a tough image and lyricism. The instrumentation stands out to me, especially those kick-ass guitar solos. There are plenty of weak songs here, with only guitars keeping me engaged. I felt "Move Me on Down the Line" tried too hard to mimic glam rock contemporaries, but there was still plenty to enjoy. But in retrospect, the only thing genre-breaking is the landmark hit "La Grange", and I'm disappointed nothing else even comes close to it.

A landmark in Dylan's career with a more defined and flashy bluesy electric sound and a confrontational lyrical style that would serve as major influence for rock music. All songs are good, with a mix of crazy fast songs ("Tombstone Blues") and slower introspective ones ("It Takes a Lot to Laugh"). Out of 9 songs, 3 or 4 of them are outstanding and match his style well. The only track I really did not like was "From a Buick 6." But just like Blonde on Blonde, it was hard for me to get into most of the songs, but I can see the value and skill in them.

This is the weirdest DnB album I've heard, but also the grooviest. Super abrasive and chaotic with underlying rhythmic structure, it reminds me of the peak of an acid trip where your mind goes nuts with only brief moments where you're grounded in reality, only for your mind to slip back into the realm of insane ideas. It's like fast-paced doom metal incorporating elements of classical, prog, punk, and jazz. Honestly, I love nearly every single song. They all flowed from one through the next, and they all took their appropriate time without ever feeling too long or short. Satisfying opener and closer. It's a headache to play the whole thing at once, but it's guaranteed I'll be placing many of these in playlists.

In their best album, Black Crowes evokes 70s southern blues rock through the use of power chords, a loud and energetic vocalist, and gospel-inspired back vocals and piano on certain songs. It's one final classic hurrah before alt rock takes over. I wouldn't say it's innovative, with a few forgettable songs and plenty of repetition, but it's certainly executed and produced well. Even the mandatory power ballad "She Talks to Angels" isn't that bad. Favorites: Twice as Hard, Sister Luck, Hard to Handle

Of the big 4 thrash metal, I consider Metallica to be the most accessible, with slower, groovier riffs and memorable structures that appeal to non-metal fans the same way Black Sabbath did a decade prior. The tracks tend to be pretty diverse, showing a lot of what thrash has to offer. Besides the titular track, I wasn't too impressed by the first half's compositions, but I was really swayed in the latter half. Of course, they're all incredibly talented, and the production is clear and appropriate. Battery: A powerful opener representative of the genre with speedy power moments meshing flawlessly with a slower melodic middle section. Not a complex song and doesn't stand out from the genre, but certainly shows what thrash is about and what Metallica can do. Master of Puppets: Their doomy masterpiece that wastes no time getting into the action, full of memorable hooks and moments that keep you on the edge of your seat. The chorus is catchy and has an incredibly build up for anyone to sing to. Nearly 9 minutes and yet every second is exhilarating, composed of several distinct movements and repeating motifs. The Thing that Should Not Be: Probably the darkest and doomiest song, with vocals, bass, and lyrics reminiscent of Black Sabbath. Really awesome squeely guitar solo in the middle section. Other than that, I found most of the song to be forgettable and drawn out. Welcome Home (Sanitarium): A melodic atmospheric proggy piece that reminds me of Rush or later bands like Faith No More or Dream Theater. Pretty forgettable. Disposable Heroes: Fast, loud, and exciting but repeats itself a bit too much, working against its length. If only it were a bit shorter, I'd love it, but it's still one of my favorites. Leper Messiah: Flows well from Disposable Heroes with its speed and power and has a great bass sound. One of the highlights for sure. Orion: A jazzy and groovy instrumental piece that feels classical in its structure at times: my 2nd favorite track. Damage Inc: The fastest and technologically impressive song on the album.

From the very start, Megadeth is right in your face with wild chaotic instrumentation, full of overlaying loud and speedy riffs, basslines, and drum patterns. Sets a new standard for prog metal being so technologically advanced, and serves as a precursor to death metal for its ferocity. A lot of the songs tend to blend together, and I especially got bored by the latter half. It tried to spice things by starting out slower and melodic but then cranks up the speed to max which got a bit tiresome. The rockabilly-infused "I Ain't Superstitious" was a cool surprise though. Favorites: Wake Up Dead, Peace Sells, Devil's Island, I Ain't Superstitious

Just like with their later funk record from the era, I consider most of the record to be forgettable. They're a singles band, producing pop hits with James Brown-esque forward vocals and scats. I appreciate the attempt at psychedelic instrumentation, especially during the instrumental section of "Runaway Child", but it's not that impressive. It's too fast and sharp to be very imaginative. This and "Cloud Nine" were decent funk attempts but felt rushed and were too rigid in its pop structure. The 2nd half consists of smoother soul tracks, utilizing some psychedelic instrumentation like wind chimes to spice things up, which accomplish what they sought to do, but nearly all of them are pretty forgettable. The production has nice mixing but sounds a bit poor, especially the vocalist. Favorites: Runaway Child, Hey Girl

In his debut, Jimi Hendrix establishes himself as a game-changing musician through this seminal acid-rock release. Taking heavy inspiration from jazz and acting as an early precursor to jam rock, his riffs are memorable and catchy yet harsh and energetic, often shrouding his hazy and slightly distorted vocals (yet you could still understand the lyrics clearly), capable of swaying you in all sorts of directions to build up suspense and reach satisfying conclusions. Out of 11 tracks, about half of them are already famous hits most rock fans already know, even if they just casually listen to rock radio. The remaining songs are just as incredible yet still pop-structured (compared to his other 2 albums), thus making this his most accessible and fun. Bonus tracks are also worth listening to.

A very modern-sounding disco-infused electropop whose rich heavy synths hold a candle to contemporary artists like Dua Lipa. The production is crisp, and the synths have an 80s retro vibe that creates an atmosphere. Comparing it to other artists like Dua Lipa (due to how derivative it feels at times), I found it to be less memorable, especially the second half, but it had cooler effects that compliment her singing style.

A decent yet forgettable and generic solo attempt at blues and folk by the vocalist and guitarist of The Jam. There are a few highlights with cool psychedelic studio effects, and the production is clear, but the majority of songs just suck, and it's way too long. Favorites: Sunflower, All the Pictures on the Wall, Shadow of the Sun, Moon on Your Pyjamas

In a more sophisticated and diverse album, Wonder experiments with all sorts of genres, from the soul, funk, rock, and psychedelia that we're used to, into a greater jazz and Latin influence. It's a suprisingly coherent and smooth record, which some of the smoothest, seamless transitions I've ever heard. Despite performing nearly instrument, the tracks are incredibly lush, with the synths creating a unique and engaging sound that add atmosphere and compliment his styles well. Every song has its hooks and memorable instrumentation choices. Only 2 tracks that didn't blow me away were the ballad "All in Love is Fair" and the sunshine pop "He's Misstra Know-It-All", but there was still plenty to like about them.

Abrasive and intense punk infused by heavy abrasive industrial yet still melodic and even a bit catchy. Mamy of them sound like they were recorded by putting a mic in a factory. Reminds me of Joy Division in its dark undertones and distorted atmosphere, most notably in songs like "Bad Houses". Yet their attitude is angry and politically charged similar to contemporary hardcore bands (but not as much screaming or aggressively fast playing). The 1st half is more like a traditional punk album in structure and vocals, but that drastically changes into something much more incoherent in the 2nd half, where the vocals feel more like another instrument. You even have some danceable tracks like "Strange Things." Enjoyed every song, with "Kerosene" being the best, showcasing their potential if they went in that route.

Just like their brown album, Orbital releases something techno & IDM-fueled prominently featuring sci-fi and industrial effects, again using spoken samples and ethereal vocal components. Suffers from the same weaknesses as many other 90s electronic genres, most notably its unnecessary repetition and 70-minute runtime. Yes, I'd probably rave to almost all of this, but this doesn't mean none of it is generic or boring (coughcough "Crash and Carry"). Yet there are a couple outstanding tracks, with my favorite being "Are We Here." There are also some really cool acid house techniques like parts of "I Wish I Had Duck Feet" that would have made for a really interesting album if they chose to go further in that direction.

I was blown away by the chaos and control of Mingus and his big band that is able to twist 50s pop music to his whim. It's eery and uncomfortable, yet glued together by reoccurring motifs, and there are often so few instruments at once you aren't constantly overwhelmed. The way the instrument fight and dance with each other, changing their tempo and tone to crazy levels, just pulls your attention without falling apart. So many highlights that there's never a moment to be bored by. Production is clear and crisp. Nice incorporation of the Latin guitar.

Their most confident and diverse album, this record takes heavy influence from rockabilly, country, soul, and blues, with hints of bluegrass an psychedelia dispersed. It's rhythmic and jammy, aligning with their signature swamp sound, capable of running songs more like 10 minutes without it coming off. Every song is fantastic, most of which are unique and memorable. Fagerty has distinctive enthusiastic rustic vocals that fit with the swampy aesthetic, with many catchy moments to sing to.

An energetic and fun R&B pop album, it does what it does stronger than most examples of the genre of the era. The production is tight and smart (although dated of its era), taking strong influence from G-funk, electronica, and disco, not falling into lazy or annoying samples. Vocals are strong and catchy, led by the dynamic range of Beyonce, but the harmonic combination of the three brings out life and energy you wouldn't find otherwise. It starts off with 3 strong impactful singles, but the rest of the album can be a mixed bag, edging on the poorer side. Plenty of songs have highlights, but the majority are either completely forgettable or nothing more than a fancy display of the girls' vocal abilities. With its hour long, this makes it really drag on, but "Emotion" and "Brown Sugar" are redeeming tracks near the end.

By this record, The Who has matured their mod sound and can bring out their greatest strengths. Their compositions are grand, triumphant, and complete. You can hear the influence of the rock opera Tommy but in a more passionate and invested vocalist performance that makes the songs sound more independent and complete, whereas Tommy felt too tied to the plot to focus on their compositions. Looks back on their rough garage style (due to the speed and viroscity) with a greater blues influence but have a clear production and more structured and controlled sound. This is most notable in "Going Mobile." Songs here rock hard and have relatively simple and clear vocals and lyrics, easy to sing along to. All songs are strong and memorable. And with only 9 of them, you don't even notice it's over by how you enjoyed nearly every minute. Honestly the only song that didn't blow me away was "My Wife" but it's still great stuff.

Absolutely blew my mind the first time I heard it almost 2 years ago. One of those albums you didn't think music could sound like that. "21st Century Schizoid Man" is a chaotic mess of experimental jazz and proto-metal where you're constantly on the edge of your seat, with tons of crazy and memorable moments. Toning it down in the opposite direction, "I Talk to the Wind" is super jammy and peaceful with its flute-based classical influence. "Epitaph" carries on that energy but becomes much more dramatic with its symphonic ensemble. "Moonchild" is literally a filler track and the only remotely weak track. It's a minimalist modern classical track that at times sounds like Indian Classical. There are cool moments, but if only it were cut down by half. "The Court of the Crimson King" sounds like what ever prog band would try to emulate, an operatic approach to music with the instrumentation providing eery psychedelic sound effects in support of Lake's gripping storytelling, and emphatic enveloping segments in between.

A triumphant soul cover record that gets most things right. A passionate and versatile vocalist, crisp production (for 1965), catchy recognizable tunes, and an outstanding backing band consisting of Booker T, the Mar-Keys, and Isaac Hayes. Although its hard for me to argue whether any of these are better than the popular versions many of us grew up on, it certainly does them justice, and you could certainly mistake some of these for his own compositions. I was not expecting "Satisfaction" to work so well with his formula. One of my complaints is that it goes too much back and forth with loud dance tracks and slow emotional tracks that you don't know how to feel next. All in all, no bad tracks, and felt quick with its short 36 minute length.

The first thing people will notice is how derivative his work is on others' work. The spacious synths look back on Dire Straits, the beat is a basic krautrock-style that was likely taken from garage revival bands (alongside the lofi vocal filter), and the guitar and vocal style shows signs of Bruce Springsteen (predominantly), Tom Petty, and Bob Dylan. Yes, all artists take influence from others, but it's never been more of an imitation than here. Of course, he's none of those artists. He doesn't have the energy, dynamic range, or personality of any of those artists, but that doesn't mean any of this is bad or underwhelming. In fact, the mellow vibe, basic beat and synths, and lofi vocals are characteristics that dominate much of generic hipster indie rock nowadays. We have a coherent mass of 10 tracks that do what we do well. Take away the sources and honestly it's hard to find a better Americana album not by The National, especially one that fits so well with the times. It's a bit long at an hour, with many arguable filler tracks like "Eyes to the Wind" and "Lost in the Dream" (the Dylan copycats), but the prolonged atmospheric synths seem to make up for what otherwise would be wasted time. The reverb synths do repeat themselves quite a bit, but not nearly as repetitive as those drum patterns which do get tiresome. Favorites: Red Eyes, Suffering, Disappearing, In Reverse

In her most depressing album, Billie Holiday has an aging raspy voice that has its limitations but fits with the slow dramatic orchestral ensemble. In a lot of ways reminds me of Sinatra's In the Wee Small Hours. It gets old and repetitive quickly, and it was hard for me to even pick any of them to be my favorite... or even least favorite. The orchestra was a tad bit generic, but it complimented her somber style well, and they had their moments. The wind instruments especially stood out. As individual songs, they're good. But as an album experience, it's quite a chore. Favorites: I'm a Fool to Want You, For Heaven's Sake, But Beautiful

OutKast reclaims their title as one of the best hip hop duos with this 2-hour double album packed with hits. Albums don't have a write to be this long and engaging, not with 40 tracks, most of which over 3 minutes. These tracks are full of lush instrumentation, crisp production style, and full of engaging effects that keep you on your feet. It's organized pretty well, with hits dispersed evenly, starting out with a stream of disco-oriented tracks to pull in mainstream audiences. Speakerboxxx then moves in a more standard hip hop style approach based on the works of Dr Dre and other acts influenced strongly by P-funk. There are a couple tracks I didn't care for, but it's all good, and I loved most of it. Andre 3000 moves us into a more eclectic artsy direction on The Love Below with influences from jazz, electronic, funk, rock, and psychedelia. Even though both sides are genius, The Love Below fits with my music interests of crazy avant-garde melodies, strange samples, and eery atmospheric synths and other instrumentals. It blows my mind how a song like "Hey Ya" could exist and define the era but yet no one could even attempt to imitate it. There's an insanely strong string of tracks from "Prototype" to "Pink & Blue" that demonstrate the craziest strengths of this side, but the rest of the album is just as incredible.

In one of the most influential albums in history, CBGB-band Ramones popularized punk with a series of catchy upbeat songs characterized with fast tempo, minimalist melody, simple song structure, lofi production, and a whole bunch of energy and personality to inspire millions to take after their example. There's not much thought to these songs; the lyrics are silly and juvenile but irresistible. In less than a half hour, we get 14 songs that may sound repetitive at first but grow more and more on each listen. Almost all of them are earworms and I even find lesser known songs like "53rd and 3rd" and "I Don't Wanna Walk Around With You" stuck in my head. Starts off with their most energetic songs and then closes off with a bombastic satisfying ending "Today Your Love Tomorrow the World."

Peaceful and optimistic, full of baroque vocals and lush instrumentation from bells to harpsichord. This is one of their first great albums. Some outstanding songs like "Scarborough Fair" and "59th Street Bridge Song." It's short and only has a few forgettable tracks that still have some redeeming qualities. What was up with that Dylan copycat "A Simple Desultory Phillipic?"

Lou Reed takes over the band with a melancholic dreamy folk record. Peaceful, quite, and beautiful, there's plenty to like here with a few essential standouts, particularly "Pale Blue Eyes." We even get an cool avant-garde track "The Murder Mystery."

In their flashiest and most experimental album, Can offers a series of jazzy, groovy pieces not out-of-place for the krautrock movement (you can hear a Neu-like beat in "Oh Yeah") but with a dark chamber presence and eery vocal performance that would serve as a precursor to post-punk. It's all really interesting but of course can be a chore with the length of some tracks.

This is a refreshing genre reminding me of scifi video games. Reminiscent of bands like Rammstein, this martial industrial album is characterized by Wagnerian (metal-esque) vocals, gothic melodic structure, and industrial and military sound effects providing triumphant and emotionally charged tracks. I recognize "Opus Dei" from an industrial club I went to. There are some decent tracks, but much of it is dull and forgettable.

I'm not here to talk about the political significance of this album in the face of apartheid in South Africa, which is clearly a valid reason to place this album on this list, whereas most are placed for their quality or influence on the industry. These jazz pieces are optimistic, peaceful, and soothing. Every track has some instrument that stands out and carries the piece with force and enthusiasm, but everyone collaborates peacefully in support. Standout is the catchy "Manenberg" but something can be noted about them all.

In Elliott Smith's best album, he offers a series of accessible power pop tunes with minimalist folk instrumentation supplementing the depressing tone and lyrics giving it a very rustic edge packed with emotional power. Vocals are reminiscent of Alex Chilton of Big Star. It's strong, coherent, and short, with plenty of standout tracks.

The most amazing inconsistent album featuring five insanely talented musicians: Peter Gabriel and Phil Collins becoming household names. A proper follow-up to their masterpiece Foxtrot, this record sees further influence from both jazz and British folk music in its unstable complicated melodies, changing structure (e.g. time signatures) and techniques every few seconds, yet confident enough for every other song to span 8-12 minutes. Plenty of memorable moments, and certainly stands out for such a unique and outgoing vocalist, the confident drummer, and strange instrumentation like the keyboard effects and woodwinds. Lyrics are fantastical and dramatic, featuring all sorts of wild vivid scenes and zany characters. Started off super loud and flashy but got tamer and more precise as the album progressed. Favorites:

A seminal prog release, the songs are much stronger than Fragile but not the coherent masterpiece of Close to the Edge. Despite all, we have collection of 6 flashy prog pieces, sunshiney and witty (somewhat Beatlesesque) compared to their contemporaries, seeing influence from American folk and classical, especially with the creative use of happy acoustics and a unique spacey, electronic production style. All the songs were impressive, but only "Starship Trooper" and "I've Seen All Good People" blew my mind.

Despite lacking the mega hits of their other albums, New Order once again hits it out of the ball park with an innovative and engaging synthpop record, this time merging heavily with the rising rave scene in its acid house beats and rhythm. It's fun to dance to, catchy to sing along to, and full of heavy complex melodies also suitable for home listening. Kept the energy and excitement throughout the whole record with no low points. Favorites: Love Less, Guilty Partner, Vanishing Point

Everything you could ask for from New Wave. A high energy wacky performance from the eclectic style of Cyndi Lauper layered with bright synths and melodies. Track after track we get massive pop sensations, not just the decade-defining hits "Girls Just Wanna Have Fun" and "Time After Time" but plenty of other standout tunes you can't resist singing or dancing too. The energy quiets down near the end, with the only weak point being the closer, but otherwise this is one of my most revisited pop album.

Beaitiful improvisational jazz piano, completely tonal and accessible with crazy impressive moments and reoccuring motifs. The grunts are bothersome but can be mostly ignored. Plenty of dull moments, especially in the latter half as the audience starts to tire, but there are still displays that pull me back in.

Decent New Wave featuring jangly guitars and a filtered vocalist that reminds me of early alt rock contemporaries like the Replacements or REM. It's light and happy with tints of country and folk. Pretty simple stuff, nothing innovative or exciting here, and it gets repetitive by the second half, but it's my type of music so I like most of the songs. I am a bit obsessed with replicating that cool guitar sound.

I wasn't expecting to like this better than Either Or. Not as consistent or emotionally dramatic, but so much more colorful and diverse, with strong art pop, psychedelia, and classical influences on his usual indie folk and power pop style. I can hear John Cale and the Beatles in both his vocals and instrumentation in many tracks. Tons of amazing memorable tracks. I fell in love with nearly every song in the first half. Mellows down from there but still enjoyed every song.

Distinctively 80s with the guitar and production, this mbalax record features mild and relaxing psychedelic folk influences but tries a bit too hard at times to achieve those effects. I did enjoy the tropical sound (could hear calypso in tracks like "Salminanam"), and the intros to many songs were good but don't go very far, with many tracks feeling too repetitive, not just derivative of each other but also not justifying their 5-10 minute runtimes. And overall, it's way too long at over an hour, with most of them completely forgettable. Favorites: Muudo Hormo, Djam Leeli, Sehilam

The Pixar guy gives us a half hour of bright piano pop. I don't really see the appeal. The instrumentation was all pretty bland and predictable, but at least there was diversity. "Last Night I Had the Dream" was the only one that sounded cool. Even the critically acclaimed "Sail Away" was too simple and boring. It's not awful and its short length and pop-style make it easily digestible, but I see no reason to revisit.

Groovy and funky with both heartfelt romantic and harder cool moments. One of the best produced reggae albums, it's super clear filled all sorts of lush instrumentation from horns to gospel back vocals to a harmonica. Marley's voice is distinct and passionate complimenting the politically charged poetic lyrics. Full of strong memorable tracks, although it does weaken in the second half.

Wasn't expecting much from an album known for just one single featured in Kangaroo Jack, but left pleasantly surprised. Has a more modern production take on 80s hip hop, with clear influences from the likes of Run-DMC and Public Enemy. Samples are fun and funky with hilarious lyrics and a passionate vocal delivery that would surely touch Will Smith for his Fresh Prince performance. There's a lot of diversity here with many standout tracks, but some were pretty forgettable or sounded too much like their influences (e.g. Murdergram sounding like a Public Enemy B-side). Did not warrant the hour length.

Eminem establishes himself as one of the goat rappers with an accessible yet highly aggressive and smooth vocal delivery capable of expressing all sorts of emotions, keeping his cool and honest persona at the forefront. His lines are clear, fast, passionate, and poetic, capable of telling intricate stories and dialogues with such natural emotional delivery. The skits are funny and serve a necessary purpose, and the tracks flow seamlessly from one to the next, especially impressive considering the extensive length. The music itself is labeled as horrorcore and is probably the best example of the genre, full of minor key synths and piano melodies reminiscent of horror movie soundtracks and dark cabernet, with influences from industrial and reggae in the beats and effects. Tons of creative devices and samples used to make each song memorable, always something new to noticed on repeated listens. Tons of hits, and most of the songs are essential (again, very impressive with its double length).

I grew up on most of the songs, hearing them all the time on the radio growing up, but I stand by the belief that these songs are objectively amazing. Ramone's production work is outstanding, with the incorporation of brass, synths, cool guitar effects, and so many other instruments feeling so natural coming together. Not just making each track musically interesting, but somehow never diverting attention from Billy Joel's superb vocal delivery. His voice is passionate and emotional, capable of giving a fun energetic performance in "Movin Out", an introspective melancholic one in "Just the Way You Are", and everything in between, throwing in all sorts of scats to keep himself on the forefront. A lot of these songs have the same appeal as Bruce Springsteen's or Steely Dan's work and stands among the best that 70s pop rock has to offer. What solidifies the 5-star rating (which apparently not even most professional reviewers give somehow) is how excellent and memorable each individual song is. Even the deep tracks like "The Stranger" and "Get it Right the First Time" had something exciting to offer. I guess the only weak track was "Everybody Has a Dream" but I still liked it.

Beautiful folk music featuring lush classical, jazz, and acoustic instruments that envelop you. Spacious and patient with plenty of highlights, I prefer this to Five Leaves Left with its greater consistency and optimistic mood.

This band is regarded quite highly among alt-country circles, which this being the first of their golden era. However, there's not much country going on in this record, focusing on a greater southern rock sound trying hard to sound like Lynard Skynard and Tom Petty (and they don't try to hide this). It's decent, but pretty forgettable and inconsistent with the rotating songwriters and vocalists, with almost none of the tracks standing out. Favorites: Dead Drunk & Naked, The Southern Thing, Zip City

A spectacular and wild performance by Motorhead during the height of their popularity, playing a mix of all their best songs. It's raw, loud, fast, and rowdy heavy metal with a rusty energetic vocal performance by Lemmy and bluesy condensed riffs that repeat themselves a good amount. It'd definitely be more entertaining to see it in person, and honestly listening to live performances this loud and raw gives me a headache, much prefering their more consistent and polished studio efforts. This is more for fans as the songs can blend together if you're not familiar with them. But this is great as a live metal record.

In a lot of ways reminds me of Wu-Tang, this record is characterized by a minimalist dark production with hard beats and some light cool effects like radio static or record scratching, but the focus is always on the multi-layered raps of the trio. They're all talented, but Lauryn Hill is the multifariousness one who always sticks out for her power and emotion. Their flows and rapping styles in some ways have a reggae twist to them, which might just be biased from them literally having a "No Woman No Cry" cover on there. It's a really strong coherent experience with plenty of highlights and smooth transitions. Nothing that obviously stands out as off, but the second half songs don't have as much of an impact.

A fantastic follow-up to Nothing's Shocking. I do prefer Nothing's Shocking, but this has everything you could hope for in another record. Loud and energetic with its fun and slow moments. The first half consists of accessible fun songs that rock hard, culminating in their catchy classic hit "Been Caught Stealing." We then see a shift in the second half with slower, longer, and more melodically complex epics in memoriam of his deceased girlfriend, leading to a satisfying closer.

One of my favorite hip hop albums. They perfect their style here, with no second feeling wasted. They get straight to the point, with one song immediately getting to the action and leading straight to the next. It's harder to find a more consistent album. I felt excited for every song with tons of highlights that stand out as some of the most iconic songs hip hop has to offer. The jazz samples and beats sound incredible, deep and dark, distinctive from what everyone else was doing. It sounds really cool on top of Q-Tip's and the others' raps. Q-Tip is by far my favorite rapper. He's funny and conscious, clear and precise. His flow is smooth and aligns with the samples. I'm obsessed with his cool voice. But the other rappers aren't bad either. They contribute to a vibrant and lively vibe, and several of them give a passionate performance without coming off as too grating.

The strongest Britpop record that could challenge the big 4. It's fast, wild, crazy, and fun full of memorable and catchy songs that take strong inspiration from 60s psychedelia (particularly Beatlesesque), Madchester, and a garage style in the vocals and heavy riffs. The lyrics are simple and light, repeating the themes of embracing strangeness and youthfulness which I'm 100% in support of. There's a lot of diversity in these tracks that everyone ought to have a different favorite, excluding their biggest hit "Alright." Last few songs tone down the energy to make it a satisfying and relaxing conclusion. There are a few ones I'm not crazy about, but I thoroughly enjoyed it from start to finish.

I've always heard Chemical Brothers as the big 3 in Big Beat alongside Prodigy and Fatboy Slim. But compared to those two, Exit Planet Dust left me a bit disappointed and figured they were only known for their hits. But this goes hard, reassuring me of their status. Hard funky beats with effects that imitate rock music. Full of insanely cool psychedelic and industrial effects that keep you on your toes. There are only a few standalone great tracks, which unfortunately don't live up to Fatboy Slim's or Prodigy's hits. But this does beat them in terms of consistency, and there was always something new and exciting happening in every song.

When you've been listening to an album for years that has shaped your taste in indie rock, how do you give an accurate review? I saw Dinosaur Jr live in late 2021. In preparation, I listened to all their major and recent albums. And as consistent as they are in their discography, nothing could top this game-changer. Every track here has had an impact on me, and I can still sing along to J's whiny voice on half of these songs. These songs rock hard, with a lo-fi grungy guitar that takes the forefront, unlike most other forms of rock at the time, and their experimental use of the lead guitar would influence later indie rock. It's melodic and complex, with songs going through many stages. I can name 10 memorable moments from many of these songs to the point where I always have something to look forward to on every repeat. Even the least memorable track "Lose" is still a fun and wild track with an incredible chorus near the end. The whole album is a wild experience. Just listen to how they transition between songs like "Kracked" to "Sludgefeast." They give you no time at all, and several of them are like like this, getting straight to the action with a memorable noisy hook. It's one of those albums that comes off as abrasive but after listening to it many times, you can pick out all the channels and it becomes dreamy and calming. Kevin Shields took a lot of inspiration in the development of shoegaze, and you can hear it in many songs like "Tarpit." Would I kill to hear a full version of "Just Like Heaven"? Yes, but also it's hilarious they also do the abrupt stop to close their concerts.

I had low expectations, with it being a live album and only seeing Bill Evans side-by-side with Miles Davis, I didn't think he could produce a spectacular album on his own. And yeah, he isn't on his own here. In fact, LaFaro's bass is just as important if not more outstanding than Evans' piano. Nevertheless, the trio does a fantastic job at a simple jazz performance that showcases the power of improvisation. Motian sets up the rhythm while LaFaro and Evans take turns on center stage, often colliding and complimenting each other, but you sometimes can't tell which, as if which one tends to swap every so often. Noticed there were some complimentary "lyrics" on Spotify which are quite poetic. Some people like the ambiance of the live recording, but I personally could not care for audience chatter and glass clinks, finding it a bit distracting at times. Not a huge deal since the bass and piano hone in on your attention, but I would prefer a cleaner sound. I also found Evans' to be a bit underwhelming here, even sounding a bit muffled in comparison to LaFaro. He has plenty of beautiful moments, but also many parts I found dull.

With only 4 tracks, it's easily digestible, especially with its clean production and lush orchestral instrumentation. There are low points, like how it took 8 minutes for "By the time I get to Phoenix" to start. "Walk on By" was a fantastic cover, and the rest had their moments, but overall underwhelming. Stick to the kitchen.

I get what they're going for in the first half, and it's cool as a storytelling device similar to Lou Reed's Berlin, but that doesn't make it a very aesthetically pleasing experience. Excellent on the lyrics but somewhat dull on the instrumental (except for "America"), made up for only by their beautiful polyphonic singing. "Save the Life of My Child" has the opposite problem, trying to be really artsy but coming off messy. The compositions become much more melodically interesting in the second half, at the cost of its consistency. These are some of their best songs but suffers from being a bit all over the place other than their high-energy. I may be a bit too harsh considering only one track was insufferable (you know which one) and I actually did enjoy many of them, but the faults turn me off from liking it as an album experience.

What an easy album to grade. It's highly polished somber ballads. Lana Del Rey has a great voice inspired by her dark electropop contemporaries, and she expresses it a little here, but it gets pretty repetitive. Despite being "Americana", the acoustic guitar adds nothing other than a country tint. It's just very boring and generic, with no reason to revisit half these songs. Favorites: White Dress, Dark But Just a Game, Dance Till We Die

A high energy pop album with strong synths. I can hear a lot of Madonna and Janet Jackson. "Buffalo Stance" is the standout track, with nothing even coming close. There's some filler, but there are also a lot of decent bops. Favorites: Buffalo Stance, Kisses on the Wind, Inna City Mamma, My Bitch

Peaceful and jazzy indie folk that takes inspiration from midwest emo and the likes of Elliot Smith (especially in the vocals). Many cute styles are thrown in to make a fun and diverse listen, like the hip hop of "Body Rap", the lofi of "This Song," or the jammy instrumental of "Bewilderbeast." It goes too long and doesn't blow me away but it's consistent and there's so much to like here. It has hooks and grooves. Favorites: The Shining, Stone on the Water, Camping Next to Water, Once Around the Block, Cause a Rockslide, Pissing in the Wind, Say It Again

In his final album, Drake drops the busy baroque instrumentation of his prior two albums in favor of a minimalist style of just him and his acoustic guitar. These songs are immensely beautiful with simple yet powerful imagery, with themes of depression, loneliness, and alcoholism, featuring reoccurring symbolism of the landscape and sky, and the juxtaposition of day and night. Every song stands out here, with plenty of memorable moments that leave lasting impressions, and interludes "Horn", "Know", and "Harvest Bread" give us breaks to breathe. Drake's soft voice and pauses press more weight on each phrase. But even his guitar alone is pleasing to listen to. Sometimes simple and repetitive but other times lush and active (as in "From the Morning"). This is one of those albums that could sound a bit boring and one-dimensional yet pleasant at first but then grow more and more after you look into the lyrics.

Legend has it this guy was one of the prisoners in the crowd when Johnny Cash performed at San Quentin. Singing about his crimes and prison in a remorseful manner in every song, he truly deserves the label "outlaw country" more than anyone. Anyone who can make country listenable gets extra points from me. Even though I'm not crazy about it and most of the songs don't contribute much, this guy can make me understand the appeal of country. These songs are depressing, and I love how they have this old-time feel like I'm sitting in a saloon, with the guitar, steel guitar, and piano taking turns in the spotlight. Favorites: Life in Prison, Whatever Happened to Me, If You Want to Be My Woman

By far one of my favorite album covers. Despite the dark lyrical subject, the music's so bright and lush. Sly is the star with his versatility, but all four vocalists have their roles, especially when they combine them into a group singalong or gospel effect. I interpreted "Sing a Simple Song" as a direct response to other types of funk that people like the Temptations were making at the time, except this is much more fun. Production is tight, and everyone is playing super well, taking turns getting their time to shine. I loved every song here. You have your hits; you have your long jammy track; and you have your deep cuts taking different styles of funk but are just as accessible and interesting. Every track has something impressive to share, and the track order was perfect too, starting with "Stand!", putting hits in the middle, and leaving "Sex Machine" near the end.

Being a fan of gothic music, I've heard about this band for a couple years ago, and I'm sure I've heard them plenty of times in goth clubs, but this is my first time exploring them, and I'm shocked they're not an all-female band like I always thought. In fact, this album's only female contribution was brought over from a side project. As a huge fan of Cure's Disintegration, this has everything I could expect: haunting deep vocals, a fast echoey drum machine, repetitive groovy basslines, powerful and creepy in-your-face synths, muddled screaming guitars that add ambience, plenty of reverb on everything, etc. There's only 8 of them, and they're all long and memorable to the point where I fell in love with nearly every one of them. It's a mix of grand upbeat dance tracks and ethereal atmospheric tracks that go back and forth so you don't get sick of the same formula in successive tracks. It goes beyond my expectations and scratches my itch for something that's not quite the Cure even if I'm not in love with most of them, like a budget Disintegration.

Beautiful calming folk rock compositions with a rustic soothing voice. Found something I liked out of every track. Especially liked the atmospheric strings and punchy drums. Little complaints here. Favorites: Jim Cain, Eid Ma, Too Many Birds, All Thoughts are Prey to Some Beast, Faith/Void

So many genres here, from house ("So Easy"), techno ("Remind Me"), DnB ("In Space"), downtempo ("She's So"), and trip hop ("Sparks"). Can clearly hear Daft Punk in "Poor Leno" and Air in "Eple". These styles are all over the place yet somehow they don't sound completely out-of-place, overall contributing to this chill vibe. First few tracks entice you, the middle segment has the highest energy songs, then the final stretch is a relaxing finish. I quite like it's diversity; they were able to perform all their different styles well.

I feel like every Joni Mitchell has a different mood but still has the same sorta sound appeal between her entrancing voice, intricate storytelling, and lush instrumentation. She first incorporated jazz in her previous album, but she really mastered it here. Tracks like "Car on a Hill" are so wonderfully arranged, not only succeeding a jazz rock style reminiscent of Steely Dan, but is full of angelic overdubbing and a strange avant-garde outro that gently leads into the Carole King-esque ballad "Down to You". Great tracks all around, tons of unique styles to keep me engaged. Favorites: Help Me, The Same Situation, Car on a Hill, Raised on Robbery

I chose a great day to take a bit from the cactus. Such an eclectic set of soul and funk that could only be matched by Outkast. So many songs like "Sir Greendown" and "57821" sound like they came straight from the 60s. I'm hearing afrobeat, modern classical, Prince-like funk rock, sunshine pop, and even rockabilly. A true concept album of afrofuturism, every song has something grand and exciting to display. There's really only one small complaint. As much as I love the sequencing for many parts, especially how smooth the first few transitions are, there are a couple of screw ups like the sudden jump from the the slow, entrancing "Sir Greendown" to the loudest, most energetic track "Cold War."

Classic thrash during their height of creativity. Some very doomy tracks here, and some have a folky metal sound reminiscent of Led Zeppelin. We see some of their strongest like "Blackended" and "One" but also a few of their most mediocre of the period. I would not like "Eye of the Beholder" if not for the instrumental in the third quarter, and the only thing I like about "The Shortest Straw" is the speed drumming. There are plenty of highlights, particularly the 10-minute instrumental "To Love is to Die". There's some really awesome riff going on in every track, and the drums hit hard. It's overall an outstanding effort, with my biggest complaint being the barely audible bass and snares.

A seminal outlaw country release, the minimalist bare-bones approach immerses you into the hopelessness and remorse of the character played out in this concept album. Story is simple and moves quickly, with half the songs less than 2 minutes, and many lyrics and themes being repeated from track to track to give a whole coherent experience. The whole record is just 33 minutes, making it a digestible listen. My favorite aspect is how it has a very "old western" sound between the sparse instrumentation, the banging drums, and that high-pitched piano that sounds like it came out of an 1880s saloon. Especially enjoyed the instrumental tracks dispersed throughout that set the mood.

Gram Parsons (of the Byrds and Flying Burrito Brothers) and Emmylou Harris come together to produce a fine country rock record, released shortly after Parsons' death. These songs are much softer, more intimate, and folkier than his previous releases. It's very polished, with several highlights, but the songs are a bit forgettable and melodically uninteresting. Hearing the live rendition of "Hickory Wind" just makes me wants to listen to the Byrds version.

John Martyn's previous folk album Solid Air grew on me over time, and I was pleasantly surprised by this one as well. His voice is calming, and I can see how the ambient instrumentals may have influenced 90s downtempo. It's pretty captivating (especially on the echoey guitar), embracing a bit of funk and jazz (including samba). Embodies the spirit of his good friend Nick Drake in songs like "Couldn't Love You More." Doesn't impress me much, and there aren't any songs I'd specifically return to, but I had a good time with this one.

Unlike Kim Deal's The Breeders, Frank Black is incredibly faithful to the Pixies sound and approach. As much as they try, it's not quite as melodically interesting as Pixies releases, but all the instrumentalists do an outstanding job in supporting Black. And it still has that Pixies groove with a bit of an Americana influence (that he would expand in later records). Plenty of highlights here. A few forgettable, and goes on a bit too long, but a solid surprise for any Pixies fan who hadn't dived into the post-Pixies material. Favorites: Whatever Happened to Pong, Abstract Plain, Calistan, Headache, Freedom Rock, Two Reelers, Fiddle Riddle

Soad stands as one of the most recognizable and strangest bands in mainstream metal. They're chaotic, wild, and fun, with incredibly fast riffs that keep changing every few seconds. It's an andrenaline fest. Serj's mix of singing and screaming reflects the psychotic nature of these songs. It's insanely impressive this is only their debut, but their very next album Toxicity is even crazier chock-full of hits. We have a few hits here, most notably "Sugar" and "Spiders", but you have a mix of both accessible and highly experimental songs. In fact, most songs somehow cross the line between the two.

Multi-layered rich experimental music combining rock instrumentation with complex synths that somewhat replicate horns, strings, industrial effects, and all sorts of strange alien sounds. But those replicated effects are distorted and twisted to sound otherworldly. There's a lot of krautrock influence too in its droning effects and beats, as I can certainly hear Neu in tracks like "Les Yper-Sound" and "Olv 26". The vocals are among my favorite part. Very bright and childlike with ominous undertones, utilizing a counter-melodic style with its multiple tracks. Often reminds me of Japanese city pop. It gets milder in the second side with less exciting hooks but just as interesting.

Pretty solid reggae by a Wailers member. It's groovy and dark with plenty of interesting songs but nothing that'll blow you away. He's no Bob Marley, but this is a cool reggae record I'll revisit if I'm looking for some diversity.

With the exception of the iconic "Cult of Personality", it's repetitive and forgettable, but they perform decently for arena rock. A highly energetic performance with cool riffs and a lively vocalist. We get some unique funk tracks like "Funny Vibe" and "Whats Your Favorite Color" (why is that spelled American?) and a cool Talking Heads cover "Memories Can't Wait".

Following the soul themes of Young Americans, Bowie creates a funk album with strong incorporates of both disco and krautrock, leading to long captivating spacey segmants in many songs. All the songs could be hits (even the 10-minute titular track), with catchy lines and high-energy dancey moments. It's lush and complex with an incredible performance by Bowie and all memorable tracks. Not a single track I would cut. This is a grower Bowie album for me, where I don't love this nearly as much as Low or Blackstar, but I don't see any reason not to give 5 stars to an album with all standout tracks.

Raw, wild, and fun. These songs contain fast and simple repetitive riffs and lyrics that reflect classic punk spirit. Songs vary in length randomly, with many being under 2 minutes while their longest goes to 4.5. And with completely different styles, some melodic and some abrasive, some reference other genres like rockabilly or country, it's always a surprise to hear what the next track will sound like. Of particular note is the vibrato of our two vocals which produce an unsettling and chaotic effect.

Fever Ray of The Knife presents a solo darkwave record, characterized by eery vocals (reminds me of Bjork) and cave-like electronic ambiance with hard beats and polished production that sound similar to the works of later electropop artists, particularly Lorde. It's a cool coherent experience that I'll mostly revisit for the dark ambience, but suffers quite a bit from repetition, with many tracks merging together. Favorites: Seven, Triangle Walks, Now's The Only Time I Know

On one hand, we have an intense loud and energetic band faithful to the raw lo-fi style of garage rock and attitude and instrumentation of early punk and hardcore. On the other hand, this is beyond repetitive. They really nailed down their style, and I get the simple repeated riffs of classic punk, but it's embarrassing how songs sound almost identical from one to next. And for a compilation album, this is especially embarrassing. Too much filler that contributes nothing. I'd see like live for their sheer energy, but as an album band, I don't have many hopes for.

Q-Tip is just as talented as he was with Tribe Called Quest, with smooth vocals and lyrical flow. With catchy choruses and pop hooks, it's a very accessible album for both fans and new listeners. Tracks are very modern with production, incorporating 2000s neo soul and pop rap while still staying true to 90s sampling and jazz rap. No filler here, with surprises on every track. Seamless transitions from one to next, making it a coherent listen to the finish. Nothing blew me away the way his ATCQ work did, but I did have a great time with this one and will revisit it.

If you want to get people into DnB or jungle, this is the one. A collection of fantastic tracks that made Goldie a seminal dnb artist, adding long atmospheric effects and beautiful RnB vocals, justifying the artistic significance of harder breakbeat music that broke off from "happier" techno and house music. DnB is still one of the largest subgenres of electronic music. Here in Boston, Phoenix Landing still has a DnB night every Thursday, in the year 2023. And this might not be the case if not for the mainstream appeal of this album showing people what DnB is capable of. And with almost 2 hours of content, there's plenty of to be impressed by here. I can understand why most people who come across this will overlook it. It's 2 hours of hard breakbeat music, of course it's going to seem repetitive and overdrawn without any context or appeal. Even I start to struggle half way through and is better ingested in chunks. But every few minutes, there's always some really cool and trippy effects that catch my attention. Reminds me a bit of the high experimental value of certain trance artists like Sphongle. The track ordering is as good as I'd say it could be. We get out of the way the epic "Timeless" to showcase what the genre and Goldie are capable of. And for newcomers, I feel they should stop here and digest what they listened to before getting further. "Saint Angel" showcases the more experimental effects with incredibly hard beats to appeal to both dance crowds and fans of the more sophisticated methods of acid house or techno. Next track "State of Mind" is an incredibly pop-oriented track that stands side-by-side with trip hop artists and can pull in any more hesitant stragglers. From there, you what this album can show you as you look forward to revisiting your favorite components presented in new ways. Yes, it does repeat itself a bit, and I can't see anyone getting through the whole record without leaving it in the background to do other things, and there are a few tracks (especially in the latter half) that fail to justify their existence, but it's a marvelous DnB record with plenty to enjoy.

One of the most influencial rock n roll artists of the 50s, you can hear him in James Brown and the Beatles. His energy, speed, and groove was like no other. His wild vocals are the highlight here, but his backing band is able to keep up with him. I especially like the wacky horns and punchy drums. Here is featured one of the most famous songs of the 50s "Tutti Frutti." but it also features several copycats. Even his other famous song "Long Tall Sally" is a bit too much like a knockoff. He's got a technique and formula that works. And with its high energy and short record length, it doesn't come off as too tiresome. In fact, I could see myself adding half of these to a 50s dance playlist even if most don't stand out too well on their own.

These are some incredible New Wave compositions. The use of synths (and other crazy instruments) is lush and diverse, and the vocalist puts similar-sounding New Wave vocalists to shame. It's catchy and dancey and overall a fun experience that knows when to back up and let the synths fill the space and emotions. There's something I love about every track that makes them stand out. Even a deep cut like "The Twilight Hour" has cool metallic synths, punchy drums, and eery vocals and lyrics. "Soul Mining" stands out to me for its basic yet entrancing guitar work and synths that for some reason illustrate images of the ocean. It's a coherent experience, with a puzzling yet mysterious opener that dives directly into the pop tracks to the more intimate ones, closing with a melancholic finish. It all feels essential to provide a complete experience, never repeating itself much, and encompassing a natural flow such that each song felt essential in its composition and placement.

She's clearly influenced by Frank Sinatra, with a lovely dreamy voice. The bossa nova is active and lush with additional instrumental like piano. It's pretty generic and tries to stand out with gimmicks. I was pulled in by her voice but just as quickly fell out of interest. It's not bad, inoffensive as many say, but she's not putting anything to grab my attention. Favorites: Stay, Misty Roses, I Had the Craziest Dream, Beach Samba

Always known UB40 for their cheesy hits, but this debut's really good. Atmospheric, slow, intimate, often psychedelic, and coherent with a mix of pop tracks and more impressive instrumentals. Some really blew me away, and I honestly didn't mind the hour length even if it did repeat itself quite a bit.

It's essentially big band with Cuban percussion and groove lines. Cool stuff. I got several complaints, like the excessive horn injections. Would prefer longer more developed tracks. Favorites: Congo Mulence, Oyeme, Holiday, Frenzy

I can hear the influence of all sorts of blues musicians, from the classics of Albert King to the hard rock variant of Jimmy Page to the modern works of The Black Keys. The rhythmic guitar work and vocal style is also very similar to the mbalax work of Senegal, which I'm sure is very highly influenced by it considering it neighbors Mali. Hearing this fusion feels very fresh and intriguing. At least for the first half where it was prominent. The second half lacked that charm. But either side, I did find them fairly boring and repetitive. Most of the songs feel like they could jam for 10 minutes but stop too short, which is not enough time to feel particularly invested. If both sides were like the first few songs, I'd give them an extra star. If they had more innovation and vigor like the Black Keys, I'd give them two.

Pixies have an amazing discography, and seeing the spinoffs through Frank Black's solo work or the Breeders just shows how much each member is able to contribute. We have the noisy distorted guitar riffs that do whatever they want, but doesn't overtake everyone else like you see in other noise rock or shoegaze albums (Dinosaur Jr comes to mind). This allows the bass to really shine. In most tracks, the guitar stays quiet for many parts to highlight that dark deep bass, which when combined with the punchy drums remind me of many gothic and post-punk records earlier in the 80s. And of course we can't forget Black's vocal style, flawlessly alternating between soothing, anger, and pure screaming chaos. Kim Deal's dreamy vocals compliment Black's incredibly well, adding a catchiness to sing along to for many songs. "Monkey Gone to Heaven" showcases all of these points. Just like with their other albums, we get a ton of really short tracks. But for some reason, each one feels complete despite only 3 of them being longer than 3 minutes. It's their most accessible record, with a level of order and groove to compliment the pure chaos in the noisy riffs and screaming vocals. There are tons of catchy pop tracks here like "Hey" and "Here Comes Your Mind" to pull in most audiences, but even tracks like "Debaser" fuse the two seemingly opposite styles so well. Not only are there so many tracks that could argue to be the best song on here, and thus among the best songs of the 80s, but most of the deep cuts stand out for some reason. "Mr Grieves" reminds me of Violent Femmes, with a southern gothic sound and an incredible bridge. "Crackity Jones" has mindblowing energy that caused me to accidentally speed up to 90mph on the highway. "No 13 Baby" has a killer guitar solo near the end. "There Goes My Gun" is a really fun punk song with a cool beat, surf rock riffs, and vocals that go all over the place. Hard to find a single song I don't really like. "Silver" is very divisive, but I'm on the supporting side.

McCartney's finest solo effort. These songs feel grand and triumphant in a cool, relaxed manner with an insanely impressive production value. Many songs still carry strong Beatles energy, and have a jammy style to them, justifying their long lengths. The songs are accessible, and most songs are easy to sing along to. Love the use of the sax and the harmonic back vocals. Every song was memorable and impactful except for "No Words." The hits are among the most impressive songs of the decade. Even the deep cuts were able to stand out on their own. It felt like a complete journey starting with the title track and ending with "1985", and with lovely smooth transitions such as "Mamunia" to "No Words."

Frank Zappa leads a wacky acid rock performance mixed with parodic doo-wop that sometimes reminds me a lot of Disraeli Gears, yet this came out first. It's innovative and passionate, but there's a lot of filler in the middle, and I find the vocal style to be a bit too repetitive. Most of the tracks were pretty good but didn't interest me much besides the random injections and hit-or-miss lyrics. I really liked the chaos of the last 3 tracks.

Surprised this one's on here but not Sweet Oblivion. Honestly I don't think any of their songs are as iconic as "Nearly Lost." These are fine tracks, very much influenced by contemporary power pop and grunge with feelings of despair, and I'm sure I can hear Jane's Addiction in their incorporation of psychedelia (particularly the sitar, keyboards, and different percussions) with hard rock. There were only a few tracks that didn't stand out at all or had some instrument gimmick like in "Sworn and Broken." Hearing tracks like "Dime Western" reminds me of Lanegan's creative peak on Qosa's Songs for the Deaf, and sets another bar that this record fails to reach. The biggest surprise highlight for me was the psychedelic closer "Gospel Plow."

Pretty decent Britpop with loud, distorted jangly guitars modeled after Oasis. It's a lot more accessible yet more generic than the gothic predecessor The Holy Bible. Most songs failed to stand out, and the second half felt mostly filler, but they're all decent compositions. Favorites: A Design for Life, Enola/Alone, Everything Must Go, Small Black Flowers, No Surface All Feelings

My favorite PJ Harvey album. Tons of memorable catchy songs with a sweet jangly sound. Love her voice (reminds me of Patti Smith) and the production. Hated how quiet her early albums were (at least on Spotify), but this doesn't suffer from that. Her collaboration with Thom Yorke points out how similar the two artists actually are, with her quiet melancholic vocals and mystical jangly guitar contrasted against a rougher bluesy guitar reminiscent of both Radiohead's and Jeff Buckley's works. A few tracks I'm not too crazy about, but I enjoyed it all.

Bright and catchy jangle pop that takes after the likes of REM, Violent Femmes, The Feelies, Big Star, and of course The Beatles. I can also hear the influence of many other 80s bands, like The Police in "Liberty Ship". Songs know exactly what they are, with loud catchy lyrics, power chords, and short song structures to keep this record constantly on the move and maintain audience engagement. Out of 12 tracks, only the closer "Looking Glass" is more than 3 minutes. There's something unique I like about every song.

Country-infused folk rock by someone who sounds like Bill Callahan (of Smog) or Matt Berninger (of The National), only unredeemable in his rustic vocals. He collaborates with two members of Pavement, and you can hear that in cool songs like "Time Will Break the World" and "Let's Not and Say We Did", but it's never as cool as the atonal nature of Pavement, leaving much to be desired. Funnily enough, my favorite track is the one without any vocals, "Transylvania Blues." I think his lyrics suck, and the vocals don't even feel like he's trying to fit the music half the time.

How do you manage to make an album where nearly every song is a banger, and the only ones that aren't serve as interludes that don't feel useless? It's a master craft in the Madchester movement that could hardly be associated with it considering how little house music is on here. The only obvious house-like part is the very last few minutes. During my 2nd acid trip, I loved this album so much that after I listened to it the first time, I watched all the music videos then proceeded to listen to it again. I've since revisited this record at least two dozen times in the past year. It's a neo-psychedelia masterpiece, with a very hazy production and evoking 60s energy in its cheery mood to sing and dance to. Super groovy melodies with a typical 80s drum machine and deep prominent bass lines. It features both a 60s-style jangly guitar and a 70s-style distorted guitar interlaying each other to evoke all sorts of emotions, from nostalgia and joy to power and determination. Both guitars (along with the double tracked vocals) are layered with chorus and reverb to produce very ethereal effects, complimenting the spacey synths, hazy production, and surreal lyrics. But they also have their intense, impressive, and entrancing solos. The sound is everything I love about gothic rock but much brighter and a 60s spirit. "I Wanna Be Adored" is a fantastic opener. A crazy buildup with minimalist lyrics, it's a dance anthem of '89 and excites audiences for what's to come. From there on, it's hit after hit, but many songs serve as nice breaks. "Don't Stop" for example is a fun 5-minute interlude of "Waterfall" slowed down and played backwards. A weird yet fun take. "Elizabeth My Dear" is an ode to "Scarborough Fair" (I think). Tons of memorable moments. "Waterfall" and "Made of Stone" are two songs that explode in chaos at the end to satisfying conclusions. "Bye Bye Bad Man" is my vote for the catchiest song and has a bridge that transitions from slow and nostalgic to fast and energetic with a determined vocalist. My personal favorite is the jammy "Shoot You Down", my candidate for the most psychedelic song on the album, with an optimistic mood and jazzy guitar solos. When I hear "This is the One", I know we're coming close to the end. Super anthemic with quiet and loud moments, it sounds like an ending theme to some movie soundtrack. But we end with two really long tracks. "I Am the Resurrection" is a final cheery catchy track that has one of my favorite choruses in the album then devolves into 5 minutes of a jam improvisation. And finally, "Fools Gold" is a chill groovy ending that gets gradually wilder, featuring an awesome house ending with cool percussion solo, funky guitars, and house synth effects. With how long these last 3 tracks are, I feel pretty satisfied by the ending.

Clapton does a fantastic effort in this jammy blues rock record, reminiscent of the sound of The Band or Grateful Dead. Not only do we have Clapton establishing why he's one of the most renowned guitarists of all time, but the other guitarist is Duane Allman of the jam band Allman Brothers. Production sounds amazing, mixing the percussions, keyboards, and bass well in regard to the guitars. There's a diverse range of tracks, with a pretty good Hendrix cover "Little Wing" (no one near as amazing as the original), a few blues covers that stay faithful while still matching Clapton's style, and a few standout surprises. I never felt like any song was too long. Maybe this is because I'm used to the jam style now compared to when I first listened to Allman Brothers' At Fillmore East a couple years ago. Of course I don't think anything matches up to the masterpiece of "Layla" but there were some really awesome solos in the other compositions and a few other standout tracks that left an impression on me. I thought "It's Too Late" was decent but forgettable, especially when compared to the vastly superior sentimental cover by Carole King. I did space out most of the middle segment, so it could do by cutting a few tracks. Favorites: Bell-Bottomed Blues, I Am Yours, Layla

Japan is an exemplary representation of the New Romantic movement in England, before the movement took off. They never intended to be associated with the movement, and argued to have different ideals, but their glam fashion sense and artsy synth-pop style is exactly what New Romanticism tends to be characterized. The vocals and atmospheric synths surely served as a major influence to other New Romantic bands such as Duran Duran, ABC, and Flock of Eagles. You can really hear the fusion of electronic and glam rock that Bowie and Eno expanded upon in their Berlin trilogy with the contemporary New Wave movement, but I can also hear a lot of Roxy Music too in the vocals and horror-esque mood. It's danceable with many great pop tunes, but has a foreboding presence over many tracks, with the eery lyrics and busy atmospheric synths full of strange sound effects and a sax that take you places while still maintaining the same themes. It's weird to describe, but you never leave the "world" these songs create. These long instrumentals keep my attention and certainly justify how long each track is. I never felt bored by any of them. It only has 8 tracks, so each one stood out to me. It's actually really to pick a favorite cause I loved them all for different reasons.

Tom Petty is known for his hits, and you can clearly see the reason why. "Breakdown" and "American Woman" knock you away but nothing lives up to that energy and catchiness. I like his riffs, and his riffs wail like bluesy contemporaries Bad Company and ZZ Top. It's exemplary roots rock of its time with power pop influence in the chords and harmonic vocals from the likes of Badfinger. Much of it is forgettable, and some of it is pretty good, but they have so much potential if they could live up to their hits.

Most of the good songs are near the front, with the majority being fairly forgettable. But for bright and fun jangle pop, it's a pretty good effort. I've actually listened to this before and enjoyed it not expecting much. Crowded House is one of the early-alt rock bands like Midnight One where they had a very 80s bright pop style. Nothing stook out to me after "There Goes God" but it wasn't bad, had some cool instrumental parts.

Perfect album to test out my new subwoofer. Exemplary of the French house movement, it's danceable and simple yet rich in structure much like IDM that came before it. Most of the album sounds like distant club music playing downstairs. Has a very alien-sound that's both funky and groovy, especially due to its deep bass and unique style where it suddenly gets quiet and loud again. Lots of highlights here. You have the hits "Da Funk" and "Around the World", but so many tracks have something strange about them that you just have to wonder where they're going with this. Examples includes the industrial abrasiveness of "Rollin & Scratchin" and "Rock'n Roll" or the samplepaedic nature of "High Fidelity" and "Oh Yeah". The sounds are atmospheric and justify their lengths, with many tracks like "Alive" sounding very much like Aphex Twin. I was a huge fan of nearly every track. This is their most ambient album which has its merits, but it's crazy to see where they'll go with Discovery and RAM in making it catchier and more coherent.

It's no wonder this and The Chronic changed the game of 90s hip hop. It's groovy and funky with accessible tracks. Many catchy classics with standout deep cuts. Dr Dre wins again with incredible production that shows you don't need samples. Snoop Dogg has a cool, laid-back voice, and his vocal techniques (e.g. his back-and-forth singing and rapping, his falsetto scats, change in tone) showcases his personality while maintaining flow. His collabs are good too, reflecting 90s R&B pop at the time, which is something I found disappointing in 2001. Only complaint that each song goes slightly longer than it should, and I got pretty annoyed by the long interludes in all the last few songs.

Chill and atmospheric trip hop. Feels grand with the piano and string effects. Just like with Blue Lines, I appreciate the contributions of every vocalist, and Tracey Thorn from Everything But the Girl was an excellent addition matching the mood. Had an overall lounge vibe with tracks like "Weather Storm", but others were more dancey with a techno touch like "Three" and "Spying Glass." Has the hits, and every track (except the "Light my Fire" bonus track) felt necessary.

In the (technically) solo debut of the leader of the krautrock giant CAN, he follows many of the artsy electronic principles that CAN was so renowned in its innovation, but incorporates that with more accessible genres, including Bowie-esque disco in "Cool in the Pool" or world music in "Persian Love." I like how distinct each of the 4 songs is in style, but I never felt bored or tired of any of them. The jammy space rock "Oh Lord Give Us Money" was both soothing and intriguing to see which direction they'll go. "Holly Symphony", the most intense of the songs, reminded me heavily of afrobeat and disco. The most remarkable aspect is the innovation in sampling, which was still very new in 1979, and yet he spams it all over this record in a way that seems to work from my perspective, likely influencing old school hip hop like Malcolm McLaren.

Slipknot releases an anger-fueled album that justifies the existence of nu metal before the oversaturation that resulted in the genre becoming a joke. Their second album Iowa gears too far on the abrasiveness and groove while their later albums are too poppy and boring, whereas this one provides a good balance between the two styles, bringing in new audiences while providing something fresh for metal fans too. It's coherent too, keeping the mood and energy while still available to swap between the rough and catchy tracks. I like the fusion of genres too. It's mostly speed metal, but it incorporates industrial, hip hop, alt rock, and surprisingly breakbeat too, most prominently in "Eyeless." I do feel it goes too long. The most iconic tracks are in the first third, and there are plenty of highlights mixed later, but they tend to blur together unless you can pick out the ones that stand out. But even then can get tiresome for its 52ish minute length. Unfortunately, "Purity" is missing from some editions which is one of those highlights. I was a huge fan of the epic closer "Scissors" but I can see it's divisive among fans.

I was a huge fan of Gentlemen We Are in Space, and this has the same qualities I loved, just with less impactful tracks. It's a mixture of psychedelic dream pop and lush space rock full of strange sound effects reminiscent of early industrial music or contemporaries like Stereolab. I enjoy the slight modulations in these long tracks. In "I Want You", I can hear Madchester in the vocals and groove, but shoegaze in that bass and guitar distortion. The lengths of the second half are dramatically longer than the first, and yet it's all very digestible and entertaining, capable of hiding in the background or entertaining me as I dissect each song's components and analyzing how its wall of sound changes over time. I guess there were a few tracks that I didn't care for too much like "Take your Time" and "Angel Sigh", but it easily blended in the background and was soothing at the least. I do think an hour was too long.

A perfect fusion of 80s pop and African styles. Peter Gabriel and David Byrne had been experimenting with some combinations before, but Paul Simon really went ham with incorporating so many different styles that each song stands out for some unique instrumentation or playing technique that you will will never hear anything like it. It's groovy and optimistic; you could almost dance to it. Yet it knows to only take the background, with Paul Simon's vocals and excellent songwriting taking the forefront at all times. My first time listening to this was actually on my drive to Graceland when I visited Memphis, and I truly was not prepared for every song to stand out. But he really put thought into each and every one. My only complaint is that I wasn't too crazy about some of the last few tracks, but they were still interesting ideas.

Costello takes an artsy turn to his New Wave music, using all sorts of strange instruments and synths and studio effects to produce an immersive experience. The combination of his power pop vocals and chords with the vaudeville instrumentation and wall of sound remind me a lot of Sgt Pepper. This is his most versatile album, hearing an intriguing unique style in every track. I thought the first 5 songs were fantastic and thrilling, but I got really bored by the rest of the album, only really liking "The Loved Ones" and "Town Cryer". Reminds me a bit of the Zombies with the piano and baroque vocals, but frankly I found most of the second half quite boring. At least they're almost all less than 3 minutes, but it got exhausting with its 50 minute length. These weak tracks really weigh it down.

Is it strange how I like this better than Nick Cave's solo work? It's eery, raw, and wild and influential on both gothic rock and noise rock. Reminds me of Bauhaus if they listened to too much Pere Ubu or Public Image Ltd's Metal Box. It didn't have to be 47 minutes, and there were a few tracks I didn't feel were too special, but I found something cool out of most of them. And there were surprisingly good tracks, most notably "She's Hit" and "Release the Bats." Favorites: Blast Off, She's Hit, Dim Locator, Several Sins, Junkyard, Release the Bats

I wasn't expecting much from the one-hit wonder behind "Our House", but I actually really enjoy this. It's New Wave with inspiration from 2-tone (in the energetic Ska-like instrumentals) and New Romanticism (in the glam and music hall style, especially the vocals). Nearly every song's a wacky bop. Hard for me to pick favorites. Tons of energy and strange rhythmic instrumental that kept my attention in every song. Just a shame it's not on Spotify.

This is the 4th album on this list I've reviewed by her, and I think this is the one where she establishes her position as an influential country folk artist. Her work with Gram Parsons was fantastic, and she continues with a great voice, excellent songwriting, and versatile instrumental. It's somber and relaxing with some emotional pieces and powerful moments, but I wasn't too impressed by any of the songs. I did enjoy the "Coat of Many Colors", "For No One", and "If I Could Only Win Your Love" covers. But really, nothing left much of an impression.

It's pretty good for early soul. Nice groove and voice with gospel back vocals, but I found it really repetitive. There's some diversity here, utilizing strings, horns, Samba beats, and a Latin-sounding guitar, but this just prevented me from being bored the whole way through. Favorites: Cry to Me, You're Good for Me, Won't You Give Him

With the start of "On Sight", we immediately see Kanye go in a completely opposite direction from MBDTF. It's cold, industrial, and abrasive, fueling an angry and manic persona that juxtaposes to the depressed and victim-playing character we saw him play previously. It's a super short album, with 10 tracks over the course of just 40 minutes, and yet each stands out. I never know which direction he goes. His use of samples and production techniques is incredibly harsh and impactful and matches his strong lyrical delivery. Despite how harsh it is, his vocals are clear and smooth, capable of transitioning between all sorts of delivery styles, from plain rapping to singing to screaming. His use of repetition, emphasis, and ridiculous metaphors make certain lines really stand out and leave a greater impression, not only being memorable but also reinforcing his points. Most of his samples are highly distorted and barely coherent, with the notable exceptions being "Blood on the Leaves" (which I was blown away by) and the accessible closer "Bound 2" which - although doesn't fit with the rest of the album - provides a satisfying and easy closer to this mess of an album in a similar way to "Radio 4" on PIL's Metal Box. I was constantly impressed by every track and wasn't sure where he was headed. These tracks really blew me away by which how complex and encapsulating they all were. I'm a huge fan of experimental music, so I was on the edge of my seat the whole time. I was also a fan of the reoccurring themes (like how he referenced song titles in previous songs), which add to the overall coherency, and these manic themes are even more impactful now knowing how literally insane he is based on recent actions. Even the tracks that didn't leave a huge impression at first grew on me with each listen. "I'm In It" had the lushest soundscape and intense power. "Guilt Trip" had awesome techno-like synths and effects with melancholic lofi vocals and samples that produced a very industrial and hopeless atmosphere. "Send It Up" impressed me with its machine-like and cold sound.

If you were to show people what grime was, this is one of the best that the genre has to offer. It isn't saying much considering most of the genre (and anything coming from UK garage) is pretty trash, but this is really decent. Fast beats and dark bass lines make it danceable and take influence from contemporary genres like dubstep, but it has a very modern production and style that aligns it more with modern hip hop. I could see the influence it would have on trap. I admit it was a bit hard for me on my first listen, but I once started paying attention all the production techniques, from the industrial effects to his over dubbing to his hilarious lines and overly British accent, it really started to grow on me and I found something to like out of every track. Had a very strong start with two aggressive tracks, then we get some tracks mixing catchy lines with intricate melodies, then we get the major hits. There were a few skippable tracks, and the skits were hardly audible and boring of what I could hear.

Her rawest and angriest album, PJ Harvey also employs the help of producer Steve Albini, and you can hear that with the Pixies-esque loud-and-quiet transitions many of the songs. PJ Harvey herself adds eery vocals and dissonant strings that match the grimy, chaotic, and angry lyrics. The bassist and percussionist do really well keeping up with the disorder and raw energy. For the songs themselves, we're fed with 14 tracks, many standing out for a unique purpose. The opener "Rid of Me" is one of her most popular songs and explodes with power and energy to pull in audiences and define the rest of the album. It's catchy and melodic and catches the audience by surprise. You can really tell Albini worked on this. "Missed" have a Slint-like post-rock sound with the distortion to the max, fitting well with her grungy contemporaries. "Legs" has an incredible and emotional build up, and it hides the strings in the background behind all the other instruments, creating a clever effect I haven't heard elsewhere. And is that the bass making that vibrating noise? "Rub Til It Bleeds" has the best example of the quiet-loud Pixies technique, with a really long dissonant opener before giving us a sneak preview of the loudness, but goes back to the quiet except more chaotic until we reach that constant loudness. "Hook" is a personal favorite of mine, and I love the bluesy confused guitar. "Man-Size Quartet" sounds like a sequel to "Plants and Rags" from Dry except a lot simpler and rawer. Feels like a black-and-white horror movie scene. "Highway 61 Revisited" is an incredible cover. Has the same impact and bluesy style as the original style, but yet fits perfectly well with the rest of her album with the distortion and screaming vocals. "50ft Queenie" is another highlight: fast, energetic, bluesy, and punky with repeating guitar licks and vocals. "Man Size" is the most accessible song and provides a nice break between these chaotic pieces. The next song "Dry" sounds like a Hole song, and I love that bluesy guitar solo. "Me Jane" is the bluesiest song on the album and has some of my favorite ghastly vocals. "Snake" is pure hardcore with its loud raw energy and short length. "Ecstasy" is a satisfying conclusion being tied for the 2nd longest and closing with high distortion.

A landmark of the Madchester movement, where Primal Scream would combine their groovy alt rock sound with the acid house movement to produce a unique mix of dance-oriented neo-psychedelic rock tracks. Prominently displays the wall of sound, featuring all sorts of strange production effects that are often subtle and barely noticeable yet enrich the whole experience. It's an immersive and fun experience with energetic high moments and low-key atmospheric moments, yet very consistent in its track ordering. Could be found a bit tiresome due to its hour-length, but I often find myself not noticing its length due to how well it hides in the background for you to dance or study to. We start off with their most famous track, the indie rock anthem "Movin on Up". It's catchy and groovy with a cool jangly guitar sound, a wailing guitar, gospel vocals, and keyboard effects. This all produces a wall of sound that excites the audience for what's to come, even though this is probably the most pop-like track. "Slip Inside the House" mixes acid house with Indian Classical Music (ICM) in a strange psychedelic twist. It's engaging and danceable. "Don't Fight It Feel It" is an energetic house track featuring gospel vocals and a groovy rock instrumentation, representing everything Madchester stands for. Doesn't come off as boring, annoying, or tiresome, capable of dancing to or sitting in the background. Has plenty of memorable moments. "Higher than the Sun" is their most psychedelic and dreamy track that becomes very techno in the second half. Probably my favorite. "Inner Flight" is a lush instrumental dream pop track full of hazy samples such as a horn instrument, choir vocals, and keyboard effects. Their longest track "Come Together" is an R&B-infused track reminding me of contemporary new jack swing, prominently incorporating a grand piano, gospel vocals, and a soft pop guitar groove. It's light, sunshiney, and catchy. Reminds me of what Rolling Stones did in Let It Bleed. "Loaded" is a downtempo dance track and their last energetic track. Some may complain for its repetition, but I really enjoyed it, especially the subtle horn and guitars and other sounds in the background. "Damaged" is a nostalgic 70s folk rock track, super nostalgic and a bit catchy. "I'm Comin Down" is a slower ambient track featuring all sorts of strange psychedelic effects and instruments, inspired by both 60s psychedelia and techno. And also features an ecstatic sax. We return to "Higher than the Sun", this time even more spacey than the more pop-orientated iteration earlier in the album. There's a cool techno transition half-way through that sounds very alien-like and robotic. I was a bit worried about how the album would end with how ambient it was getting, but "Shine Like Stars" was a pleasant pop track that remained consistent with the lush yet quiet production effects of the previous tracks. It's short, calming, and satisfying.

It's the grunge-inspired pop alt rock that dominated 90s radio. But this is decent albeit highly commercial. It's coherent and it's a bit catchy, although mostly forgettable and lacks any tracks that leave a huge impression. Tracks do go on a bit too long. It's by the second band of Bob Mould after the revolutionary post-hardcore Huskur Du. He's a good guitarist and vocalist, but this is certainly a step-down. Favorites: A Good Idea, Changes, The Slim, Slick

Waters is revolutionary for his distinctive electric blues sound which would influence rock for decades to come. He does justice for a live recording, but it feels pretty tame and lifeless. He has the technique down and I'm impressed by the use of distortion and other effects to produce a rough and hardcore sound (for its time). It's also pretty as showcasing what blues is capable of which its groove and use of repetition. Some pretty iconic songs that leave an impression on you, but also some that I felt contributed nothing. Favorites: I Got My Brand on You, Baby Please Don't Go, Tiger in Your Tank, I Got My Mojo Working

This list has a ton of gimmick 90s electronica albums fusing various genres, and today we have a tango-based one. But it's good. Trip hop usually is, and this also has many elements of house in it. It's ambient and low key with a high production value, usually justifying the extensive lengths of many tracks. Some pop hits but also some more interesting instrumentals. Doesn't fall into cliche tactics. I know it's cheating since it's an experimental take on the genre, but this is the first tango album to keep me engaged for so much of it. The main issue is that, although the electronic beats make it accessible to mainstream audiences, it restricts the fluidity of tango rhythm, and thus lacks the "passion" that makes tango stand out. Second side was weaker, and the total length was too long. Favorites: Queremos Paz, Epoca, Santa Maria, Last Tango in Paris

I didn't think they could get better than Organisation's, but I was really blown away by this record. It's so lush and beautiful, with lovely multi-layered melodious synths that bring emotions that reminds me why I love synthpop so much. It's atmospheric and otherworldly with introspective yet simple and somewhat cryptic lyrics that I can relate to. It just kept getting better and better with each song. The synth effects are so versatile and creative, they keep me engaged each second, and I just wish some of these went on for 10 minutes, and I'm glad there were more ambient ones like "Sealand" that did. I love the use of space to give me time to appreciate everything that's going on. Some super bright pieces like "Joan of Arc" and some super dark industrial pieces like "Architecture and Morality". I hear Eno a lot in this, like "The Beginning and the End" could almost be from Another Green World. They're also pretty complex and evolve... I was pretty shocked when songs like "Georgia" just took a 180. Exciting opener, great build up, and a satisfying conclusion with every song being memorable, there's not much more I could ask for.

The highly experimental and horrifying Metal Box is one of my favorite albums of all time. This previous album carries many of those themes but less coherent and more accessible. The drum beats are hollow that post-punk and gothic contemporaries (like Joy Division or Siouxsie) would adopt. The bass is incredibly deep and pronounced, among one of the most memorable bass I've ever heard. And I previously criticized the Jah Wobble album on this list. The guitar squeels in terror. And of course Lydon's (of the Sex Pistols) vocals and lyrics tie together feelings of chaos and mental turmoil that I don't believe any other album has been able to capture as well up to this point. This album takes punk in a whole new direction. The songs are dissonant and out-of-control, and the track listing is incredibly hard for untrained listeners to get a feel for. The first song is barely audible and could only appeal to fans of jazz, post-rock, or emo, and it's 9 minutes of chaos. The next track is a spoken word criticism of religion, and the third is literally the same except with a melody over it. And it's not very easy to listen to either. They fuck with the stereo mixing and sound quality and introduce all sorts of strange and unsettling instruments and effects, not to mention the use of repetition, to make it a very interesting yet harsh listen. I guarantee this will turn off 95% of people, but I personally love this shit. It's so strange and artsy and really resonates with my feelings of anger and insanity that other genres like metal could never even hope to reach. We then get "Public Image", their only easy pop track until their 1984 This is What You Get Album. It's very traditional punk but also super innovative, I can hear the influence in all sorts of post-punk bands to come, even the revival bands like Interpol. "Low Life" follows this trend in more accessible territory. "Attack" sounds sorta similar with the accessible approach but drifts further away into chaos with the vocals that sound like they were recorded through a tunnel, and have some unsettling repetition. Finally, "Fodderstompf" is a really difficult closer based on industrial synth effects, reminding me a lot of Suicide and CAN. The bonus "Cowboy Song" is a wild and fun lofi surprise. Looking back on it, I did really enjoy the whole album. Something memorable and creative about each one, but I can't help but compare it to Metal Box, which I think is a masterpiece in its composition. In comparison, this one is less satisfying and can be very grating at times, where I felt excited about every track in Metal Box. Both closers (the real one and bonus track) were too abrasive and sudden, compared to Metal Box's peaceful "Radio 4." The styles were also much more all over the place, where Metal Box felt consistent despite the varying styles. For this reason, I am being a bit more critical than I should now that I see how it could have been so much better. But still really enjoyable and I will revisit.

Reminded me of the Zombies. It's optimistic and lush baroque pop and blue-eyed soul. Many catchy and melodic tunes, this goes beyond the hit singles. Especially enjoyed the more psychedelic tunes. It tries to get flashy at time with unusual instruments like that weird woodwind in "You Better Run" or the organ in "A Place in the Sun", but they don't do much to contribute. After "Groovin", I think I got tired, and the only song that left an impression was "I Don't Love You Anymore." Still, I did enjoy these tunes a lot and felt an urge to sing along at many points.

Beautiful and simple folk infused with country and bluegrass (with the banjo). Reminded me of 70s pop, but also reminds me of Taylor Swift's Folklore and Evermore albums 2 decades later. Several songs I didn't care for, but many were decent and soothing, and I especially enjoyed the epic "I Dream a Highway" as a background tune. It isn't especially impressive or flashy or innovative, but it certainly offers something nice and consistent that's rare to find. Favorites: Revelator, My First Lover, Dear Someone, Everything is Free, I Dream a Highway

A showcase of incredible African a capella made by the people who worked with Paul Simon's Graceland. Incredibly creative and unique in the way they use their voices to create immersive sound effects. I'm bored and tired of most of the record, with quite a bit of repetition - there's only so much they could do - but there are lovely moments that manage to grab my attention. Even though I'm not a big fan, it's excellent in what it sought to accomplish. Favorites: Hello My Baby, Golgotha, How Long, Rain Rain Beautiful Rain

Pivotal moment in hardcore punk. Angry and energetic, the influence of this EP could be heard in thrash (especially the rapid power drumming and fast-changing guitar), grunge (the deep distorted guitar), alt rock (the vocals and guitar melody is resonated in the likes of the Pixies), and of course post-hardcore (e.g. Fugazi), which would lead to emo and skate punk and all sorts of other genres. Some of their best songs are here, but probably not as memorable as First Two Seven Inches. Still, these songs are complex. "Sob Story" and "No Reason" are only 2 minutes and yet they sound like 8 songs with how they completely change the structure so immediately. "No Reason" stopped like 5 times in the middle only to start up again, and features possibly the shortest guitar solo in history. Very punk to not give a shit. I'm really glad this is only 20 minutes. With how condensed these songs are, it would be too overwhelming for this record to go on for a traditional LP length. Yet, Minor Threat does this better than almost anyone else in the hardcore-adjacent genres, and so I'm glad this is represented on this list. Truly an essential listen. Started off with a bang with "Betray" and ended just as nicely with the slow melodious "Cashing In." Favorites: Betray, Look Back & Laugh, No Reason

Expectations were blown by a band I only knew by a few hits. Super funky incorporating Latin, jazz, gospel, and rock. Incredibly lush with non-traditional song structures. You can tell why it's labelled "prog soul" with how they manage to maintain the melody but yet the song still branches out so unexpectedly so often. We start off with two proggy yet accessible pop pieces. "City Country City" was a fun instrumental jam fest of each of the players showing off, with a satisfying entrancing conclusion. "Four Cornered Room" was an intense western. Really cool harmonica and gong. "The World is a Ghetto" was another cool jazzy piece. The closer sounded like it had afrobeat influence but I think this came out before afrobeat was popular. Really enjoyed the whole record, and sat well in the background with its chill and lush groove.

We're in that age of pop where the focus was on singers showing off how impressive their voices were. Aguilera is a teen pop star that followed the trail Britney Spears left behind, and I'm a fan of a couple of her hits like "Genie in a Bottle" and "Ain't No Other Man." Here, we have an entire double album where I've somehow heard half the songs despite having never heard any of them (except the two massive hits). It's really generic and follows pop trends of the time in R&B and Latin. She overlays things like guitars to make things seem more interesting, but they all act like lackeys to add glamour to her otherwise boring lyrics and vocals. Of course the production is top notch, and I do like the backtracking (sometimes the only thing I liked in a track), but there was very little to like about it. The hits "Fighter", "Beautiful", and "Drrrty" are memorable singles (but I wonder how much if they were spammed in society). I did like the transition from "Walk Away" to "Fighter." The song "Loving Me 4 Me" had the coolest production, love that dreamy sound, even if it repeated itself too much. "Make Over" was also a cool song with all that energy. "Get Mine Get Yours" had a cool reggae production effect but was too much in the shadows. Two obvious faults: the album is too long, and each song is too long. I've just listed everything I liked about the album. Everything else was at best ok. There should be no reason why the shortest song is 3:44 and the longest is 6:29. With how repetition there is, even the songs I thought were decent dragged on way too much. And you can imagine how unbearable the rest of the album was. I wanted to see how popheads liked these songs, and of course they rank the hits the highest, probably because that's all they've ever heard. I honestly can't see anything to like out of "The Voice Within" or "Can't Hold Us Down" (and I did sorta like Lil Kim's La Bella Mafia).

Probably the most influential power pop album of the 70s, but not necessarily the best. Their style had resonated with both 80s indie rock and 90s power pop revival more so than any other band, if no reason other than this was a huge selling sensation. Where Big Star had a more folky vibe to it, this was large and energetic with huge glam rock influences, and I'm sure punk to based on those lyrics. Features catchy choruses to sing along to and fast guitar solos. Album started to stand out to me with "Big Eyes." I really enjoyed the patient, extensive melody of "Need Your Love." "Ain't that a Shame" has my favorite chorus, super catchy and shows how cool power chords can be. And then we have our two massive hits, although I do much prefer the studio versions. Last two tracks don't do much for me but are fine. At no point did I ever get tired, especially since my favorites are in the middle.

12 tracks, and almost all of them are pop rock masterpieces. They have a distinctive cool western sound from their heavy incorporation of blues and bluegrass. It deserves its fame. Countless catchy and melodic hits, excellent production, and excellent instrumentation, from the clean twingly guitar to pounding drum beats to the dramatic vocalists who each have their own personalities. Only song I wasn't crazy about was the ballad "Songbird", but it's still pleasant on its own.

I had only known 10cc for a couple hits, and "I'm Not In Love" is one of my favorite songs from the 70s. Turns out their songs aren't so slow and intimate. They're a prog pop band that really condenses as many ideas as possible, playing as fast and showy as Yes but as eclectic as Genesis, with many songs and their imageries setting musical-like scenes. There's a lot to like here, but it's really messy and abandons ideas as quickly as they come, so you never have enough time to really appreciate a song. "Clockwork Creep" is the worst example of this, where I can't even remember anything that happened in that song besides ticking noises. But it's entertaining and unique and has a lot of replayability. There weren't any songs I thought were boring or derivative. If I'm ever looking for sensory overload, I know where to find it. Favorites: The Worst Band in the World, Hotel, Silly Love, Somewhere in Hollywood

Jazzy British folk featuring unusual instrumentation and utilizes conflicting melodies and unusual time signatures that creates a lush rich atmosphere. Hardly any repetition, with each song based around some unique tone or technique, like the medieval polyphony of "Lyke-Wake Dirge", or the intensity of "Train Song" with the repeated guitar and the strings near the end, or the crazy banjo and sitar playing of "House Carpenter". Huge fan of the vocal style, reminding me of the Fairport Convention, cool and mysterious. The double bass is a unique take, and I'm a sucker for a sitar, so there were hardly any songs I disliked. In fact, I went back over each song, and the only ones I didn't fall for were "Springtime Promises" and the cover "Sally Goes Round the Roses" (probably cause I kept thinking I like the original more?)

Mellow uplifting house music, very much influenced by Daft Punk. Almost every track is good, with some star tracks. Good length and diverse sound.

The Police's whole discography is great, and this is just another example of the pop sensation. Reggae-fused New Wave, there's a smooth and cool groove with the singer Sting who can be both mysterious and energetic. On the production front, it's a really clean album. I'm listening to "Walking on the Moon" and hearing just how clear the chorus guitar, bass groove, and drums are. The tracklisting is fantastic too. Two hits, which some high-energy tracks and many accessible pop tracks. Super consistent in sound and mood, with hardly any forgettable tracks. I guess the 3 tracks felt more like bonus tracks but had their merits.

One of the most entertaining repetitive albums. The instruments do pretty much the same thing, playing the same groove line, the same chord, for the entire 15-18 minutes each. But it's an ensemble of these talented musicians who have such control and cooperation with one another that makes it sound incredible. Doesn't try to be flashy nor does it have to be. It's ambient while at the same time loud and lush, pulling your attention in. "Shhh Peaceful" is loud and triumphant while "In a Silent Way" has a cool groove.

The solo debut of the vocalist behind Til Tuesday and their hit "Voices Carry." She has a jangly power pop sound and vocals with country and folk influence that match with 90s contemporaries Alanis Morissette, Tori Amos, and Fiona Apple. She has some great songs in other albums, and I like the production and songwriting here, featuring some cool instrumentation like in "Say Anything." But it was too long with too many filler tracks, and hardly anything stood out to me at all. Favorites: I Should've Known, Could've Been Anyone, Say Anything

Distinctively bluesy but lush and rich in its unique and diverse choice of instruments. Atmospheric, capable of hiding in the background and letting the overarching instrumentation carry the flow. It's repetitive in the same way reggae is, which can be pleasant but sometimes tiresome. Sometimes has cool moments, especially when the harmonica comes in. It's a long album with too many tracks that don't leave an impression. Favorites: Erdi, Beto, Savane, Soya, Soko Yhinka, N'jarou

A highlight of the early heavy metal scene. It's a lot of improvisation. With how much the music keeps shifting, it's a bit of a challenging listen. But with only 7 tracks, and each has something distinct about them, it's fairly digestible with plenty of memorable and enjoyable moments. "Highway Star" is one of their most famous songs, and features a killer guitar solo and catchy loud vocals. "Maybe I'm a Leo" is a bluesy jam song featuring cool keyboard and guitar moments with a groovy bassline. "Pictures of Home" is an acid rock track, probably the least memorable here but most similar to the doomy sound of contemporary Black Sabbath. "Never Before" has that distinct cheesy hard pop rock sound of the 70s you'd find in contemporaries like Bad Company or the million forgettable one-hit wonders, with some Beatlesesque power chords and harmonic vocals. It's the most optimistic track yet still interesting due to the proggy nature of the constantly changing melody and surprise parts. "Smoke on the Water" is one of the most recognizable rock songs in history, and it deserves this recognition. It's a classic: catchy, memorable, groovy, and impressive. "Lazy" is another bluesy jam track, mostly consisting of what feels like an improvised instrumental session, mostly showcasing guitar feats. "Space Truckin" is a bit cheesy but grew on me over time. Really awesome deep distorted guitar sound and studio mixing.

Their last fine record. It's incredibly consistent in mood and production, taking on a slow, relaxing, melancholic, and lush sound. Sometimes a bit wacky like "Take a Load Off Your Feet" which reminds me of the childrens' musical style from Sunflower. There are a few exceptions, like the rampant bluesy "Student Demonstration Time" that sounds like something familiar (Yer Blues from White Album?), or the mythical folk of "Lookin at Tomorrow". But every track is memorable and innovative, especially with their traditional chamber vocals, full wall of sound, and unique instrumentation (features a million synths, a banjo, tambourine, flutes, and much more). Excellent choice in opening and closing tracks. It's short enough for each song to make an impact. This is one album I frequently return to. Favorites: Disney Girls, Feel Flows, Till I Die, Surf's Up

Super impressed once again by Bowie. A follow-up to Ziggy Stardust, it's distinctively glam rock with a harder, lusher sound. Production is astonishing, and everyone does a fantastic job. Everything stands out and has their moments in nearly every song: the guitars, the bass, the drums, the horns, the keyboards, and those back vocals. Obviously, Bowie's signature voice and introspective lyrics too. It's an outstanding album with every song having its own unique style that does what it does well. The opener "Watch that Man" was inspired by the New York Dolls, and you can hear that wild garage style in how high-energy, fast, and chaotic it is. The title track "Aladdin Sane" particularly sticks out for its experimental chaotic piano set again the intentionally repetitive bassline and random horn injections. It just keeps going for more than 5 minutes, with a super drawn-out outro. It's a highly interesting piece and immediately drew my attention and got me excited for the rest of the record. "Drive-In Saturday" is a poppy doo-wop song with some intense synth effects and horns thrown in. Lush and catchy, I was grooving to its smooth flow. "Panic in Detroit" is an accessible track featuring gospel vocals, a Bo Diddley beat, and a really sick instrumental part. Outstanding job from everyone, especially those back singers screaming their lungs out. "Cracked Actor" is the hardest song on the album. Bluesy and catchy with an awesome solo, I would mistake this for a Lynard Skynard song. "Time" is the fan favorite, featuring vaudeville parts that add a whimsical theatrical component. Super emotional. "Prettiest Star" is a personal favorite; I just find it super fun and catchy with its dreamy vocals and melodic groove. "Let's Spend the Night Together" is a wild garage cover of the Rolling Stones version. Very quick, energetic, and a bit strange with the random keyboards and guitars. A lot of people consider this to be the weakest track on here, and that's hard to say cause it's still a great song but stacked against other amazing songs. It doesn't quite fit with the slower styles of the other songs, but I still enjoy it. "The Jean Genie" is the bluesiest song. Great song, wild and accessible. Strange choice in the lead single, and certainly nothing like the rest of his catalog, especially with the harmonica, but a great blues track nevertheless. "Lady Grinning Soul" starts with an eclectic piano piece but becomes very dreamy and jazzy, featuring a flamenco guitar half-way in. It's a beautiful, lush way to close the album.

This one was a grower. It's not as accessible as their s/t but just as complete and well-constructed if not more. It's lush, heavy, and impactful, taking influences from country, folk, and rock and would become one of the most influencial rock albums of all time, reaching the likes of the Beatles and Eric Clapton to take a softer, more emotional approach to their music. It's mixed really well, fully utilizing the wall of sound to create lush sound landscapes, with some ethereal effects like in "In a Station" that blew me away. I'm a personally a huge fan of the multiple vocals, sometimes in-sync like CSNY while at other times conflicting with each other to produce beautiful harmonies. Each vocalist has a unique style, with some more rustic and some smoother, contributing in their own way to the mood. Everyone knows "The Weight" which is super catchy and groovy, but almost all the other songs stand on their own. There's a good mix of hard and soft tracks that produce a versatile and and engaging listen. "Tears of Rage" is an emotional opener, "To Kingdom Come" is an energetic and accessible track to keep audience interest, and I've already talked about the ethereal landscape of "In a Station". "We Can Talk" is one of the most complex songs, featuring a jazzy groove line, seceral competing keyboards that come and go, and multiple key changes that change the vibe. "Chest Fever" starts off with a Bach organ part and has a jumpy acid rock guitar sound, featuring an unexpected zany middle-section before returning the themes even harder than before but with an outgoing organ solo. "This Wheel's on Fire" is another acid rock track featuring strange distorted effects. "I Shall Be Released" is a slow powerful closer with a cool atmospheric effect in the background.

A modern fusion of garage rock (in the same vein as Franz Ferdinand or Arctic Monkeys) with 60s British soft rock (Soft Faces or the Kinks). It's groovy and catchy with a raw bluesy live-sounding instrumental that takes influence from surf rock. Even hearing jazz in "The Man Who Would Be King". The chords and beats are basic, adhering to the punk style but with distortion put to the max. The vocalists conflict with each other in a fun way, singing different lines or scatting different noises. Tons of highlights, at least three quarters left some kind of impression. This is exactly my type of music, so I fell in love with most of these tracks. I heard "Up the Bracket" is even better so surely checking that out.

Really pretty and jangly twee pop. They're a very consistent band, with all their albums having more-or-less the same style, but in other albums I would try finding the highlights and forget about the rest. But I feel this one is their strongest, with only 3 tracks I'm not crazy about (but they're still good). Everything else is magnificent, with many of their best songs on here. The vocalists are recognizable and beautiful, and the arrangements are lush and peaceful, sometimes powerful but often quiet and melodic.

Reminds me a lot of Carole King and Kate Bush. Love how lush and cool jazzy the music is, combined with her double-tracked vocals makes me a beautiful listen, especially since the key and melody often change mid-track, keeping me engaged. There were highlights, but also plenty of forgettable tracks that just felt like a showcase of her vocal talent. With its 46-minute length, it could have dropped a few tracks. Favorites: Luckie, Lu, Eli's Comin, Timer, Stoned Soul Picnic, Farmer Joe

No wonder this was so influential. I was afraid at first this record would be carried by the famous titular track, but clearly not the case. Funky, fun, and exciting with plenty of highlights. The emotional soulful tracks "Dreamin" and "You Are" do not fit at all and are mediocre on their own. I could dance to "It's a Shame" and "The Adventures of Grandmaster Flash" is a samplepaedic masterpiece. "Scorpio" is a strange electronic piece, but I could dig it. Favorites: It's Nasty, It's a Shame, The Message, Adventures of Grandmaster Flash

Really love his guitar work here. He was a vocalist and guitarist on Pentangle and I loved that album when generated a few weeks ago. He has that same entrancing vocal and flowy, rustic guitar style. Some forgettable tracks but a lot of memorable moments, doesn't even need the vocals for most of it to leave an impression. Favorites: Smokey Highway, Oh How Your Love Is Strong, Alice's Wonderland, Running From Home, Courting Blues, Angie

Drifting away from their psychedelic debut, Traffic takes on a more jammy blues rock sound. We still do have a bit of the psychedelic with the groovy "40.000 Headman" and "Cryin to be Heard". Several forgettable songs, but most failed to have a very lively sound. Several highlights, including the hit "Feelin Alright" and the Hendrix-esque guitar work of the first 2 tracks.

Sonic Youth moves toward a more accessible direction, starting off with very melodic and poppy songs, moving increasingly chaotic as it goes on. However, it still retains that punk energy and raw distortion that the next albums would abandon. This album justifies the existence of noise rock to anyone. High distortion and atonality which could push people away, but the guitar solos in songs like "Catholic Block" can appeal to all. The distortion in "Pipeline/Kill Time" is meditative and entrancing. I think the major weakness is probably the last four tracks. I mean, they're wild and have cool moments, but I lose interest until the random noises in "Master-Dik".

It's a vibe. Pop folk singer mixing country and blues. Most of the songs are forgettable, generic, and repetitive, but it's minimalist and nice. And the addition of blues, country, and synths diversifies the sound to make it bearable. Favorites: Nick of Time, Love Letter, Cry on my Shoulder, Too Soon to Tell

A quiet minimalist indie album, this album would be highly influential on contemporary and modern female artists, most notably Alanis Morissette, whose waves of influence would touch dozens of female pop and rock artists. I could definitely hear "Flower" in artists like Le Tigre and Snail Mail. It's a melodic and accessible album, and despite being almost an hour long, it doesn't feel like it drags on too much, with only a few weak tracks near the end (most forgettable being "Gusher"). Fortunately, only 3 of the 18 tracks go longer than 3.5 minutes, so you get a diverse taste of what she has to offer. She has some great hits "Fuck and Run", "6"1'", "Divorce Song", and "Never Said" which are pretty tame yet catchy. Nothing is ever harsh or loud but still has a rocking sound to it. Many of the songs have a lovely atmospheric sound, don't know what that guitar strumming effect is called, but you can hear it in "Girls! Girls! Girls!" and "Canary" which has such a minimalist sound that incorporates some distortion and melts in the background. Sometimes it got excessive, like how "Shatter" went on for 5.5 minutes.

Haha experimental music. Schizophrenia to my ears with its high anxiety mood and all-over-the-place sound. It's loud and atmospheric with its wall of sound, satisfying that symphonic metal genre. The random abrasive samples and dark percussions are one of the earliest examples show signs of various gothic music of the 80s, but also predate the style industrial music would take in the 90s with NiN and Ministry. A lot of this music I could hear being played in gothic clubs. But we also get some weird vaudeville music, related to that "dark cabaret" genre, in tracks like "La fille de la mort" and "Charlotte." Honestly, I thought they killed it in the first half (although I got a few complains) but the second half started sounding pretty generic. "Crier les chiens" and "Ville notre" sound almost identical and are pretty forgettable. "Les enfants" is fairly interesting but a bit over-the-top and repetitive in what it does, and unnecessarily goes on for far too long. "L'Amourir" is actually a really sick industrial metal track. "Pas Mal" is pretty decent and has some cool effects but didn't impress me too much.

I always felt their debut was the most unique and consistent. It has a warm, melancholic vibe with an easily recognizable voice and instrumental style that invokes the nostalgia of midwest emo, especially in that twangly guitar and sudden shifts between minimalist / spacey and lush in most tracks. So many standout tracks, the album only declines in the last few tracks. But really, the only one I wasn't a fan of was the piano-ballad "Everything's Not Lost", but I still really enjoyed the guitar solo.

This is the embodiment of every 70s soundtrack. It's a lounge style, smooth groovy jazz with most of it hiding in the background but with random instrumental injections from horns, strings, bright percussions, or guitar riffs among other things. A lot of it is slow and relaxing, but some have a kick, especially the funky ones like "Be Yourself", "No Name Bar", and "Walk from Regio's." Honestly, it's really good at what it does as a soundtrack. Incredibly versatile and excellent production, even if only a few tracks stood out. Also included is a 20-minute track "Do Your Thing", which some people could hate, but it was a really awesome soulful jam session, especially the sick guitar solos, reminding me of War's The World is a Ghetto.

In 1965, Brian Wilson changed pop music to a degree that could only be rivaled by the Beatles. This album took a progressive spin on rock music, incorporating classical orchestras, strange key choices, and unusual choices of instruments (like bike horns and soda cans) to produce a beautiful and lush yet consistent album that reflects the introspective and highly emotional moods and thoughts of Wilson. Vocals are much richer and more complex than previous Beach Boys works, aligning with the instrumentation and lyrical subject to create something that feels deep. Every album on here is a hit, and I was moved by many tracks in ways that no other album could compare. "Wouldn't It Be Nice" has such adolescent optimism for a future motivated by intense feelings of romance. It's such a perfect opener, with a nostalgic opening melody and bursting with so much energy and excitement. It invokes classic Beach Boys harmonies but Wilson's shifting lead vocals are so novel. And it's so fast too, with no second feeling wasted. My favorite lyrics here are the bridge "You know it seems the more we talk about, it only makes it worse to live without it. But let's talk about it." This pretty much says all you need to know about the song, how self-aware the narrator is in his own naïveté. The closing scats just show his joy and excitement for the future. "You Still Believe in Me" immediately shows what this album is going to be about, showcasing the sentimentality and surprisingly intimate vocal techniques. The fuzzy deep intro forms a stark contrast to the intro song. The overlaying baroque harpsichord set a very mild tone until the loud vocals burst near the end. The simple harpsichord allows the strange instruments to really stand out and pull your attention, like the bike horns. Then there's that false ending before the loud vocals suddenly come in again. It's all very dramatic and uncomfortable but fitting for the themes and emotions conveyed. "That's Not Me" is a bit of an unsettling song with how neither the instruments nor vocals ever seem to take a break. He just keeps going about how confused he is that he abandoned everything he loved to go for his dreams, which turned out to not live up to expectations. A highly relatable song and a common theme of depression, you can feel his emotional state. Both a subject and method were never really seen in music before. "Don't Talk" is the most sentimental song on the album, so low and intimate and sincere. Very romantic how the whole song is about him relaxing his lover to just exist and enjoy each other's presence. "I'm Waiting for the Day" is a cute relatable song about someone trying to change someone's world who has been hurt and traumatized by another. The narrator is so passionate (punk-like music) and sentimental (baroque pop). It's fun transitioning between the two moods of fiery love and sincere love. "Let's ‎Go Away for Awhile" is one of two instrumental tracks that Wilson felt was better without vocals, and I agree. It's too busy and peaceful for vocals and contributes really well to the vibe. It's a beautiful fusion between pop and classical, and I wish more music like this existed. I guess New Age is close, but this is so much fuller and multi-layered. ‎"Sloop John B" is another radio staple and the loudest and catchiest song. A pretty emotional song that just gets increasingly louder about someone who so desperately wants to go back to where he feels safe and comfortable. Super catchy and fun, a great way to close the side and excite people for the second half. "God Only Knows" is regarded as one of the most acclaimed songs of all time, and for a good reason with how insanely powerful its lyrics and string orchestral sound are. Featuring all sorts of strange instruments, my favorites are the whimsical woodwinds in the middle. The most memorable part is that gradually louder closer utilizing the vocal rounds. "I Know There's an Answer" is a gorgeous song originally titled "Hang on to your Ego" until anti-drug Mike Love threatened to leave unless they changed it. A really powerful chorus and an awesome horn section. God, these instruments sound so perfect together in that closer. "Here Today" is the most tense song on the album. So powerful when the back vocals and horns burst in during the chorus. I was really engaged once I heard that plot twist in the middle. I really love the poetic dragging complaints; you can really feel his pain. That instrumental section is absolutely insane and a journey on its own. I like the idea that this is the same girl in "Wouldn't It Be Nice" showing a transition of love with so much hope to someone's entire world destroyed and him trying to save another victim. "I Just Wasn't Made For These Times" is my favorite deep cut. So much emotion in those vocals of a socially isolated character. So many lines hit hard, from his superiority complex, to his sense of hopelessness, to his lack of fitting in. The build-up of the chorus is full of lush counterpoint harmonies and screaming lead vocals. The instrumental has cool hollow percussions and some weird screeching near the end. It just feels weird and sad, and leaves the audience feeling bad without a very satisfying conclusion, the narrator trailing off hopelessly. "Pet Sounds" is the other instrumental track. Sounds like lounge music with its groovy surf guitar sound and Latin percussion. The only song I felt could be better, but it's still amazing and memorable as is. "Caroline No" is a depressing closer to the record, with sparse quiet instrumentation. The smooth jazzy chorus is so pleasant but is short and quiet. My favorite part is again the narrator and his desperate pleas. This album had such a huge impact on me, and I was shocked by how an album could sound so depressing and hit me on an emotional level in so many ways. I listen to a lot of slowcore like dream pop and shoegaze, but most records tend to be tame or repetitive melodically as much as I like the sound. And most lyrics are too muffled for me to pay attention. But here, they take the spotlight and it's hard not to hear Brian Wilson's desperation and sincerity with super clear lyrics and emotional vocals. The melodies in themselves are too strange not to notice, and that's not even including the weird instruments mentioned. It's an all-around peculiar and incredible album, and I wish others like this could exist.

A Mexican western-infused alt-country record with plenty of acoustics and mariachi. There are a lot of cool ideas, like the fusion of jam, jazz, and Latin in "Crumble" that gives off Santana vibes. I had low expectations going into the first song since it's the most popular, but I was pleasantly surprised. Some forgettable tracks, but I have a few standouts, and there's usually something interesting happening in many others. Favorites: Quattro, Black Heart, Close Behind, Guero Canelo

The number of times I hear of how overrated Queen is, or by the number of diehard fans of who haven't heard anything beyond their hits. I was completely expecting this to be carried by "Killer Queen." This is an insanely fun album. It's so fast and eclectic, with a wild performance among both Mercury's vocals and the proggy rock instrumentals, million different styles in every song. It's not supposed to be coherent, although you have some awesome transitions (Tenement Funster to Flick of the Wrist to Lily of the Valley). But it's not a mess either. They all evoke the same mood, with a lot of classical and operatic influences interspersed. I wonder just how many Queen albums are actually this good.

Rock for the kiddos, so cartoonish. It's derivative glam rock but with faster drums and heavier riffs. Everything from the vocals to their garage style in most tracks feels very much like a copycat of the New York Dolls but with a bigger budget. But of the ones that don't: "God of Thunder" sounds like a stereotypical 70s heavy metal track but with a gimmick, "Great Expectations" tries to be proggy and bright like Alice Cooper but goes on way too long and feels like a children's track, and "Beth" is an even lamer and unoriginal ballad than what Ozzy tried doing for Black Sabbath, but for some reason is the most popular track. Honestly, "Detroit Rock City" and "Shout it Loud" are the only tracks that I'd actually want to hear again.

The record turned him down from having a double record, so this guy just threw a shit ton of songs as a bonus side. Dude, there's a reason you got rejected. No one could stand this garbage. How much of this pop Americana shit did I not press the skip button for? Could be worse; it's bearable when you try embodying Springsteen or Dylan and not completely get it wrong. But yeah, no memorable or outstanding tracks. It's all meh. Most bearable: Rescue Blues, When the Stars Go Blue, Enemy Fire, Tina Toledo

The Wall: the final successful ambitious project of Pink Floyd, serving as a slow, spacey, and dramatic rock opera. They've adapted to the times, with many songs featuring an atmospheric 80s production with the chorus effects and synths. This album serves simultaneously as a movie soundtrack, and it does extraordinarily well with its instrumental moments and reoccurring themes, making it feel more like a theatrical cohesive experience. I saw the movie and was impressed with how well the experimental nature of the film seemed more like an accessory to the music rather than the other way around. As an album experience, there are a ton of songs I don't care for due to the excessive dialogue, a similar complaint I had with The Who's Tommy. But I did enjoy the crazy instrumental parts. A good example is the contrast between the piano ballad in "The Thin Ice" and the dramatic last third of the song. But a lot of songs serve to build up hype for others, like "Happiest Days" for "Another Brick Pt 2" or "Empty Spaces" for "Young Lust", and although alone they aren't anything satisfying, it contributes to an exciting coherent experience. The end of the first side was a bit boring. "One of My Turns" has a lame first half but becomes a cool glammy disco tune in the second half, but the verses do drag on. The instrumental last quarter was sick though. "Don't Leave Me Now" again suffers from this, but the ending did evoke Dark Side vibes with the spacey sounds. I felt it should've ended with more of a triumph, because even though I was happy to hear a reprise of "Another Brick", I was a bit bored at that point waiting for "Hey You." After the amazing "Hey You", we get another string of four mild tracks which again drag on. "Is There Anyone Out There" is cool and creepy with its sad guitar tone and strings. "Nobody Home" is a cute piano ballad but nothing too interesting melodically, just some synths and echoed vocals thrown in. This is followed by an even more boring ballad "Vera." Then we get some opera interlude before building up to the highlight "Comfortably Numb." "The Show Must Go On" is a pretty good follow up. I like the groove and harmonies. We get a copy and paste of "In the Flesh" which is cool but I don't think we needed another copy of the track going on for over 4 minutes. "Run Like Hell" is a really sick spacey track, my favorite deep cut, and the most like Dire Straits. "Waiting for the Worms" is the most proggy song on the album, going between different styles. I wasn't too crazy about it but was quite impressed. We end with "The Trial" which is just another piano ballad that turns into a cool vaudeville musical act. Conceptually, the mood and structure is appropriate for the end of the album, but it was a bore musically. Looking back on it, I probably won't revisit this album too much, and I'm more likely to watch the movie with how much of a visual and auditory experience it is. Yes, it's as consistent as albums could get, especially for its length. But I constantly find myself waiting for the sparse popular tracks, not really enjoying most of the deep cuts. If it had more of the spacey production dispersed, I may have enjoyed the ambiance. But I have a huge hatred of ballads, and there were just too many of them without anything interesting happening.

Jangly folk rock with spacey synths and a wonderful mysterious voice. Enjoyed nearly song. A bit cheesy on the 80s synths, but great nevertheless. Favorites: Freeze Tag, Marlene on the Wall, Straight Lines, Some Journey, Knight Moves, Neighborhood Girls

I had really high hopes liking the 3 major hits. It's a mix of rock, funk, jazz, and much more. "And When I Die" has bluegrass, and "Sometimes in Winter" is a classically-infused prog. For innovation, it's highly impressive, coming before most prog and jazz fusion bands like Chicago and King Crimson. It's bright and lush, but the compositions feel rushed and all over the place. Let's look at one song: "God Bless the Child." What the hell is with the transition at the 2-minute mark? It doesn't even sound like the same song. Then a minute later it suddenly turns into a Latin jazz dance craze. Abandons that Latin when the horns break in, then returns to that beginning theme, and having a weird bluesy ending. It's complex and impressive but feels meant for people with short attention spans. They throw all these ideas together and hope it turns out ok. "Sometimes in Winter" feels like it belongs on a prog album like Jethro Tull or Moody Blues but has no right being sandwiched between these high-energy jazz tracks." The only similar tracks are the Erik Satie opener and closer. There are plenty of cool moments I enjoyed, even in the weaker tracks, but most of that is due to the varied instruments that come in and out suddenly. "Blues Pt 2" is an extended jazz jam session that's mostly boring and at times feels like they're messing around with instruments, eventually deciding to become a funk song near the end, but there was some moments that grabbed my attention. On the bright side, none of the songs were forgettable, with each having things that stood out and left an impression. Best songs are the technologically impressive "Spinning Wheel" and the emotional "You've Made Me So Very Happy." The song "Spinning Wheel" shows what they were trying to do but failed with the other songs.

Following their debut, this album is full of Bowie-inspired vocals and riffs and lush ethereal upbeat melodies from the earlier shoegaze and Madchester movements. With their debut and next album Coming Up, I pick out my favorites and tune out the rest. But this has pulled in my attention in nearly every song. Blur's Parklife and Pulp's Different Class did the same thing, so I'm glad (most of) the Britpop movement has insane talent. Great introduction followed by the anthemic "We are the Pigs" setting the theme for the rest of the album. "Heroine" embodies the britpop spirit, with dirty resentful Beatlesesque harmonies and an eclectic guitar style reminding me of Pulp. Shows their artistic spirit, cramming a bunch of styles in a fast-paced 3.5 minute song. "The Wild Ones" is a really emotional pop track with a powerful closer. I'm usually not a fan of ballads, but "Daddy's Speeding" took me by a surprise, likely due to the constant key changes, strong bass, creepy ethereal effects, unsettling vocals, and a dramatic closer. It was a good follow up to the mood of "The Wild Ones." We shift back to a few upbeat pop tracks. "The Power" has a catchy chorus, strings, and drums that pack a punch. "New Generation" is just an all-around excellent britpop song, nothing really stuck out in particular. "This Hollywood Life" has a dirty guitar style and vocals that definitely look back to 70s glam rock like T Rex. We go back to two minimalist ballads which honestly is my least favorite part of the album, especially since "2 of Us" goes on for 6 minutes. But they're pretty, and I'm a fan of the lush strings in "Black or Blue." Nearing the end, we reach the most technical proggy song on the album: "The Asphalt World." I really like how it stops in the middle then gradually picks up to a glorious finish with a really sick guitar solo. "Still Life" ends with a whole orchestra in a satisfying closer full of life. Almost like a musical. Incredible production. The triumphant ending reminds me of Sgt Pepper. There are also two bonus tracks on Spotify. The first is the full version of the hit single "Stay Together" which does feel like it belongs more on their debut. It's good, catchy chorus, but I'm not sure it really warranted its length. The other is "Whipsnade" which is a really cool mellow fast song, also has a pretty chorus, and I'm a love the double tracked vocals, but it goes by a bit too quickly. Super groovy second half.

Really makes you feel like you're in the 6th grade. Fred Durst has a fun personality, with vocals and delivery clearly inspired by Korn, NiN, and Eminem. The alt metal components are generic guitar work with distortion and chorus to the max. But compared to other nu metal works, he places a greater emphasis on the chill funky hip hop components which make it a bit more captivating and diverse. There's a lot of trash on this album, and certainly doesn't warrant the exhausting double album length. But a lot of it is just ok and bearable, with some decent hits. Significant Other had better songs and was more consistent, but this one isn't so bad either. If it cut a lot of the trash and unnecessary outro, I'd upgrade this by a star.

From the bassist and drummer of Minutemen with a new vocalist and guitarist, they had two albums before this which were more creative and hardcore, but here they take a softer and more traditional approach, although they do keep that experimental style in many tracks. It's short and diverse, and that bassist is quite distinctive and groovy. I was a bit underwhelmed but thought there were some good tracks here, but several I didn't care for much. Favorites: Riddle of the Eighties, In My Mind, Mas Cojones, Time With You, The Softest Hammer

Radiohead follows the experimental chaotic nature of OK Computer but moves into electronica and post-rock territory, with lush alien-sounding synths, non-sensical lyrics, and glitchy production techniques that come off as unnerving. This is what happens when pop and alt rock are blended with the works of Aphex Twin or DJ Shadow, and the formula works extraordinarily well, unmatched by any similar work I've heard. Unpredictable and exciting, every track stands out and leaves an impression. You never know where it's heading, and even after so many listens, you will always discover something new you hadn't noticed before. It has loud extreme tracks that go hard: "Everything In Its Right Place" and "Idioteque". It has accessible tracks disguised as normal pop tracks but are shrouded by ambiance or strange time signatures: "How to Disappear Completely" and "Motion Picture Soundtrack." And then there are the tracks that build this spacious cybernetic world around you: "Treefingers" and "In Limbo." The vocals in "In Limbo" oddly enough feel more like instruments to describe a scene and mindset rather than traditional songwriting of telling a story of expressing the writer's emotions. Hard to describe, but the way these cryptic lyrics are written and incorporated in the songs resemble more like samples in electronic tracks than what you normally see in rock and pop, and it helps build this immersive world. It's a beautiful album with no weak tracks. Fitting opener, fitting closer, and good distribution of the pop, hard, and ambient tracks. Everything is in its right place.

The opening track "Apache" is one of the most influential songs in hip hop, and there were parts I fully expected the Sugarhill Gang to jump on it. It was cool hearing all the parts that were sampled by hip hop artists, like "Last Bongo in Belgium" in the Beastie Boys' "Looking Down a Barrel of a Gun." These studio musicians take a bunch of classic rock and swing tunes throw in some instrumental funk and bongos on top. A lot of it sounds like a generic soundtrack with some cool bongos. There's only so much you can do with bongos. In some tracks they do ok replacing traditional drums. In other songs, they feel a bit forced. But there are a few that impressed me. "In a Gadda Da Vida" was insane, especially the spacey horn segment. As for the songs themselves, I thought the first 9 were mostly great (with several dull moments). After that, nothing stuck out to me.

Warm and fuzzy jangle pop. Very 80s in its song structure, unconventional instrumentation played like guitars, and use of atmospheric synths and hollow consistent drums (almost sounded like drum machines). Vocalist reminds me of the guy from The Only Ones, and a bit of REM. The contrast between the two vocalists remind of contemporaries like the La's. Not all of it is spectacular or memorable, but it's coherent with highlights, and it's not terribly long. I wouldn't call it groundbreaking, but it is a good representation of this era of indie pop.

In their debut, The Who immediately stand out from the rest of the British invasion with a unique blend of rock, pop, R&B, and blues that hasn't been done so aggressively and confidently before. Their wild and raw style with simple repetitive melodies and chords invoke a lot of 50s rock n roll and blues energy while serving as inspirational forerunners to garage rock and power pop, which of course would inspire the revolutionary punk movement (and those especially dedicated like The Jam would make up a branch known as mod revivalism). The album is all over the place, but Townshend's melodic and power guitar playing combined with Moon's sporadic drumming and Daltry's diverse singing somehow make nearly every song engaging. Looking at all the genres, "Out in the Street" is rockabilly like Chuck Berry, "I Don't Mind" is doo wop, "The Good's Gone" is jangle pop like the Byrds, "La-La-La Lies" is power pop like Young Rascals, "Much Too Much" is Beatlesesque, "My Generation" is garage, "The Kids Are Alright" goes back to jangly power pop, "Please Please Please" is soul, "It's Not True" sounds like a rockabilly reaction to Dylan's "Like a Rolling Stone", "I'm a Man" is blues, "A Legal Matter" is a a good fusion of jangle pop, rockabilly, and garage, "The Ox" is heavy metal, and "I Can't Explain" is garage (I know it's a single but it's too good to exclude). These genres aren't accurate, but are my interpretations, and shows to me how diverse their style is. I can't say any of the songs themselves are as spectacular in composition as the hits, but as a whole it's a fun eclectic mix of 60s pop music by some very talented musicians who have a ton of a potential.

Morrissey shifts his style and incorporates glam rock, surf rock, and rockabilly, cranking up the distortion and having some sick solos. Still has the jangles, his whiny vocals, and his introspective lyrics. Unlike Viva Hate, he actually has a new hard style that often works really well for him, and he's pretty consistent in all of these tracks. There are some times where I feel they clash, like "We Hate It When Our Friends Become Successful." There's usually something I like about each track, typically the guitar solos, even if I feel some of them are forgettable. He still has the energy and spunk, unlike later albums like Vauxhall and I and You Are the Quarry. It's probably my favorite of his solo work, a really pleasant surprise from a record I had fairly low expectations for. Favorites: You're Gonna Need Someone on Your Side, Glamorous Glue, Seasick yet Still Docked

This band really blew up by the end of the decade. But at the beginning, they were another garage revival band who did something a bit unique by looking back to the bluesy southern rock of Lynard Skynard, ZZ Top, and Black Crowes. I can most hear it with "Happy Alone" how the album borrows many elements from 50s rockabilly and 60s garage rock, and the simple repetitive chords and lyrics and aggressive vocals are very punk-like. The second half is weaker and more forgettable than the first, with the only notable track being the triumphant "Holy Roller Novocaine." There's also "Molly's Chamber" which is a catchy pop hit but a bit boring.

We have a few different styles here. The star track is the titular opener, a very unconventional style that seems to do whatever it feels like. It's highly unpredictable, with repetition as if the song is glitching out like a scratched record, very sudden tempo and key changes, and instruments randomly phasing in and out. "Ba-Lue" is a rhythmic blues track. A pleasant follow-up to "Brilliant Corners" but nothing too crazy, although I did really like the drums near the end. Tiresome for attentive listening, which is inconsistent with the titular track. "Pannonica" sounds like it could be a Frank Sinatra song with its traditional pop structure. Goes a bit too long and repeats itself too much but otherwise a really pleasant track. He tries to do a few things to spice it up, by change the key several times in the middle, or playing the last main part chord a half step higher, but it still feels tiresome. "I Surrender Dear" is a subtle yet forgettable calming piano piece you'd find in the background of a nice restaurant. The weakest link and doesn't match the vibe of the others, but fortunately the shortest. "Bemsha Swing" is wild hard bop that really brings out the groove to dance to, super catchy. Get a bit chaotic, especially those deep hollow sporadic drums, but the instruments seem at war with each other. An essential track that shows his talent. Looking back, it's quite an inconsistent record but displays Monk's talent during the height of his career. The opener and closer draw your attention the whole time, while the others seem to be meant for background listening. It seems like he put most of his energy into the title track, but at least the others have quite a bit to offer.

She can sing well, and the instrumental is ok. 60s country tends to be bearable. But I didn't see anything exceptional here, couldn't even pick out a song I liked.

The drummer of Nirvana, Dave Grohl, somehow singlehandedly created the closest spiritual successor of his former band as you could. You could mistake songs like "I'll Stick Around" if Cobain had sung them with the back-and-forth twee pop and aggressive punk parts. Excellent grungy distorted sound with prominent pleasant power pop elements. Absolutely insane how he played every instrument. He's insanely talented in everything, and it's mixed well too. Huge fan of nearly every song. A few songs I didn't care for much, especially the last 3, but I enjoyed it all. Most surprising deep cut for me was the shoegazy "Floaty" which was probably influenced by Smashing Pumpkins' "Mayonnaise."

Its surprisingly not as bad I thought. Sure, it's obvious from the first track they stole ideas from the Beatles and Byrds but are far less creative or melodically interesting. But it's catchy and has a different style which each song, a good reflection of mid 60s pop. This is the album where the Monkees start writing their own songs. And although they don't produce anything mind blowing, at least I can acknowledge they put in the effort with how diverse the sound is. It's my type of music, with optimistic jangly guitars and harmonic vocals, so I'm a bit biased. If this were a previous album, I'm sure I would have dismissed most of it as filler besides the hit tracks. Favorites: Forget that Girl, For Pete's Sake, Mr Webster, Randy Scouse Git

I'm a fan of their peaceful and happy jangly chamber pop. Album starts off with two killer catchy and lush tracks, but I don't think it reaches that high again unlike their next album If You're Feeling Sinister which is full of bangers. Several filler songs like "You're Just a Baby" or "We Rule the School", but there are lots of beautiful moments, like the woodwind and harmonies in the closer "Mary Jo" or the ethereal vocals in "My Wandering Days," even if I'm not a fan of the first half of either song. They get creative with electric production on "Electronic Renaissance" and "I Could Be Dreaming" (reminds me of Stereolab or Of Montreal) but they don't fit in too well, and I'm not sure it exactly matches their style.

Great singer, especially the vibrato, very operatic, especially with the baroque-style strings and woodwinds. Hearing some Thom Yorke in there. Also hearing some motown influence in tracks like "Fistful of Love." But I don't care so much for an album of piano ballads with boring, slow, simple melodies. Favorites: Hope There's Someone, My Lady Story, Fistful of Love

Glam rock with 80s production, it's exactly what you'd expect. Trying to imitate others like KISS but with a childish sense of humor and fast energy. Everything about this feels commercial and derivative. Awful mixing, and inconsistent volume. Not a single outstanding track, but there were a few I could bear with. Favorites: Malibu Beach Nightmare, Tooting Bec Wreck, Ice Cream Summer

Oh this is an awesome discovery. I love this style of synth pop, must have surely inspired Talk Talk, especially in their development of post-rock. 7 tracks and they're all fantastic in their own ways, with a couple dance tracks, a couple powerful pop pieces, and the rest being ambient emotional pieces. I love how spacious and atmospheric they all are, incorporating all sorts of sudden lush sound effects that make for a very pleasant experience. Not a single second felt wasted on this record.

A fusion of soul and the rising house movement with some jazz, funk, hip hop, and afrobeat elements in many songs. Can definitely hear the influence of bands like Massive Attack, and looks like it's influenced by the soul-disco combo of Chic a decade prior. It's consistent with strong hits and diverse styles interdispersed, although I did find the house production effects and samples to be incredibly repetitive albeit well polished. Some tracks go on a bit too long. I didn't find many of the tracks to be musically interesting enough to keep me engaged (which is kinda the point of early house music but I guess that's why it's more dated than Madchester), many tracks relying on the singer's talents. Favorites: Keep on Moving, Feelin Free, African Dance, Happiness, Back to Life

This is how you do arena rock. They have their own unique sound, so grand and full with accessible riffs and catchy melodies. One of the earliest successful fusions of rock / metal with hip hop and funk. It's insane a rap metal song like "Epic" came out in the 80s, years before it was popular, and it's done so well. I hear Sly and Prince influences with songs like "From out of Nowhere." Usually I see bands from the era labelled as alt metal, and they tend to be more rock than metal, but there are some very thrashy songs like "Surprise!" that scream bands like Anthrax. I do prefer their proggier next album, Angel Dust, more. And this record does go on way too long, with a few forgettable tracks in the second half. Favorites: Falling to pieces, Epic, The Real Thing, Edge of the World

A very strong debut after he left his partnership with Garfunkel. Many songs like "Duncan" and "Everything Put Together" are songs I'd definitely hear on one of their albums, but so many others are taken off in a more energetic, poppy direction that shows his talent as a songwriter is only growing, incorporating jazz and gospel. "Mother and Child Reunion" shows he's growing and taking notes from contemporaries like George Harrison. Got weaker and more forgettable in the last few tracks, but it's all good. Favorites: Run that Body Down, Me and Julio Down by the Schoolyard, Peace Like a River

Even before Paranoid, they were capable of inventing half of all metal music genres. There are only five tracks and they all blew me away in their own ways. With how long each of the tracks are, especially the jammy finale, the whole record goes by very quickly, making it a very easy listen and fun for anyone trying to get into Black Sabbath or really heavy metal as a whole. The titular intro track has such an eery stoner rock groove with clear vocals about Satan and black magic, telling you exactly what you need to know despite audiences never hearing anything like it. It breaks into a satisfying explosion of intense riffs. "The Wizard" immediately moves on as the most accessible track on the album, suitable as a contemporary to other early heavy metal albums at the time with its strong blues style. Just like Led Zeppelin, every member is outperforming yet complimenting each other. The "Wasp" medley could have been four songs, but it works better as a smooth flow of slow groovy parts. Resembles acid rock quite a lot here by the half-way point, embodying Jimi Hendrix-esque heavy distorted solos. "Wicked World" is a chaotic all-out blues track that seems to go everywhere. A bit of a mess but in a good way with where they take the song in under 5 minutes. We end the album with the 14-minute jam track "A Bit of Finger", with awesome guitar riffs but in particular a groovy and doomy bassline I fell in love with.

I'm sure this was cool at the time, before glam metal before mainstream, hard rock blues like contemporaries ZZ Top. It's fast and busy with a distinctive arena sound. But all the songs blend together. It's so forgettable and boring. They often try going grand and either atmospheric or rampant on a guitar solo at the end of several songs like "Combination" or "Get the Lead Out" which matches with the arena approach and stands out but doesn't do much for me. The only song that felt different was the funky "Last Child." Favorites: Back in the Saddle, Nobody's Fault

Are you kidding me? There's ANOTHER album by this Americana-wannabe who copies Dylan and Springsteen? He blows harder on the harmonica and, wow, suddenly it's a pop hit. Screw off, I'm not in the mood to listen to 52 minutes of pop ballads. Not today, not ever. 2 stars because it's not unlistenable, and there were a few songs I could bare. Doesn't mean I like it... at all.

Harrison had been stockpiling songs while in the Beatles for the prior two years, several of them rejected by the McCartney-Lennon duo. Immediately upon McCartney announcing his departure, Harrison went to work on recording this triple album, bringing in the best musicians of the era to back him up, including Derek and the Dominos. Produced with Phil Spector, he employs his signature wall of sound, creating a very full and lush effect that matches his gospel influences and empowers many of his songs. On top of all that, Harrison and his vocals, songwriting, and guitar playing are still at the forefront, with plenty of instrumentals to appreciate, especially with how many techniques and instruments he himself employs. Many songs like "Art of Dying" retain the signature Beatles chord progression, making it both familiar and accessible to Beatles fans. The styles here are surprisingly diverse. The first half is full of pop songs. Some are sunshiney ("If Not For You", "Run of the Mill"), some are emotionally heartfelt ("Isn't It a Pity"), some are religious and powerful ("My Sweet Lord" evokes techniques we've since with the Beach Boys "God Only Knows"), and some are bluesy hard rock songs ("Wah-Wah", "Let It Down"). And despite these styles, they all have catchy choruses and melodies that get stuck in your head. With so many musicians and so many instruments being played, each song stands out in its own way, taking from blues, country, folk, and gospel. The second half follows the same themes, except a bit milder and more focused yet less catchy. Which isn't necessarily a bad thing. With an album that goes on so long, it still manages to captivate you. I think the track listing overall works pretty well in his favor, and honestly mirrors what the Smashing Pumpkins will do in their Mellon Collie album which shares many features: an off intro track to set the mood, a dramatic drawn-out satisfying closer, all the catchy pop tracks near the front to pull in audiences, maintaining diverse styles on both sides to keep it interesting, making the second half the same but tamer. It's the best approach to get most listeners to enjoy both halves. Both of them even place just one hit in the middle of the second half ("All Things Must Pass" and "1979"). It's a spectacular effort by Harrison, and maintains a candidate for the best Beatles solo album against RAM and Band on the Run. His next album Living in the Material World is more of the same but not as strong. And after that, it's a shame he never really put out another great album again, although he would have a few more hits.

Gabriel finally learns he can be successful if just stops being as weird and crazy as humanely possible. In So, his songs take on a more traditional structure with a greater emphasis on melody. Released just a few months from Graceland, Gabriel also borrows a lot from African music (in addition to Brazilian and Indian) in his percussion and tropical soundscape. Every track is memorable and outstanding. We alternate between fast and spontaneous dance tracks and entrancing atmospheric tracks, both styles relying on unique instrumentation and a million different synths. Seriously, there are guest musicians in every track, whether doing backing vocals (Kate Bush in "Don't Give Up" or Youssou N'Dour in "In Your Eyes"), brass instruments ("Sledgehammer" and "Big Time"), a violin, or other unconventional percussions (the congas, surdo, and triangle in "Mercy Street" by Djalma Correa). I'm not a big fan of ballads, but once you throw in spacey synths or Kate Bush, I can't really complain. Every song here is spectacular in its own way. It's all consistent in production and mood, which is often a complaint of Gabriel's usual eclectic and over-the-top style. Perfect album length, every track goes on for as long as they need. I think I'd prefer the original track ordering with "In Your Eyes" in the middle cause "Excellent Birds" is a softer, more satisfying closer.

Released right after Dookie, this album's highly accessible sound propelled skate punk to the mainstream, with many songs being radio staples to this day. Its diy raw punk style offered many listeners a good alternative to both grunge and that "poppy" alt-rock that dominated radio. It's aggressive, fun, and catchy with tons of hits in the first half. It has its weak songs. "Something to Believe In" is a little catchy and has a killer guitar solo but sticks out as the odd one in a side full of hits. The second half has its moments in every song and is more true to traditional hardcore and skate punk, honestly feels like a Minor Threat EP. It's good, but not as memorable or strong as the first half. My highlight was the ska "What happened to you?" It's their most consistent album, and doesn't have any bad tracks (unlike their other albums), but there's very clearly more potential here.

A stepping stone to thrash metal. To me, that's all it is. The growling vocals, deep bass, and rapid heavy guitar playing are all characteristics shared with contemporary Motorhead or ZZ Top. What makes this album stick out is their arena sound and anthems like "United" or the bonus track "Red, White, & Blue" that put them on the same wavelength as glam metal but for a more hardcore audience. Started off pretty strong then ended off with "Steeler" on a bang, but didn't care much for the forgettable middle. "Breaking the Law" is a unique standout track that represents the era alongside "Ace of Spades." The other hit, "Living After Midnight" seems to be copying glam metal hits, and I'm not sure how much I'd like it if I hadn't heard it so much growing up on the radio. Favorites: Metal Gods, Breaking the Law, The Rage

Smash Pumpkins fused the high distortion of grunge with the fuzziness and business of shoegaze, and the grand arena sound of hard rock and glam metal. It often alternates between loud psychotic chaos and calm dreamy cheeriness. With 13 tracks (one being a short interlude), each track comes at 5 minutes average length! And yet there were no points where I felt I was getting bored. Personally, I find the complex song structures to reflect classical music with how it seems to be divided into parts that gradually and smoothly transition to each other yet sound nothing like. "Hummer" was the first example of this that stuck out to me. It's a very consistent record, with the transitions between songs being such as smoothly as the parts within them. Track listing is well chosen, with the powerful tracks (including 2 hits) at the front to pull in audiences and show their diversity and talents. Like Mellon Collie, we have this really long drawn out conclusion. Following the grand fuzziness of "Mayonnaise", we have the most melodious, emotional track "Spaceboy" that leads into the bombastic epic of "Silverfuck", before finally fizzling with two more tracks. I found myself enjoying every song. It's not as strong as Mellon Collie. I feel bad because I gave Mellon Collie 4 stars 18 months ago when the sound was very fresh to me. But as it grew on me, I realized Mellon Collie was a whole cinematic experience and most tracks left a huge impression on me. Maybe this'll do the same, cause I'm already loving it all. If I could go back in time, I would give Mellon Collie its 5 stars. And as such, I don't feel guilty in giving this less favorable (but still incredible record) the 5 stars.

With its groove and high distortion and overdrive, I can hear the transition from fuzzy alt rock of Dinosaur Jr or Fugazi to grunge of the following year. It's groovy at times but often fast, wild, fun, and even humorous. Compared to Superfuzz Bigmuff, it's much more consistent and polished with better deep cuts. Only a few forgettable tracks.

Following the success of Deja vu, Neil Young shifts from blues rock to all sorts of folky styles. And it really works out for him. For some reason, indieheads considers the first two tracks to be his best songs. I thought "Tell Me Why" lacked anything special, while "After the Gold Rush" was a boring ballad, and after three listens, I still didn't get the appeal. The tracks after that, however, really impressed me. We got some sick fingerpicking and some catchy pop tracks. Thought it got weaker near the end, especially hated "Birds." It's a versatile short listen that's great for introducing Neil Young to people.