I really enjoyed this album. This is a solid jam/jazz/funk/acid rock offering with lots to dig in to especially if you're musically inclined. The record was joyful and playful and featured impressive musicianship. I especially enjoyed the use of the synth which in no way made the music sound dated (as synths can do). Great record to put on to get people dancing as well.

Incredible album. It feels like the music is unfolding in real time not necessarily as a live show, but as an all encompassing experience. George Clinton's futuristic vision is pervasive and engaging. The personnel on this album are the very best at what they do. This might be the definitive funk album.

The range of influences in this album is impressive. I hear Beach Boys, Beatles, punk, African music (particularly Burundi), and glam rock. Adam and the Ants are clearly not overly concerned with mixing these influences or writing idiosyncratic songs, such as 'Jolly Roger,' yet there is a unity to this album that makes it all work. There's a lot to love here. The more I dive into New Wave, the more I'm convinced that it is one of the most forward thinking movements in popular music history.

Wonderfully experimental while also very relaxing. This album is almost trancelike and is punctuated by moments that are funny, irreverent, and topical. The features on this album are excellent and diverse. The musicianship on this album is excellent, and the songwriting is eclectic with moments that remind me of stream of consciousness.

Willie Nelson bucked the system and instead of putting out over produced Nashville drivel, made a simple, stripped down country record structured as a concept album. Red Headed Stranger is the story of a preacher who kills his wife and lover and explores themes of loss, guilt, and longing. It’s exactly what needed to be made at the time

Not my usual listening, but was intrigued on how I could hear the seeds of punk, shoegaze, and new wave. The influence of the Doors as well as artists such as Bo Diddley were apparent.

This album is fearless. David Byrne is unafraid to toss in disco influences with rock influences and create something new but coherent. His frantic lyrics and singing add a sense of manic urgency to this album. This music is off-kilter, yet still finds a groove.

The Beatles and Elton John influence is apparent here. The Bee Gees are better known for their late '70s disco pop, but this album showcases their ability to craft lush pop centered around themes of loss and remembrance. Highlights for me are 'How Can You Mend a Broken Heart,' 'Trafalgar,' 'Don't Wanna Live Inside Myself,' and 'Walking Back to Waterloo.'

I'm very glad this album was included. Loretta Lynn's contribution to country music cannot be overstated. Her vocal performance is powerful and subtle. Female country singers are often noted for their powerful delivery, but Lynn showcases immense control and damn near perfect delivery (see 'I Really Don't Want to Know' for a masterclass in vocal delivery). The music itself is well crafted, and is more complex with its chord changes than one would think. It is designed to deliver the exact emotional resolution (or lack thereof) that the songwriter intends. In that, it excels.

There is so much potential in this music. Having said that, the lyrics are weak and trying too hard to be edgy. I can't help but compare this album with other music from the mid nineties that successfully capture feelings of isolation and sadness without becoming heavy handed. As for the music itself, I really enjoyed the first half of the album, but it just doesn't fulfill what it could be. By the second half of the album, it starts to fall flat. Guitar arpeggios are great, but not when they make up the entirety of the album.

I really enjoyed this album. This is a solid jam/jazz/funk/acid rock offering with lots to dig in to especially if you're musically inclined. The record was joyful and playful and featured impressive musicianship. I especially enjoyed the use of the synth which in no way made the music sound dated (as synths can do). Great record to put on to get people dancing as well.

Great blend of Brit pop and punk with The Beach Boys influence coming through. Overall, a warm album from a band who knows how to effectively switch up a song

Not my favorite Velvet Underground, but still a great album

Great mix of jazz, R&B, swing, and early rock and roll. This album is high energy until the very end. I have heard of Louis Prima before, but I'm glad to have become more familiar with his music. This album would have been very influential at this particular musical crossroads. Prima's embrace of the burgeoning rock and roll genre is a testament to his flexibility and openness.

The synth sounds a bit dated, but this album is a fusion masterpiece featuring acrobatic musicianship and great exploratory passages.

One of the greatest albums of all time. You can hear the seeds of experimentation which would explode the next year in Sgt. Pepper's Lonely Hearts Club Band. This album represents a huge leap forward musically, and technologically as the Beatles began using the studio as an instrument in itself.

I have never listened to Blur before but enjoyed this album quite a bit. The range of influence that could be heard throughout was diverse and well incorporated. Overall, a great album

Incredible album! Cohesive, interesting, and boundary pushing. I can imagine how formative this must have been for experimental musicians. I'm very glad this has been put on my radar.

Loved it. I have been spoken derisively about synth heavy 80s albums in the past, but I'm growing to enjoy quite a bit of that style of music. Rio is well paced, and features interesting lyrics, amazing bass lines, and intriguing synth/keyboard work. I will definitely be returning to this album.

Great first half. I enjoy the more ballad like songs from this one. Simple music, great vocal delivery

Loved it. I have not waded much into goth-rock/new wave/post-punk but this was great. Though the instrumentation was simple, it was very effective. The music features a strong backbeat, prominent bass, horror motifs, and typical new wave/post-punk vocal delivery. The overall result is a driving, pulsing music that is instantly likable and even danceable.

I listened to this album twice. The first time I quite enjoyed it but felt it was one of those albums that needs to be given more time to grow on me. The second listen opened up some of the melodies and rhythms and allowed me to pick apart some of the various styles and influences. Overall, I think that this album is criminally overlooked. We would do well to get outside of our Anglo-American concentration and see how what we are familiar with influences and has been influenced by what we are not familiar with.

Gorgeous instrumentation and vocals. I have heard Baaba Maal mentioned by other musicians so it was great to actually be able to listen to him.

Beautiful. I listened to it twice. I will be returning to Elliott Smith quite a bit

Great album. I've always loved the title track as well as 'Vincent,' but listening to the album as a whole makes me wonder why Don McLean isn't known beyond a few songs. His songwriting and musicianship are great and his vocal range is impressive. He can be a bit on the nose for some things, but when he's great, he's truly great.

Better than expected. I’m not the biggest fan of metal, but hearing it with the symphony brings out those classically influenced qualities

Good hard rock. I grew up with quite a few of these songs. They’re not terribly innovative but there’s something to be said for their mastery of their style. Paul Rogers is an excellent vocalist

Great album, great songwriter. She’s influential as hell, there’s not much more I can say about her

Some good songs, but the album really starts to drag towards the end.

Solid album. This album was made during a period of tension within the band and escalating drug use. This album is more moody than joyful, and represents a change in direction for the band. Within a few years the rhythm section would be replaced.

Super interesting album. This self-named genre Deathpunk is way more thought out that than the punk label would suggest. The arrangement is complex and is able to keep the listeners attention through over 40 minutes of music. The lyrics and the name of the band are transgressive, but again, very interesting.

Incredible album. It feels like the music is unfolding in real time not necessarily as a live show, but as an all encompassing experience. George Clinton's futuristic vision is pervasive and engaging. The personnel on this album are the very best at what they do. This might be the definitive funk album.

A startlingly intimate and atmospheric album. Certain songs such as Deer Stop grabbed me immediately. Alison Goldfrapp's vocals are haunting and when they are altered the effect is electric.

I was familiar with Sandy Denny through her performance on Led Zeppelin IV, but this showcases her vocals in a new way. This album is very interesting in that it approaches folk rock from a undeniably British perspective. Great storytelling, and compelling music.

Great album. Really bridges the gap between new wave and Britpop. I will definitely be returning to this album

Solid album. Admittedly, I am not to familiar with most of Springsteen’s work. This album was full of great storytelling

Nothing terribly groundbreaking here. Fairly enjoyable, but it seems like an over-earnest rehashing of heartland rock. It's also hard to come to this album as a new listener in the wake of the allegations of sexual abuse. I feel like I've been primed to dislike anything Ryan Adams has put out. I will say that he definitely can write a good song and has a unique voice.

I can hear how this album influenced Nick Drake, Simon and Garfunkel, Led Zeppelin, etc. Great acoustic guitar playing, and great folk music.

I have seen this band live because a friend had an extra ticket. They were fine, but there wasn't much of their music that resonated with me. This album has some good tracks, but the second half really lags. I do enjoy the interesting synth worth though. It's a good album, just not something I'd willingly put on.

One of the greatest albums of the '90s and possibly ever. Nirvana expanded their dynamics on this album which gives it more texture and shows that the band was not simply content to rehash Nevermind. This album hints at their Beatles and Pixies influence while incorporating elements of punk and hardcore music. Kurt Cobain was a master songwriter and an avid student of music.

Not bad. Lots of interesting syncopation. The more I listen to it, the more I can hear the Smiths influence and British New Wave as a whole. It's not a straight rock album as it contains, punk, funk, and art music influences. The song structure here is varied with lots of good breaks. The rhythm section drives the whole band with moments of great syncopation and wonderful high hat work layered over a thumping bass.

Great album, accessible, positive, and instantly listenable.

Classic album. Neil Young's lead guitar shines through this album and makes what was already a supergroup even better. One of the greatest folk rock statements ever

Not my usual fare but I enjoyed it for what it was. It is un-categorizable in genre, but still feels unified.

Wow. Strange album but what an experiment in songwriting and genre bending. Will be listening to again

Some great moments in the first half, but it’s just a bit much for me. This album carries some of the worse impulses in 80s music and is quite dated. However, it’s an exemplary example of where pop music was at that time

Not much to say. This is one of the best Dylan albums which is about as high as I can praise it. This album features an electric first half and is the first of a three album trio which sees Dylan reinvent himself and write some of the greatest if not the greatest songs of all time.

A hidden gem. I had never heard of this band but after listening to this album, I can hear tinges of punk within an experimental framework. It's interesting to think about what was coming out in 1966, the Beatles' Revolver, the Beach Boy's Pet Sounds etc., and Black Monk Time sounds completely different. Truly incredible

Classic album. Huge leap in songwriting from his previous three albums featuring great melodies and driving instrumentation.

I liked it quite a bit. Julian Cope at times sounded like he was bringing in influences from the Smiths, Lou Reed/The Velvet Underground, and various new wave/post-punk artists. The album runs a bit long and would benefit from a pruning of sorts.

Not my favorite Doors album, but with Roadhouse Blues, Waiting for the Sun, Queen of the Highway, and Peace Frog, this is still a very strong album. As always, Ray Manzarek's keyboard work is incredible. I'm also a fan of Robbie Krieger's guitar work.

Fun album. Not every song is the best lyrically, but I think this is their best album

Really good. Great mix of funk, new wave/post punk with great Thatcher era lyrics. The use of horns within this post punk format gives the music a more optimistic sounding feel as opposed to other British post punk artists despite the lyrics that reflect economic and global strife.

I got a lot of a lot of Nick Drake vibes from this one. I can also see how they influenced the diy indie scene as well. Very well written and unusual songs with a thoughtful arrangement and instrumentation

Really good album. I've never listened to a Tribe Called Quest before, but have been trying to learn more about hip hop and its history. This album is accessible, and features a smooth flow, and beats full of jazz, funk, and rock idioms. This album does run a bit long though. However, I've listened to other albums that are way shorter but feel longer. I hope to listen to more of this group in the future. This album made me excited to delve more into hip hop.

I wasn't expecting to be as into this album as I am. It's so smooth, funky, and jazzy. The musicianship is fantastic and Sade's vocals are phenomenal as well. The drums and bass are locked in and are doing really interesting lines and rhythms in the background. This is a marvelously produced album and is sequenced and mixed very well. In retrospect, it makes total sense that I love this album as I love funk and jazz. I was expecting something more dated I think.

Really interesting. I personally loved the cinematic feel to this album

I listened to this album a couple of times and while I did enjoy it, there wasn’t anything in particular that stood out to me except Automatic and Skidmarks on My Heart.

I was quite familiar with this album. It has a very American barroom feel. The standouts were Tiny Dancer, Levon, and the title track. Some of the songs drag a bit

I’d been wanting to explore the Pixies for a while and this gave me the perfect excuse. Bossanova is phenomenal. The post punk, surf rock, and folk rock influence is obvious, and their own influence in later bands such as Radiohead, Smashing Pumpkins, and Nirvana is abundantly clear. So great I immediately started it over

I never really got into the strokes and now it feels a bit too late. This album was incredibly influential to the point where a lot of what came after sounds just like it. If I had heard this album first, perhaps my reaction would be different

Excellent album that brings together a who's who of Cuban musicians to create something truly wonderful. This album is at once listenable, danceable, and features some amazing musicianship and arrangement. This will going into my rotation.

I need to listen to a few more times as it's super layered. The flow is great of course, but there is so much going on in the background that deserves to be heard. There's a tinge of darkness and moodiness to this album that is really intriguing. An excellent addition to the mystique of the Wu Tang Clan

I enjoyed it more than I thought I would. This music was interesting for its refusal to stay within a hard rock/metal framework. The funk and hip hop influences reminded me of RHCP with better songwriting and arrangement. I see why this band is so influential. This is not something I would have sought out for myself, but I'm really glad I got to listen to it.

I really liked parts of it. Some of the synthesizer use definitely was ahead of its time and sounded almost contemporary. Unfortunately, with such heavy reliance on synthesizers to simulate brass and other instrumentation, the music sounds incredibly dated. The songwriting is of course great, but it's hard to be able to listen to this album without the synths getting in the way.

Classic. It does drag a bit and feels a bit bloated, but when it’s good, it’s truly great.

Brilliant album. One of my favorite things about Pink Floyd is that they let their songs breathe as it were. Each musical passage is allowed to be savored and developed in its own timing. David Gilmour is one of my favorite guitarists for his ability to craft melodies and solos that are exactly what the song needs. Furthermore, the lyrical makeup is at once specific to Sid Barrett’s mental breakdown, yet universalizing in some of its themes of exploitation, genius, longing, and sadness.

Not only does this album represent the best of Simon & Garfunkel, it also looks ahead to Paul Simon's later work in exploring Latin American and African music. As always, the harmonies are tight, and Simon's lyrics are among the best in the American songbook. On a personal note, Simon & Garfunkel always make me feel nostalgic in a way I can't quite put my finger on. One of the greatest duos of all time.

I've never listened to Hole. Courtney Love is a complicated and polarizing figure and for that reason I've never really had an interest in her music. I should've just listened. This is a monster of an album and grabbed me immediately with its punk and hardcore inspired grunge. It has memorable lyrics, great musicianship, all topped off with Courtney Love's incredible vocal delivery. Hole is supremely talented and after hearing this, much preferred to other grunge acts of the time. I'm glad I gave it a listen.

Incredible album. Like a great piece of classical music, this album was thematic, self-referential, and incorporated previous melodies and lyrics to create a sense that this album is meant to be listed to as a whole, as a piece of music rather than a collection of songs. The flows on this album are some of the best I've ever heard. Lauryn Hill is the clear standout, though Wyclef Jean and Pras Michel are also incredible. It's no wonder why this group is one of the most influential in hip hop.

Interesting mix of rockabilly, post-punk, a touch of reggae, new wave, folk, and hard rock. There's obvious influences from the Beatles, Led Zeppelin, the Police, and '70s commercial rock. I'm honestly not sure if I like it or if it's really boring. It's very proto college rock in a lot of ways. There's nothing here that's terribly innovative. The bass work however, is truly outstanding.

Perhaps I’m just rating it highly because I lived in the East Bay for so long, but this album seriously holds up after 17 years. A punk rock opera was genius then and is genius now

Fantastic mix of jazz, funk, soul, rock and hip hop. Q-Tip has a fantastic flow as well. The transitions are great and the use of samples is perfect

Great garage rock. Not my favorite personally, but I’m still a fan

The first half is really great. It drags a bit after that, but picks back up in the last two tracks. Sinead O'Connor's vocal delivery never fails to impress. She is recognizably Irish and infuses her music with little inflections, both musically and vocally, to that point. However, she is not mired in traditionalism and makes music that must have certainly sounded new and fresh when it debuted.

The range of influences in this album is impressive. I hear Beach Boys, Beatles, punk, African music (particularly Burundi), and glam rock. Adam and the Ants are clearly not overly concerned with mixing these influences or writing idiosyncratic songs, such as 'Jolly Roger,' yet there is a unity to this album that makes it all work. There's a lot to love here. The more I dive into New Wave, the more I'm convinced that it is one of the most forward thinking movements in popular music history.

I discovered this album about five years ago and I fell in love with it instantly. Dennis Wilson was a man in the midst of self-destruction in the wake of his abusive upbringing and the excesses of fame as a member of the Beach Boys. He was not known as a sensitive man, but for his drunken escapades which eventually culminated in his death by drowning. His voice was rapidly deteriorating which can be heard here and in subsequent live performances of this material. Here, Wilson is concerned with environmental devastation and love. In 'River Song' the opening track, he confronts the claustrophobia and smog of LA, opting instead to champion a cleaner, more natural environment. In the title track, 'Pacific Ocean Blue,' penned alongside cousin and bandmate Mike Love, Wilson laments the destruction of ocean wildlife. This is an album very close to my heart both for its lyrical and musical value, but also because it gives us an insight into the enigmatic and broken person that was Dennis Wilson.

This is my first time hearing Depeche Mode and I must say that I loved this album. It is brooding and driving with interesting instrumentation and song construction. There's an expansiveness to this music that I really enjoy. British New Wave is quickly becoming a favorite of mine.

This is obviously a classic album and is absolutely stacked with hits. The production is incredible, and the arrangement has aged very well. However, I would be remiss not to mention that in light of the renewed allegations of child sexual abuse against Michael Jackson, it's difficult to listen to this music as a non-involved listener. I can't say for certain what did or didn't happen, but the persistence of these allegations is troublesome to say the least.

Great funk/psychedelic record. The drum machine give the music a slower more driving rhythm. The instrumentation is phenomenal down to the multiple guitar parts, bass, and horns. Shuggie Otis' voice is light and smooth, a perfect complement to his music

This album was interesting for several reasons. Nico's deep and untrained voice has a way of cutting through the often lush instrumentation that lends it an air of mystery and sadness. This is truly an enigmatic album, songs written by men sung by a woman who nobody really seemed to know. I was a bit tired of it by the end, but I believe this album deserves a few more listens.

It was more funky than I expected which is a welcome shift from the plant pop groups that would dominate the late 90s. This music was at times, funny, sexual, and socially conscious. I can see why it's a celebrated album. It just doesn't do much for me personally, but I appreciate it for what it is. It does run a bit long and is a bit over produced for my taste

Minimalist and driving, this album creates a sparse electronic landscape that serves as the ominous backdrop for the oft altered vocals of Karin Dreijer (Fever Ray). This album is compelling and expansive and keeps its creative impulses in check as not to leave the tracks bloated. Simply put, I loved this album.

I have only really heard the song 'Aqualung' from Jethro Tull. I should have listened to more. This album is superb. It is driving and lyrically interesting with its explorations of religion, god, and the human condition. Ian Anderson's vocals are superb and the flute playing is not a mere novelty; it is phenomenal. Jethro Tull's dedication to traditional British folk music shows through the prog rock in a way that feels natural. I will definitely look for this album in vinyl

Enjoyable, great harmonies, but other than that, not very exciting. I don't think it deserved the critical panning it got upon its release, but It's not Crosby's best work. Again, perfectly enjoyable, very calming, just not terribly groundbreaking.

RHCP is not my favorite, but they are consistent and they can be a lot of fun. I'm not a big fan of some of the vocal choices that Anthony Kiedis makes, but I can't deny the talent of the rhythm section of Flea and Chad Smith or the amazing guitar playing of John Frusciante. This album has some amazing songs, but I still prefer Californication to this.

This album is expansive and groundbreaking. Numan’s reliance on the synth does not take away from the humanity of this album and elevates synthesized music to a form on par with traditional rock instrumentation

I enjoyed this album quite a bit. It sits on the border of New Wave and Glam Rock and anticipates Goth Rock. Some of the songs were a little too drawn out but it was an easy listen. The album wasn’t overly reliant on synth and had a good balance with a strong backbeat

Fun album. I really enjoyed it at the beginning but it did run a bit long. It definitely has me interested in ska and the history of that music.

This is a top Led Zeppelin album for me. Going to Wales was probably the best thing the band could have done in that point in their career. Here they gain a healthy infusion of folk influence. Jimmy Page's open tuning experiments are some of the highlights of the album. I view this album as Led Zeppelin's Revolver, an album that paved the way for their apex, in this case, the self titled fourth album.

Enjoyable, but nothing terribly groundbreaking here. This band was the house band for Stax records and contributed to the Memphis soul sound. However, on their own, the music is just a bit too sterile for me. These players are tremendously talented and are great at what they do, but the music is just not as alive as I would like

Every once in a while an album comes along that challenges and expands the notion of what an album can be. This is one of those albums. It's political, soothing, and is just so expansive that it's beyond classification. I didn't listen to this album when it was topping the end of the year lists in 2016 and I really should have been. It deserved its place at the top.

I really enjoyed this album. I’m not terribly familiar with Yes but I’m glad I gave this a listen. There is a lot of jazz and classical influence and the album is structured into several mini-suites that challenge the rock form.

Great industrial sound. My biggest gripe is the mix. The vocals are way turned down and get drowned out by the music. Other than that, this is a very cathartic album. Trent Reznor is the best at what he does

Great mix of Brazilian, African, and soul/blues/R&B. This album is incredibly interesting rhythmically and the combination of the familiar (to western audiences) and the unfamiliar is very effective. The album remains exciting and fast paced from the first to the last song.

Interesting concept and thrilling to hear previously uncovered Woody Guthrie lyrics, but overall, this album runs a bit long and the modern heartland rock backing falls a bit flat after a while. Still a really cool album

It's pleasant, but sterile and overproduced. When I see a British band in the late '80s, I expect a bit of economic panic and some anger as well. This album seems exists in a world where Thatcher was never PM. It takes no risks whatsoever and sounds like an adult contemporary radio station. I can hear glimpses of the post-punk ethos in the vocal delivery, but the backing music washes it out and sanitizes it. A notable exception is 'The Night I heard Caruso Sing'

This album has an ethereal and expansive feel for the most part. While I enjoyed it, it started to drag very quickly. The use of electronic and orchestral elements was interesting. I feel like if this album had condensed itself a bit and tightened its focus it would've been a great album.

This songs are so well crafted that it's easy to see why they were so popular. ABBA knew how to right a compelling middle 8 as well. Modern pop music is incredibly indebted to ABBA. The instrumentation is lush and slick, and everything about the production is careful and intentional. Though this is not my favorite style of music, I can appreciate just how well done it is. Very enjoyable.

Wonderfully experimental while also very relaxing. This album is almost trancelike and is punctuated by moments that are funny, irreverent, and topical. The features on this album are excellent and diverse. The musicianship on this album is excellent, and the songwriting is eclectic with moments that remind me of stream of consciousness.

It’s rare to find an artist that is consistently making incredible and forward thinking music this far in their career. With David Bowie’s last album, he once again reinvents himself and comes back with an album that is musically interesting and lyrically mysterious. His death in the wake of this album release may have given context to the lyrics, but this album stands on its own.

This is probably one of the Stones' best and most coherent albums. The Stones' successfully weave rock, latin jazz, country, and delta blues together. Furthermore, this album is more lyrically mature than their earlier work, with meditations on drug use, love, and even a questionable take on slave owning.

Emmylou Harris is a titan of the Americana scene. Utilizing traditional instrumentation, a subtle western beat, and a gift for storytelling, she creates earnest, compelling music that is entirely her own. Like the outlaws of the 70s and 80s, Harris operates outside the Nashville formula, and borrows across genres.

This album is so ridiculously influential, it seems inconsequential to rate it. Patti Smith's debut is so many things at once. It is primal, messy, poetic, delicate, irreverent, rebellious, and beautiful all at once. This album is much indebted to earlier rock forms, but she manages to incorporate those forms into the mix in a new and exciting way. Often called the godmother of punk, Patti Smith to me seems like a natural successor to the Beat movement with her stream of consciousness lyrics and spoken word passages. Simply put, this album is essential and incredible.

After the success of Tommy, Pete Townsend embarked on another ambitious rock opera project titled Lifehouse. This project was eventually abandoned but some of the elements made their way onto Who's Next. This album is surely one of the Who's best. It is concise and coherent and features some of their greatest hits. Many of the lesser known songs come from Lifehouse and concern themselves with the relationship between music and its audience. This is truly a great album.

The last of his rock trilogy, Blonde on Blonde might be Bob Dylan's best album as well as his most sweeping and expansive. Backed by a host of studio musicians as well as members of his live band, Dylan delivers a wonderfully produced and arranged album that is stunningly cohesive. Dylan's storytelling and songwriting is also at its best on this album with a forward driving feel that carries the listener from one song to the next.

This album is so much more focused than some of the Stooges previous work largely thanks to David Bowie's production. Iggy Pop's vocals are acidic and pointed, and the guitar work is much more interesting, punchy, and tight while still retaining that messy garage/proto-punk feel that define the Stooges. This album is dark, raw, and it can be easily seen why it is considered one of the most influential albums in rock.

The more country influenced songs stand out more on this record. Rod Stewart can write and sing a perfectly find rock song, but the tone of his voice is well suited to more folk/county sounds where he can showcase his finesse as well as his power

This album manages to bring together a host of influences in a coherent and interesting way. I can hear Beatles, the Smiths, Joy Division, dance sounds and more in this album. The 'Madchester' scene of which the Stone Roses were a key player, was born of the indie dance scene fused with psychedelia and pop sounds. This movement found mainstream success but started to decline in the earlier nineties as Britpop and Grunge became favored.

An interesting album to be sure. The music is a combination of hardcore punk (which Bad Brains did not like to be called), reggae, and metal. Some songs also have a new wave tinge. The music itself features strong reggae inspired bass lines with guitar work that is slightly phased (in typical eighties fashion) that ranges from more punk inspired rhythms to virtuosic leads that sound more inspired by contemporary metal. The vocal delivery is similarly nuanced and ranges from growled phrases to a more straightforward delivery. Despite the range of influences and styles, this album is coherent and unique.

Though the band has been quite forward about the influences, The Beatles' Revolver is very much present from the get go. The guitar is punchy, and the bass is acrobatic and front and center. There are a lot of new wave artists, but the Jam infuse it with a bit of mod flair and attitude that makes me hesitate to just lump this album in with post-punk. The drum work owes a lot (again as stated by the band) to Michael Jackson's Off the Wall, and drive the album forward without seeming out of place. It is a supremely well crafted and enjoyable album

Once again, the Pixies do not disappoint. Doolittle is such an influential album that there's not much more I can say about it. It is a wonderful blend of punk, surf rock, and new wave that would go on to influence bands like Radiohead and Nirvana. This album is more accessible than their debut, Surfer Rosa, but without compromising what made them great.

The singing in South Auctioneer really turned me off. The songwriting just isn't very good nor is the delivery. The music itself is fine, but there's nothing terribly groundbreaking or unique about it especially in 1999. I get the feeling that Death in Vegas take themselves too seriously and are really trying to sound dark and dangerous. Not even an appearance from Iggy Pop salvage this album (though non-coincidentally, the song on which he appears, Aisha, is the highlight of the album).

This album would be notable alone for the manner in which it was released. However, it also happens to be one of Radiohead's best and by extension, one of the best albums period. Radiohead are masters of crafting songs that ebb and flow in the most arresting ways. In Rainbows never feels rushed. It takes its time to simmer to properly develop its songs and itself as a whole. Radiohead is one of those bands where every single member is absolutely indispensable and contributes greatly to everything they do as a whole.

At first I was a bit disappointed this album wasn't more like Raw Power by the Stooges. However, by the second song, I began to really dig what I was hearing. Iggy Pop (and David Bowie) are taking an art rock and pop approach that utilizes burgeoning electronic sounds and folds them into a slower rock format features long songs that are more like mini suites. This album does feel more like a Bowie album more than anything but is extremely effective and engaging.

There are many excellent things about this album. The musicianship and production are clean and tight and the vocal delivery is energetic. I'm not terribly knowledgeable about salsa, but I was struck by the complexity of the harmonies and arrangement. Some of the bass work in particular was incredible. Overall, a great album that makes me want to learn about the various styles of Latin American music

Dusty Springfield's first album sees her stepping into a Blue-Eyed Soul style. Her performance is commanding and confident. I'm not terribly familiar with her work but I find it interesting that like the Beatles, we see the influence of Black music on an English artist. Her voice on 'Twenty-Four Hours from Tulsa' is soaring and was the first track to really click for me. Though some of the song choices are confusing to me, her studio recordings are energetic and exciting.

I think about this album as almost a companion of sorts to Marvin Gaye's What's Going On. Curtis Mayfield employs driving ponderous soul/R&B to explore social issues surrounding the cycle of poverty and drug use. He takes an extremely critical approach of drug dealing which is somewhat at odds with the message of the film. The music itself is tight and gives the lyrics room to land. Overall it is incredibly effective and engaging.

I enjoyed it initially, but to be honest, it did drag on quite a bit. The beats were very interesting and I'm sure this sounded very groundbreaking at the time, but the synth hasn't aged as well. The lyrics were interesting and clearly shaped by Thatcherism.

There’s a level to which this album is endearing, but after a while it becomes just hard to follow despite the fact that the songs are short, simple, and catchy. I’m impressed with the sheer scale of this album and it was clearly a labor of love but at almost three hours, it feels self-indulgent

Jimi’s final album released during his lifetime is a sprawling work that incorporates some of his more grandiose tendencies into a more cohesive album. Jimi’s guitar work is groundbreaking as always and still sounds fresh today. He was and is a huge impact on players including myself

I’m intrigued by this album. It combines 80s elements of power pop, folk music, country music, and new wave. It is more conventional than most new wave artists and can be quite symphonic.

An explosive album with phenomenal vocals from Janis Joplin. My biggest gripe is that it was not produced or mixed well.

Brilliant record. I have had this band recommended to me for years, but tried to listen to them before my tastes had expanded. This album was wonderfully written, arranged, and produced and fearlessly explores and transcends genre. My favorite tracks were Halfway Home, Golden Age, and DLZ.

It's hard to imagine what modern music would sound like without this album. Bowie and Brian Eno create an album with a satisfying rock front half, and a ethereal, dreamlike, and somewhat menacing back half. The experimental and ambient elements here are crucial to the development of post-punk. I remember when I first heard Blackstar, I thought that it was coming out of nowhere because I had not explored this period of Bowie. This album has given much such a deeper appreciation of this artist and of the history of music in general.

I'm not a big fan of Aerosmith. There were better bands doing what they were doing and they've just never resonated with me. This album does not change my opinion. There are catchy riffs, some good hits, and decent vocal delivery, but even though this album is less than 40 minutes, it gets boring by the end.

I really enjoyed this album. James Taylor's more soulful and bluesy songs made me realize just what a versatile vocal he is. I've always known him more as a folk singer/songwriter, but this album truly showed off his range. I'm only giving it four starts because there's nothing that's terribly new or groundbreaking on this album, but it is executed to perfection.

Jimi Hendrix's impact on the genre cannot be overstated. With his virtuosic playing, his onstage persona, and his experimentalism, he is the archetype for the rockstar. His debut opens with the career defining Purple Haze with its punchy opening riff and eastern influenced solo. Hendrix was not educated in music and this gave him the freedom to try things that others would not. Not every experiment was successful, and his lyrics often leave a lot to be desired, but his successes and innovation put him in the top tier of musicians and songwriters.

Though it’s only a few songs, this album takes its time to properly build each song without overstaying its welcome. One of my favorite things is Neil Young’s strange lead guitar lines and solos. He uses interesting rhythms and accidentals in his playing that give his solos a frantic yet earnest feeling that really suits this music.

This album has been difficult for me to get into. It's more sparse than I'm used to and despite the familiar rhythms (which have appeared in western music since) the melodies remain a bit out of reach. I'm sure that says more about me than the music itself, but maybe it'll click eventually

Amazing album that introduces some of Pink Floyd’s most enduring songs. The impact of WWII in Great Britain is explored in the beginning of this album as it develops the story of Pink, a rock star who builds a wall of separation between the world and himself. This album is indulgent, strange, and dark. Nevertheless, it is incredible in its scope both lyrically and musically

These guys were clearly listening to everyone at the time. The Beatles, Beach Boys, and Rolling Stones influence is clear. However, the Electric Prunes are clearly doing their own thing and doing it very well. Their music is varied, psychedelic, and dark. They are also experimenting with sounds and instrumentation in a way that still sounds interesting over 50 years later

I love Shoegaze, and in that realm, My Bloody Valentine reign supreme. This album is thoughtful, melodic, driving, messy, ethereal, and every other superlative. This is music on its own terms, willing to borrow from what came before, yet also willing to push the envelope forward in a new and exciting way.

A masterclass in songwriting, arrangement, and production. Dolly Parton expresses a naiveté that is endearing and allows her to inhabit an almost childlike space of wonder and unrequited love. The musicianship on this album is tight. For me, the bass really shines in an album that is a joy to listen to from start to finish.

Psychedelic soul is a super interesting genre and something I have not explored with the Temptations. There are experiments that don’t quite work, like a cover of ‘I heard it Through the Grapevine’ but there are some really great sounds on this album. ‘Runaway Child, Running Wild’ is a standout for me and a great jam. Of course this is still a Temptations record and so we still get those lush harmonies for which the group is known

The alt rock album of the 90s. The musicianship on this album is incredible. I’m particularly a big fan of the lead guitar lines and Jimmy Chamberlin’s drumming. Furthermore, Billy Corgan has a gift for melody that cuts through the albums heaviest moments

A solid rock opera. It reminds me a bit of Pink Floyd's 'The Wall' as it deals with themes of British class and identity especially in the wake of the wars. The instrumentation was simple but effective. I was not aware that the Kinks made any more conceptual work and I was pleasantly surprised to find a textured album full of social commentary.

This album features better songwriting than his debut and much more interesting arrangements. Songs like ‘little wing’ and ‘bold as love’ illustrate this well.

While this album had its moments, it was not my favorite effort by Neil Young and Crazy Horse. Certain sounds were very dated and though I enjoyed the garage rock feel, there are much better examples out there

This album is a microcosm of the history of punk to 1979. There are more traditional punk songs, as well as songs that are clearly incorporating post-punk and new wave sounds. I found this album to be accessible and interesting while providing that sonic link from punk to what it evolved into. The musicianship was much better than a typical British punk band while retaining the lyrical force that typifies that music.

Another watershed jazz album. Brubeck's playing is complex and experiments with time signatures of various more 'exotic' influences. This coupled with Paul Desmond's acrobatic saxophone playing make this album groundbreaking and approachable.

Super interesting especially given their history as a band that arise from the ashes of Joy Division. The band is embracing electronic sounds influenced by club music yet can’t shake their new wave roots and the result is wonderfully moody and danceable music. This album has a great sense of space and doesn’t feel too cluttered; every layer is able to be heard clearly

Good hardcore punk. Punk is definitely not my go-to genre, but hardcore is my favorite sub genre. This is messy, angry, and driving, everything you want from a hardcore record.

Great production. It’s obvious that Kanye West has had a large hand in the production of this album. Jay-Z is really at his best here. The flow is good, the lyrics are punchy and memorable, and he’s still trying to establish his place at the top. Essentially, he still has to work for it. The only drawback of this album might be its length. The standout track for me was the Kanye West produced ‘Takeover’

Fantastic album. Herbie Hancock is a fusion pioneer and this album is an excellent yet accessible foray into jazz funk fusion. The songs are very well constructed and build gradually and naturally. The musicianship is top notch of course and driven by Hancock’s playing of the Fender Rhodes electric piano. The improv breaks are impressive as well. This album is an absolute genre bending classic.

Possibly the greatest album of the 1980s. This sprawling record is expansive, unsettling, ponderous, noisy, and driving. Sonic Youth. This album has had an immeasurable influence on grunge, indie, DIY, etc. which continues to this day.

One of their best. I grew up listening to earlier Motown, but this record is right up there with 'What's Going On' in terms of social awareness. I wasn't aware that the Temptations made records such as this, but I'm very glad it's been brought to my attention. The music itself is funky, soulful, and has an excellent grove. All in all, a great record.

Nice short doo wop album. This album, down to the title, is crafted to appeal to teenagers of the time. Nevertheless, the harmonies are crisp and precise. It is immediately clear that their influence was immense. The Everly Brothers influenced the Beatles, the Beach Boys, and Simon and Garfunkel and I'm sure many others.

I have never listened to a Prince album, just isolated tracks. This album has a bit of everything from funk, jazz, rock, blues, and electronic influences. Prince is a phenomenal musician and guitar player and I’m excited to dig into his discography more

Willie Nelson bucked the system and instead of putting out over produced Nashville drivel, made a simple, stripped down country record structured as a concept album. Red Headed Stranger is the story of a preacher who kills his wife and lover and explores themes of loss, guilt, and longing. It’s exactly what needed to be made at the time

It has its decent moments and overall is a well produced album, but doesn’t seem to know quite what it wants to be. I enjoy the more new wave moments, but some of the drum machines and synth date the album and take away from the wonderful vocal and bass performances. Having said that, I’m glad to have been exposed to a-ha beyond ‘Take on Me’

It’s good. It’s not terribly unique or groundbreaking though. Having said that, I do enjoy French electronica. It’s was a good listen

I enjoyed this more than I was expecting. There are a lot of genres packed into this album spanning funk, ska, and some metal and new wave influences. The lyrics reflect a punk ethic and the music is energetic and joyous

There’s a lot to this album and I definitely need to listen to it again. Some of the lyrics are a bit on the nose, but the music itself is very interesting. It is darker and more filled out than U2’s previous work.

This is probably the greatest jazz album of all time. It is also the best statement of cool jazz. The addition of John Coltrane makes this album also one of the greatest jazz collaborations to exist.

Great skate punk/hardcore album. This album is not terribly groundbreaking, but it’s tons of fun and enjoyable all the way through.

I enjoyed the lyrical themes of this album quite a bit. It’s a very interesting slice of the post Thatcher/Reagan era told from the perspective of people who are still with the aftermath. Manic Street Preachers are the leaders of the Welsh music movement in the 90s and are a very important band. The music itself is brooding, stark and industrial at times, and punchy.

Incredible. This album is gritty and unique. The subject matter and the very style of the music itself match perfectly. Even without the lyrics, this album would still sound like the dejected of New York.

Otis Redding had such an expressive voice. It was versatile, acrobatic, yet had a persistent grit to it. However, on songs like 'I've Been Loving You Too Long,' his voice smooths out revealing its delicacy. His songs are buoyant with a lilting beat and a robust horn section. He simply inhabits the music in a way that only the best soul/R&B artists do.

From this debut one would think Kanye arrived on the scene fully formed. The samples are great, the beats are innovative as hell, and his production is absolute perfection. His fearlessness to incorporate so many disparate elements into hip hop truly set him apart from his contemporaries. He’s truly a cut above

You know how sometimes you listen to music you loved when you were younger and it just doesn’t sound as good? This is not one of those albums. If anything, I can better appreciate just has lush and layered this album is. It’s goddamned anthemic. Noel Gallagher’s songwriting is absolutely at its peak here. Oasis have never been the flashiest or boundary pushing band, but one thing they are is absolutely unique. No one sounds quite like them. There is not a single bad song on this album.

Very impressive and idiosyncratic art rock album. You can hear The Beach Boys influence and pop songwriting elements that would be incorporated into much of Paul McCartney’s early to mid 80s output. This band has both a pop sensibility and an avant garde sensibility that blend quite well on this album.

I’m not a huge metal fan but I really enjoyed Judas Priest. Rob Halford’s vocal delivery is fantastic and the music is driving yet still has a clarity to it. This album was released over a decade after Judas Priest formed and heralds the coming of thrash metal.

A good case can be made that punk has its origins in the late 1960s garage rock scene in Detroit which includes the Stooges and MC5. MC5 is what you get when people with counterculture sympathetic beliefs get angry and aggressive. The music is messy, distorted, and frenetic. Along with the purposefully provocative lyrics and stage show, MC5 is clearly a herald of the nascent punk scene

My partner is from the Detroit metro area and grew up not too far from where Kid Rock is from. Despite what he says in his music, he grew up well off. This album is full of empty posturing; he wants so badly to be able to claim a backstory like Eminem's but it's just not the case. Stylistically, kid rock isn’t doing anything new, but he’s definitely doing it worse. His flow is decent, but is often undercut by awful rhymes and cheesy metal interludes. He’s trying to be too much at once, a rags to riches rapper who actually grew up relatively affluent and a southernish redneck from the north who needs auto tune to get through a straight country song. His use of profanity is gratuitous beyond what is necessary and one wonders if his sexual prowess is a fraction of how he portrays it. This music is clearly designed to appeal to disaffected white people but comes off as disingenuous and unnecessarily confrontational. This is music that absolutely no one needed. At best, it's someone trying, and not succeeding at genre fusion, at the worst, it's a cynical ploy to sell records to white people who think they're hard.

The advent of doom metal. Black Sabbath adds minor scale melodics to a blues rock structure to create something new and ominous in this 1970 release. It's interesting to think about his album in context with other releases around that time. Truly nothing sounded like this. The longer experimental pieces (there are only five songs) are surprising digestible and must have been mind blowing at the time.

It wasn’t as good as ‘Pills n Thrills n Bellyaches’ but this album was useful to hear that blend of New Wave and electronic influences which became the Madchester sound. This album is heavily influenced by the talking heads, the smiths, and Lazyitis was very reminiscent of the Beatles’ Ticket to Ride. Overall a nice coherent transition album.

Great funky Afrobeat with a pan-African message. Very enjoyable and danceable. The production is very 90s but works well with the music.

A modern classic. The Flaming Lips take an unusual storyline (really only apparent in the first few songs) and explore themes of mortality and love. The music is dreamlike and uses both analog and digital instrumentation to create a lush backdrop.

Perhaps the first rock concept album. This album finds the Kinks taking on a softer sound and more socially observant lyrical focus. 1966 was a banner year for rock albums but I think this album compares favorably and contrasts well to the heavy hitters of that year, mainly Pet Sounds and Revolver

Very interesting mix. The music itself seems to be more Latin American inspired but the lyrics are sung in many languages including Spanish French and English. The music is infectious and very danceable. My Spanish isn’t as good as it used to be so I don’t understand as much as I like, but from what I’ve read, the lyrics have an anti-capitalist and anti-imperialist

Terrific album both lyrically and musically. Janelle Monae manages to cross genre effortlessly without it being jarring or intrusive. She also subverts traditional pop and R&B chord progressions and allows there to be unresolved tension in her music to reflect the lyrical themes. Overall, a super impressive album all around.

This energetic show features heavy Chubby Checkers and Isley Brothers influences along with 1950's soul and R&B in general. Sam Cooke's delivery is incredibly charismatic. One of the great joys of this performance is just how much fun Cooke and his audience are having. It sounds like an absolute frenzy. Cooke's voice seemingly does not tire. It is truly a remarkable performance.

I first heard this album in high school and I just did not get it. This listen through went way better. The concept is interesting and seems to support what Pete Townsend has expressed in interviews about how he feels about the capitalist nature of his success despite his socially liberal political views. This album is self satirizing and earnest at the same time and is quintessentially The Who. The flow from song to song is great and nothing is misplaced

A good example of the emerging country/folk/rock inflected Laurel Canyon sound. This album was pleasant enough, but nothing about it really sticks with me. If anything, it's an interesting look into the careers of Neil Young and Stephen Stills before they became famous in their own right.

It’s pleasant enough and has some interesting chord changes, but it’s fairly bland. It’s almost as if this is an over westernized and sanitized Samba. The backing band sometimes sounds like it’s straight out of the 50s which is jarring considering what what going on musically in 1967. I’m a fan of Astrud Gilberto but this is just not produced the way it should have been. The jazz flute is great though.

As a guitarist who discovered the blues early on, I recognize this album;s role in bringing the blues to a wider US and UK audience in the early '60s. Muddy Water's influence on artists such as the Rolling Stones, Led Zeppelin, Eric Clapton and countless others cannot be overstated. His was the definitive statement of the Chicago Blues (by way of Mississippi). His music is buoyant, joyous, and super accessible.

The White Stripes are absolutely a back to basics rock band. This album features fairly simple songs with good riffs, memorable songwriting, and great delivery from both Jack and Meg White. But at the end of the day, the White Stripes sound like the White Stripes. They show that back to basics doesn't mean rehashing everything that went before, but doing something new with the fundamentals. Jack White's DIY ethic is important because it democratizes music, something that the rise of home recording has only expanded upon.

It’s a bit dated in some of its sounds, but for me this album is brilliant. Yes utilizes interesting rhythms, chord changes, and melodies to create music that stands apart especially in 1971. The jazz, blues, and classical influences are apparent and woven well into the music. The musicianship is phenomenal and the occasional suite like song structures further attest to this band’s ambition.

Very much in the Britpop vein from the drum sounds to the chord changes. I can also hear a fair bit of Neil Young and Radiohead influence as well. This album features memorable melodies as would be expected and some interesting instrumental bits. The last song with its period of silence was a bit annoying but overall, a good album and great exploration into the influence of Britpop

Lauryn Hill is insanely talented. She can sing, and she has one of the greatest flows in the game. Her songwriting is textured and deals with more complexity than her contemporaries. This album shows Hill navigating her life, love, the expectations of others, and her own strength to define who she is for herself. This album has already become a modern classic and it’s easy to see why.

This album has some really great moments especially where Billy Gibbons’ slide guitar playing takes over. It’s a solid rock album.

Intricately layered and beautifully produced. This album was incredibly influential when it came out and it holds up very well. These songs are so well written and constructed that it almost sounds less complex than it actually is. It is one of those albums which rewards multiple listens due to the amount of stuff going on in each song.

Aretha Franklin is perhaps the greatest singer in American popular music. Not only is she supremely talented, having superhuman control, dynamic, and range, she is one of the most expressive and ecstatic singers to ever record. Her studio records are brimming with energy as though she may burst out of the speakers at any time. This record is her Atlantic debut and leads with the career defining ‘Respect’. Her vocal performance throughout is exquisite and intimate

Decent metal, good riffs, grooves, and drumming. I enjoyed this album more than I’ve enjoyed most metal albums. The chord changes are more interesting and throw some seventh chords in there too which gives an almost Hendrix like quality to some of the phrasing. Jailbait was completely unnecessary.

Possibly the Doors finest and most coherent album. LA Woman is very blues driven and features some of Ray Manzarek’s best work on keys. The band as a whole plays very well on this album and Jim Morrison’s vocal delivery is energetic as always.

The greatest album of the 90s. This album not only represented a huge leap forward for Radiohead, but a huge leap forward for popular music in general. OK Computer saw Radiohead incorporating electronic sounds and effects while talking about themes of alienation and the rise of technology. The songs are incredibly well crafted and show such intentionality that it's hard to believe that Radiohead would continue to evolve beyond this album. It's as close to a perfect album as you can get.

Excellent pop music. The first half is very Michael Jackson influenced, especially his earlier work. The second half is a bit slower and contemplative sounding. Overall, this album is very heavy on 80s pop motifs with a bit of contemporary hip hop influence thrown in (though non-obtrusively). The lyrics are deliberately dense which I really like as it allows the music to create a mood around a song to get an emotional meaning across that's not as dependent on the musical content. This is not my usual genre but I found it well executed and enjoyable.

A great combination of beat and melody. This album takes French House a step further. The beats and resonant, solid, and occasionally glitchy while the melodies are memorable. Essentially, this album doesn't sacrifice musicality for the sake of the beat. It is one of the best electronic albums ever and still sounds fresh.

Great opening track. This album incredibly unique in its scope. Rock operas had been a thing for over a decade, but this album feels more like a rock musical with the way it's arranged. It's a fine distinction but I think it holds. I became a bit bored with the middle bit, but it certainly had some very bombastic and interesting moments.

Good blue eyed soul. Dusty Springfield gives some classic performances on this record that highlight her incredible voice. I find the influence of black music very interesting especially when one thinks about how it is repackaged for popular consumption.

Johnny Cash comes out swinging with a raucous album of outlaw country. Where ‘Live at Folsom Prison’ took a more contemplative tone, this album was high energy throughout. An absolutely exhilarating show

Interesting proto-trip-hop like album. It is perfectly good music, but didn't sway me one way or the other. The layering in some of the songs is quite fantastic though.

A manifesto of weird. This album is awesome. It is a combination of punk, surf, emerging new wave, and a lot of guts. This album could easily fall off the edge of the cliff into the inane, but it just stays in that sweet spot of weird and genius. The arrangement is perfect with driving bass and drums and guitar and synth lines that are instantly memorable and clear. The vocal delivery is occasionally silly, occasionally earnest, and occasionally feels like a street preacher trying to save your soul.

Elvis Costello crosses so many genres here you’d think it wouldn’t work. Not only does it work, it works in such a way that creates a sound that is unique to Elvis Costello. I can hear a strong Beatles influence as well as elements of reggae, punk, laurel canyon folk, and new wave. Elvis Costello’s vocal delivery is energetic and unique as well

I was in college when this music dominated the indie scene and as such, it has a nostalgic feeling for me when I hear it’s driving and contemplative melodies. In retrospect, I can see how much of this indie alternative musics sounds the same. Nevertheless, Deerhunter does that style very well.

This album was ok. The lyrics were really hit or miss. Lenny Kravitz is a good musician, but I think he tried to do too much on this one. His perspective however is really great. He is unapologetically black and isn’t afraid to infuse that into his music which borrows from funk, R&B, and a lot of Beatles.

Though a bit heavy handed at times, Meat is Murder is a classic album. Johnny Marr’s clean jangly guitar and Morrissey’s vocals and unique melodies come together seamlessly to create some of the most identifiable music of the post punk/new wave era. This is not my favorite Smiths album, but it is still top notch.

This album is dark, dreary, yet has a quality to it that makes it sound very much alive. The beats are driving and prominent, and the slight echo gives a sense of space and atmosphere. The Cure are incredibly influential and it is apparent on their second album just how important they are

This classic album from Alanis Morissette features a heavy backdrop of anger and angst which is channeled into post-grunge. This album is powerful and demands to be heard. Though I don't think this album is as successful as some of its contemporaries, it is extremely important in the history of popular music and is incredibly influential.

This album really spans the range of the Smashing Pumpkins. Here we see the band at their heaviest, softest, and most reflective. The two hour run time is a bit much, but this is such an essential album for this band and for the 90s that it doesn’t matter.

Ethereal and atmospheric. I enjoyed this album but it is not something I would choose to listen to. Having said that, I’m glad I gave it a listen and hope to return to it as there were a lot of elements that I really liked

Campy and ambitious, this album is the pinnacle of 70s rock excess. The vocal arrangements are genius and the meticulous and uncompromising layering of music stands apart. Brian May is one of my favorite guitarists and his Dixieland jazz layered solo in ‘Good Company’ is one of his best with the guitar simulating an entire brass section including a sliding trombone. Of course, ‘Bohemian Rhapsody’ is the climax of this album. That song is iconic on its own, but within the context of the album it becomes even greater. I adore this album

Deceptively 70s rock until it isn't anymore. Songs like 'On Some Faraway Beach' sound almost as if they could've been written by Arcade Fire or Neutral Milk Hotel. Though not as experimental and ambient as Eno's later work, this album challenges the notion of what popular music is.

Elvis embraces his country and soul side on this album. This album is very well produced but doesn’t quite capture the authenticity and energy of earlier soul albums. There are certainly some gems on this album and it is a great album by all accounts, but after the experimentation on the late 60s, this album sounds a bit behind

The Stones most coherent album. This album is widely regarded one of the greatest rock albums of all time and I agree to an extent. This album distills rock down into its necessary elements and delivers it in a soul/blues/country package. The songwriting is tight as well. I just am not seeing much experimentation here or with the Stones in general.

I’m Your Man represents a return to form for Leonard Cohen. The album has a sultry late night feel but is brighter than his previous work. It’s obvious why Tom Waits thinks so highly of this album. My only qualm is the synthesizer based production which grounds the music in a recognizably 80s sound and takes me out of the timelessness of Cohen’s music. Obviously it’s a brilliant album nonetheless

A year after Hendrix's death, this album brims with his influence. A combination of funk, acid rock, experimental music, and psychedelia, Maggot Brain is both accessible and transgressive in a way that only George Clinton can be. The musicianship on this album is unimpeachable.

The Fall were incredibly prolific and I’m not familiar with the rest of their work. This album is a perfectly fine new wave/post-punk album. I enjoyed the driving guitars and the unique vocal delivery but don’t really see what sets this album apart from earlier new wave bands, especially in the early nineties.

Some of Bob Marley’s most well known songs are in this album. Aside from that, this album is a joy to listen to. The music is purposeful, catchy, and driving. Marley’s lyrics span religion, politics, sex, and love

This album is so ridiculously ahead of its time. It honestly blew me away. The music builds gradually allowing the listener to hear the layers of distorted and electronic music. The vocal delivery seems punk and spoken word influenced.

I'm not a fan of Aerosmith at their best, and I'm certainly not a fan of this. This album is well executed and well mixed, but it's just not very good. I don't want to hear aging rock stars sing about their sexual exploits before going into pure cheese with the closing track. The music is just ok. If you want good hard rock, there are so many better and more genre defining options. The energy is there, the musicianship is fine, but there's just nothing memorable or groundbreaking about this. But I also like ambient noise so what the hell do I know.

The harmonies are incredible of course. The production is slick and a bit sterile and lacks the touch and soul that Brian Wilson and Phil Spector had. Nevertheless, this album is quite enjoyable and was a huge hit during its time and has given us memorable songs such as 'Monday, Monday,' and 'California Dreamin.' This album is doing something a bit different which in 1966 is saying a whole hell of a lot.

This album has moments of straight techno which melt into new wave and atmospheric rock. At times, the album is danceable and at others, ponderous. The way that the music constructs and deconstructs is interesting and adds to the simmering quality of some of the tracks. Overall, really enjoyable if a touch too long

PJ Harvey’s debut album does not sound like a typical debut album. She comes across as confident and in control of her artistic vision. The music is textured and utilizes changes in dynamic very well. The sound is mature and stands out amongst the mountain of alternative music that came out in the early 90s.

I have never listened to a full Bestie Boys album before. I was surprised to find it full of jazz, funk, and rock idioms. Their blending of genre is seamless and shows where hip hop will go in 15-20 years later with Kanye West, Jay-Z, and Kendrick Lamar. I was surprised and impressed. I'm still not the biggest fan of their vocal delivery style, and their flow is a bit rudimentary.

I didn’t hate it, I didn’t love it. The lead vocals were powerful and enjoyed the black centric lyrics that are damn near absent from alternative metal. However, I just didn’t find much to this album that was terribly innovative musically especially in 1999

Ray Charles delivers an excellent vocal performance. However, in the wake of what was happening in jazz at the time, his big band backed vocals sound a little dated. His piano playing is bluesy and is often subtle. Overall, a wonderfully coherent album if not a bit samey.

This album sees Neil Young grappling with the urge to settle down into a quiet place with someone he loves. The impulse is universal and it leads to a richly textured folk country album that includes some of Young’s most enduring songs.

Solid west coast rap. The rhythm section on this album really stands out with classic soul and funk lines. Overall this album is very well balanced. My biggest issue is the portrayal of women in this album though Yo-Yo’s inclusion is a good counterbalance to his misogyny. Ice Cube’s flow is good with moments that break out of contemporary patterns and anticipate the more creative rapping to come

PJ Harvey does not disappoint with a more delicate and wavering voice which communicates the disillusionment that is found throughout this album. The music is more atmospheric with jangly new wave inspired guitars which further build the sense of disillusionment and distrust

A striking meditation on god, love, and death. Leonard Cohen has always had tension throughout his work, but this album sees the tension unresolved and left to us, the listener. His voice and the subtle instrumentation command attention and leave the listener with a profound sense of loss.

I wasn’t sure what to expect but this album was truly great. Elements of Britpop meet influences such as the Beatles, Radiohead etc. to form a lush textured album that is familiar and new at the same time. I find rock albums from this time tend to sound a lot like each other but this album stands out. I loved the instrumentation as well

I really liked it at the beginning, but it does start to drag. I found the lyrics playful which made me want to listen in, but the album just got so repetitive that I had to break it into chunks to listen to it. There was a lot of upbeat slightly electronic inspired rock music in 2007 and this effort is better than most, but overall, I didn't find it to be earth-shatteringly good

Though not as coherent as ‘What’s the Story Morning Glory’ Oasis’ debut is energetic and full of memorable songs. This band came on the scene knowing exactly who they were. Their sound is developed and their delivery is spot on

I remember System of a Down from when I was in middle school and high school. I was not allowed to listen to them. I was extremely pleasantly surprised to find a very interesting album with interesting melodies and guitar lines. It kept my attention the whole time and this is a genre I never listen to by choice.

This is the best example of Phil Spector's 'Wall of Sound' production technique. Though it was incredibly influential, this technique can muddy the background quite a bit. Playing the studio like an instrument was new in the early sixties and would truly come to fruition in the hand of Brian Wilson and the Beatles several years later.

The music was strong. The instrumentation was expansive giving the album a symphonic feel. There was also a strong sense of melody and whimsy. I only know John Cale through his work his work with the Velvet Underground but though this was very different, this art pop stands very well on its own.

I’m not too familiar with Cat Stevens, but I found this album to be very pleasant. Stevens’ brand of folk is fairly typical of the time being driven by piano and guitar. He has an impeccable sense of melody but for me, this music just doesn’t push the boundaries.

Elliott Smith with a backing band has a very Beatles-esque sound. The song writing is great, the musicianship and instrumentation is great, and the production is perfect. Instant classic

Swampy bayou rockabilly in the hands of a few men from the Bay Area translates incredibly well. John Fogerty’s voice has the perfect amount of grit and expressiveness and seems made for this type of music.

Almost like The Who meets the Kinks with a touch of new wave.

One of the greatest rock debut albums of the 70s, Boston’s self titled album delivers on tight suite like rock. Tom Scholz was a home recoding pioneer and many effects and techniques were developed by Scholz and became industry standard for a time. The vocals are powerful and the instrumentation is sweeping, classically influenced, and carefully orchestrated. I might call this baroque rock instead of power pop.

This is the best shoe gaze album of all time. It is atmospheric, occasionally discordant, and beautifully layered. This album is almost like looking at something through frosted glass and gives me a nostalgic sense for something I’ve never experienced. It is absolutely breathtaking

Wonderful album with great instrumentation. There an anthemic quality to this album that characterizes a lot of Britpop, but there’s a lot of art rock influence here also. I definitely hear the influences of Bowie and the Smiths.

Highway 61 Revisited is a contender for Bob Dylan's greatest, and that is saying a lot. This is Dylan's first 'rock' album as it were, with Bringing it All Back Home having an acoustic half. The album is tinged with blues and country and runs the gamut from straightforward to experimental songs. Of course, this album is famous for what might be the greatest song ever recorded, 'Like a Rolling Stone.' The album is sprawling and far reaching in a way that only the greatest novels are.

This is a watershed album. It is remarkably coherent and engaging from beginning to end. The Cure’s goth edged post-punk is unique and influential. This album gave rise to some of the most enduring music of the last 30 years

Another album at the intersection of R&B and Soul. There's a wide range of influences on this album including some Bossa Nova, and county/western. Though Solomon Burke has a great voice, I understand why he was overshadowed by others in the Soul/R&B scene. He's not as explosive as James Brown, or Sam Cooke (live). His instrumentation is more sparse and calls to mind a more '50s style of instrumentation.

Not as good as other psychedelic albums of the era. In fact, I get the feeling that by the time Iron Butterfly made this album, psychedelic music was just another aesthetic that could be employed. There is nothing terribly original about this music. The singer sounds like he’s doing an Elvis impersonation the whole time, and the title track is 17 minutes of self indulgent noodling.

This album blew me out of the water. Nina Simone's voice and delivery demands attention. It is textured, deep (contralto), and arresting. Everything about this album is striking down to the socially conscious lyrics. This is one of those albums that make me understand the simple power the human voice can have.

This album is a socially conscious blend of soul and cool jazz that at times seems to predict the eventual rise of rap with Gil Scott-Heron’s spoken delivery. This album is somewhat conversational which lends a sense of intimacy that makes its message effective

Stereolab is very hard to categorize. They simultaneously anticipate sounds that would dominate in the following years, yet do so by using sounds from the past across all genres. This album contains sounds that would become popular a decade later and sounds that are familiar and well worn. However, the only drawback to this album is its length.

This was a pretty fun album. The use of samples was interesting and I generally enjoy the Beastie Boys’ style of hip hop. The only downside to this album was some of the lyrics that felt like forced rhymes and the delivery itself which is dated.

Yes is one of the few bands who can pull off an 18 minute song. This album is lush, very well constructed and contains moments which sound surprisingly contemporary. With its use of unusual rhythms and jazz fusion like melodic lines, this album pushes hard on what it means to be a ‘progressive rock’ band. At points this album sounds like contemporary indie folk before dropping into a fusion groove. The harmonies give a CSN vibe within a completely new format. Simply put, this album shouldn’t work, but it just does

This album is responsible for much of the trend towards roots rock and Americana beginning in the 1970s and as such its influence can be felt in contemporary music as well. To top it off, this album contains a couple of songs that were co-written with Bob Dylan thus lending some additional folk credence to what is already a genre defining album.

Though not as explosive as their previous album, Celebrity Skin shoes that Hole was one of best rock bands of the late 1990s. Courtney Love’s vocals are as amazing as ever and the music is solid.

Sarah Vaughan has one of the most beautiful and versatile voices I have ever heard. This album is perfect down to the vocals, the accompaniment, and her natural humor. I absolutely adore this artist and this album.

It’s hard not to think of this album as a Wu Tang Clan album with its cinematic interludes and mafioso centric themes. RZA’s production is phenomenal and Raekwon’s vocal performance with its dynamic flow and shifting rhythms make this album stand out and place it in the upper echelons of 90s east coast rap. I loved this album.

There’s quite a lot going on here. I hear orchestral pop, folk rock, country, electronics, Britpop, and jazz but it doesn’t exactly sound like a blend. It sounds like a jumble of musical references that don’t really create something new. The songwriting is a bit lazy with quite a few lines sounding like they were written to preserve a rhyme. It’s not offensive, but it’s just trying sound more forward thinking than it actually is.

Bitches Brew gets a lot of acclaim, but this transition album sees the advent of fusion. Here we can see the development from modal jazz forms to include more blues, funk, and even some rock elements. This album is also more accessible.

Great mambo album clearly meant to get people dancing. The orchestration is tight and the singing is clear and jaunty. It owes a lot to earlier big band records. In a way, it is both groundbreaking and looking to the past through its fusion of Latin rhythms into big band jazz of previous years

Amazing as always. Aretha Franklin had one of the most powerful voices in popular music. Lady Soul contains two of her greatest hits, but is enjoyable and explosive throughout. Her level of vocal control is remarkable and she never over or under sings. The musical backing is well arranged and highlights her voice well.

A seminal record which helped launch the new school style, Run-D.M.C. features drum machines, more aggressive delivery (relatively), and emphasizes the DJ alongside the MC. With rock and funk tinges, this album is more coherent and intentional than a lot of old school records. The only drawback for me is just how dated it sounds

Not my thing. The music is mediocre though it is well arranged and performed. I’m not a fan of shock rock because it’s transgressive simply for the effect. There’s not really anything of substance behind it and it’s not really saying anything profound. It’s gimmicky

As much as I appreciate how experimental and influential this album is. For me it didn’t click. I enjoy all of the elements that make up this album, however they did not mesh together well. While some transitions were interesting, others were quite jarring. I appreciate the incorporation of a diverse set of instruments, however, it did come across as a bit amateurish.

Buck Owens was a pioneer of the Bakersfield Sound and this album is a phenomenal example of it. Buck Owens is extremely expressive and melancholic which makes his music very effective. This album is essential for anyone who wants to understand the history of popular music.

Great album with interesting rhythms and topical lyrics. This album was also hugely influential on later bands and is considered to be one of the greatest albums of the 70s. I found the mix of post-punk, funk, and dub to be particularly compelling

Ironically, after Eric Clapton's departure and his subsequent replacement with Jeff Beck, the Yardbirds sound trended toward the blues inflected and more psychadelic/experimental. The vocals are great, the bass is forward and melodic, and Jeff Beck's guitar playing is phenomenal. I prefer Jeff Beck to Clapton on most cases and in 'Jeff's Boogie,' you can hear him experimenting with harmonics and a virtuosity that would characterize his later more jazz/fusion influenced work.

The first few songs have a bit of a Grateful Dead meets David Bowie feel before the prog/art rock really takes hold. Brian Eno’s contribution is immense and hints at his ambient music aspirations. Frankly this album absolutely blew me away. The suite like nature of the album plays best as a whole and the genre fluidity works very well for them. This album is way ahead of its time and parts of it sound like it could have been released by contemporary independent artists.

This was an incredibly enjoyable album. The beats were strong and I could hear influences ranging from Latin music to funk and nineties R&B. Common is also a very gifted lyricist and rapper. My only complaint is the 77 minutes runtime.

The backing music is ponderous at times and weaves wonderfully through jazz and R&B motifs. This albums suffers from its length the most. If this album cut a few songs, it would flow so much better. Because the backing is just there to support a singer, it just isn’t enough to keep interest for too long despite how skillful it is. There are some really great songs her though.

First of all, I’m not the biggest fan of metal. It’s not something I listened to growing up but as my palate expands I’m giving it another go. Having said that, I loved this album. It was cohesive, cinematic, and the musicianship was incredible. James Hetfield’s vocal delivery is supercharged and clear, Cliff Burton’s baselines are acrobatic and driving, Lars Ulrich’s drumming is precise and full of momentum, and Kirk Hammett’s lead guitar is melodic and virtuosic without being muddy. This album is cohesive and exciting despite its 54 minute running time.

Driving, sexual, anthemic. This album is obviously in the upper echelons of popular music. Prince was a musical chameleon and this album reflects his best. His musicianship is understated despite the fact that his guitar playing is some of the best. He always did what was best for the song at hand.

For me, Guns and Roses stand above other guitar driven bands in the 80s. The musicianship is better, the songwriting is better, and overall they are much better at avoiding some of the hair metal cliches that would not age well. While this album contains some filler, it also contains some of the best known rock songs of all time. It is gritty while maintaining a sensitive undertone and that vulnerability and confidence set it apart from your run of the mill 80s rock albums.

Enjoyable album but not a genre I’m very familiar with.

First of all, the lyrics are a bit too horny on this one. The speaking in tongues bit is also weird and unnecessary. Furthermore, the music on this album isn’t groundbreaking in any way. It’s really just bluesed up folk guitar with a few superficial jazz elements. Again, nothing terribly influential

Great album. Blur's struggle with genre and identity resulted in a sprawling album that goes beyond Britpop. Though the Britpop style still shines through at various points, this album is more fluid and incorporate more aggression and emotion than their previous work. The punk influence and emerging indie rock influence can be clearly heard.

A masterpiece of an album. Paul Simon is one of the greatest American songwriters and this album showcases his lyrical talent brilliantly. Of course, the delivery is sublime. Though their working relationship was fraught, Simon and Garfunkel are two of the most gifted singers and seem to fall in a complex yet natural harmony that still electrifies. Once again, here we have an album that manages to stand out in 1966, a year full of transformative music.

Good house music with some late 80s hip hop influence. This album is optimistic and bouncy. However, it just doesn’t do much for me. I did enjoy it though, it’s just not something I would choose to listen to.

Chuck D’s lyrics are insightful and hit at the root of social issues with surgical precision. His critiques of the effects of advertising and mass media on the black community still ring true over thirty years later. There is some filler on this album but overall, it’s accessible and instructive

One of the greatest comeback albums of all time. Johnny Cash did not shy away from the uncomfortable and wasn’t afraid to share his spotlight with those cast out by society. This set showcases Cash’s empathy, skill as a live performer, and ability to connect with an audience. June Carter’s appearance is another highlight.

Great use of samples especially of Lomax collected blues music. The music is upbeat and driving which prevents the album from dragging which is necessary for an album that is about an hour long. I enjoy the use of blues/RnB samples with an electronic and string overlay. It adds a different depth of emotion to an already emotional genre. The strings particularly add an expansiveness with a tinge of melancholy.

I liked it more than I was expecting to. The industrial edge was really cool though the synth horns did date the album a bit. The first half was definitely stronger than the first. It was like listening to proto-Rammstein

Pleasant, non offensive but not terribly groundbreaking in any way. I did enjoy it though

This album is sweeping and lively. It features some of Dylan’s best and most confessional vocals (though Dylan himself would say otherwise). The music itself is textured and warm lending a nostalgic folk rock feel to the album. In the aftermath of the singer songwriter phenomenon on the late sixties early seventies, this album shows that Dylan was still very much his own force, and simply a cut above the rest

The album didn’t grab me at first. However, once it got going I began to enjoy it more. Elvis Costello’s mix of rock, pop, punk, and a bit of jazz makes his music stand out. His use of melody is very interesting and he is clearly not afraid to genre hop. There is some filler on this album, but when it’s good, it’s really good

This album really impressed me. I would even hesitate to call it post-punk due to the wide musical scope this album encompasses. It is clearly influenced by 60s garage rock and the Doors, has a driving post punk feel, and is backed by well placed string arrangements. This synthesis of influences is not limited to a backward looking focus. There are melodic moments that wouldn’t be out of place on a 2000s indie record as well.

This album sits on the edge between Britpop and 2000s indie rock. The music is enjoyable and driving even if it’s not the most innovative thing I’ve ever heard. The melodies are memorable and remind me a bit of Oasis. The vocals have a Mick Jagger like swagger to them that really suits the music.

This album exists in the space between enjoyability and innovation. First of all, the album is very accessible and has a great groove. The bass lines stand out to me the most aside from the trumpet and flugelhorn. This music is infused with a healthy dose of soul making this album a sort of fusion more than straight jazz. This album still features Miles Davis like passages and modal jazz chord changes that appeal to jazz snobs. Overall a great album.

The incredible thing about this album is the fact that you cannot tell that these songs were originally country songs. I'm not sure if it's intended, but this album is a testament to the fact that genre is something to be transcended. People often define their musical tastes by genre, and this album subverts that assumption completely. As someone who enjoys country music, jazz, and R&B, this album is a celebration of music period. This album is very deserving of the praise it gets.

The music is the most interesting thing about this album. Though it is pretty typical 90s driving guitar, bass, and drums, the use of piano throughout and the new wave style bass lines help to open it up and lend a sense of expansiveness. Like a lot of other reviewers, the lyrics are by far my least favorite part. They come off as obsessive and faux edgy making it very difficult to sympathize with the singer. Overall, the album is fine and perfectly enjoyable. I just wish the lyrics were better.

This album is very 80s by which I mean heavy on the synthesizer and drum machines in a very particular way. Having said that, I enjoyed this album more than I expected to. Tina Turner is a powerhouse of a vocalist and this album showcases her emotional range as well. ‘I can’t stand the rain’ is the standout track for me.

This is my current favorite album. Sufjan Stevens is a master of weaving history, emotion, place, and music together into an unassailable whole. His instrumentation is expansive enough to accompany his diversity in lyrical content and his use of melody rank him among the best. This album means a lot to me personally, but it’s the cinematic, suite-like, textured, ambitious whole that brings me back.

Ice T is not afraid to go beyond genre and reclaim rock and rolls black roots. This attitude and openness elevate this album and makes it stand out among early 90s gangster rap. He raps clearly and though he’s not the most acrobatic rapper, everything fits together well.

This album is messy, the musicianship is lacking, and it’s perfect for what it is. The Sex Pistols were marketed specifically to appeal to the nascent punk scene but they brought their own brand of sneer and anti-establishment politics to the mix. While it may be doubtful that Johnny Rotten and co. were actual anarchists, there is something to their critique of a pre Thatcher Britain that is genuine and angry

This is probably the Rolling Stones' best album. It is certainly one of their most consistent. For me at least, their catalog is a full of filler with moments of genius. However, this album stand out because it is enjoyable throughout while preserving what makes the Rolling Stones great, their origin as a blues band. This album has grit, flirts with a country tinge sound, and is bookended by two of the greatest songs in rock n roll history. This release of this album was marred by the Altamont tragedy, and as such, is often written about as heralding the death of the 60s. However, this album stands outside the time in which it was released and is one of the greatest rock records ever made.

Early new wave sound still very much influenced by punk. I heard a lot of the Kinks in this album. I enjoyed the strange lyrical content and the playfulness with rhythms. Overall not a bad album. I can definitely see how this links to later new wave and post punk sounds

Simultaneously avant- grade yet accessible. This album sounds both old and new with its driving repetitive rhythms and virtuosity. This album runs a bit long, but it is interesting enough to be worth sitting through. I can hear the influence of this band in other artists that followed up through the present day.

This is a strikingly good debut album. While the ideas are not as well developed as on later releases, this album showcases the imagery that would hit its zenith on ‘Infected.’ The synth pop is infectious and avoids much of the trappings that leave much of 80s pop sounding dated.

This album defies genre. It opens with new wave, and progresses through tinges of punk, hardcore, and even crosses over into power ballad territory. This album has been immensely influential and it is rightfully seen as one of the greatest albums of the 80s

This an exceptional album. The first half has a dense orchestrated feel that feels expansive in a way that Phil Spector’s ‘wall of sound’ feels. The latter half is primarily experimental instrumental driven by Brian Eno. The album communicates a sense of Cold War uncertainty yet stands on its own.

The best album of 1966 and a contender for best album of the 60s outright. Brian Wilson took a break from touring after a panic attack and decided that he wanted to take the Beach Boys' sound in a more experimental and introspective direction. He built upon Phil Spector's 'wall of sound' with his own unique orchestrations and ended up with one of the lushest and best produced albums of all time. Here Wilson is at his creative apex both melodically and harmonically. The tone of the album is melancholic and full of longing. The melodies are acrobatic and delicate, and the harmonies are full of depth.

An exceptionally produced and delivered album. Kanye West’s contribution gives this album a sense of optimism and takes Common’s work into new territory. This album exudes warmth and reminded me of What’s Going On by Marvin Gaye, both in feel and by the album cover itself. The album only suffers because it is not innovative. It is however, Common’s most cohesive.

I’m usually a fan of diy indie music but this album just fell a bit flat for me. Maybe I just need to give it a few more listens. I enjoyed the first few songs which seemed to have a haziness to them that I found interesting. The entire middle of the album ran together for me but I did enjoy the last couple of songs.

This album is damn near perfect. It has tight vocal harmonies, amazing musicianship, and is a masterclass in melody. Stylistically, this album covers everything from bossa nova, to jazz, and pop. Similarly, the arrangement is top notch and the album is very produced.

This is not my favorite Funkadelic album, but that being said, this album is still pretty great. It opens strong and features call backs to earlier songs and lyrically expands the George Clinton universe a bit more. This album is joyous and lighter than Maggot Brain yet still has some absolutely phenomenal bass lines and arrangements.

An expansive and unusual album. The beginning is rather dirgelike before taking off into a horn filled modal jazz like middle section. This album is tinged with pastoral British folk passages undergirded by experimental lyrics and instrumentation. It’s honestly rather brilliant.

A quintessential hip hop album of the mid 90s. This album is such a great encapsulation of east coast rap with its swing beats and its elements of jazz and world music. My only criticism is some of the misogyny in the lyrics though compared to some contemporaries, this album is pretty tame. The flow is acrobatic and the lyrics are clear and often socially conscious.

This album is musically interesting. It’s somewhat of a transitional album that combines Joni Mitchell’s folk sensibilities with a jazz foundation. The result is an album that still sounds undeniably like Joni Mitchell but manages to push her sound forward. The lyrics paint real life with profundity and Mitchell’s voice is the perfect carrier for those words.

Very San Francisco. Elements of folk, psychadelia, bluegrass, flamenco, and classical music come together with fantasy-esque lyrics to create a surreal album that transcends classification. Lead singer Sal Valentinto's vocals echo Dylan in tone and delivery, but are unique in their own way. This album deserves several listens at the least.

Throw genre out the door because it has no place on this record. Perhaps we could call it noise punk; it certainly fits the punk ethos. This album conjures feelings of disconnection and seems to be a gross parody of music and society. However, for whatever reason, it really appeals to me and I throughly enjoyed this album.

This album came off the heels of Eric Clapton's departure from the Yardbirds due to his disatisfaction with their pop heavy sound. This band and album acted as an incubator for Clapton before he went on to have a hugely successful career with Cream, Blind Faith, and as a solo act. The music is standard and Clapton is clearly the stand out, especially with his vocal debut on a cover of Robert Johnson's Ramblin' on My Mind.

I was surprised by how much I enjoyed this album. It seems to have predicted the rise of early 2000s alternative rock and I even heard the seeds of pop punk in there as well.

I am a big fan of Celtic punk and the Pogues are largely responsible for popularizing it. This album is at times angry, political, and endearingly reflective. Shane MacGowan’s distinctive delivery can be heard in later bands such as Flogging Molly, and serves to highlight his influence. The music itself is brilliant. Combining punk forms with traditional Irish instrumentation is a unique and effective hybrid and one that allows for the expression of a cultural identity within a popular genre.

After the maximalism of My Beautiful Dark Twisted Fantasy, Kanye West released the minimalist Yeezus. The album opens with a jarring synth which sets the stage for the aggressive confrontational lyrics. This may not be my favorite Kanye album, but it’s definitely the last great album he released

This album was part of the garage rock revival movement in the late 90s and early 2000s. The Yeah Yeah Yeahs combine fuzzy rock elements with art punk to form an exciting driving music that features the extraordinary vocals of Karen O. A lot of the elements here can be heard in later indie rock music yet it still sounds fresh to me despite being over 20 years old.

This album is expansive in a way that I wasn’t expecting from an 80s post punk/alternative band. The melodies were well developed and memorable as well. This album provided the groundwork for the shoegaze movement as well, which I’m a huge fan of. The guitars are over distorted and fuzzy but the vocals are clear. Though this album can be characterized as noise rock, it’s strong melodic tendencies elevate it to something else entirely.

It started off strong but by the middle had started to blend into itself. It’s fairly standard new wave folky stuff with an interesting guitar sound that is almost flamenco like at times. The lyrics felt a bit forced at times as well.

Blonde came out of the CBGB scene in New York City and as such this album reflects the pop rock and nascent New Wave influences of that time. This album is packed full of memorable songs driven by Debbie Harry’s powerful voice. The guitar and synth are both memorable and the melodies are great.

It was promising after the first track but there’s no sense of variation in dynamic. It remains a testosterone driven rave scene album which is great if you’re at a rave. There’s not much of substance here which is fine for what it is. It’s fun, driving, and clearly doesn’t take itself too seriously.

I liked it. The synth is obviously very dated, but the melodies are interesting. The lyrics are very politics and reflect the time during Reagan’s ascension during the Cold War and as such are pessimistic. I certainly see why this album is worth listening to, but it is so rooted in its own time that it’s hard to see its universality.

This album steps away from the folk revival aesthetic while sounding unmistakably like Simon & Garfunkel. Bookends centers thematically around a cycle of life exploring themes such as youth, old age, and insecurity. The album is grounded thematically by the Bookend Theme which quite literally bookends side one. The sound montages further set this album apart as a conceptual work, but it is still undergirded by Paul Simon's distinctive lyrics and the lush vocal harmonies for which Simon & Garfunkel became famous.

I enjoyed this album quite a bit. The samples and beats were classic east coast hip hop with the jazzy feel and the vocal delivery was very intentional and methodical. Though this album was long, I was able to get through it without any fatigue

This was the first Tom Waits album to do well. It captures the feel of a smoky jazz club with its live audience. Waits is a natural performer and certainly knows how to work a crowd. As always, his lyrics find themselves with the overlooked of society and the music is loose but well arranged. He has a unique ability to capture the profundity in the profane and this album hints at his best work yet to come.

John Lennon’s second album is portrait of a man who is at a crossroads and is trying to figure out who he is. This inner turmoil is also reflected in the shifts in genre from the placid and occasionally lush (classic Phil Spector production), to the more country/rockabilly, and rock and roll influences tracks. Lennon is contemplative, remorseful, and angry all in a 40 minute span. He ends and starts the album with no answers to the deeper questions but with the knowledge that love and humanity are the heart of the answer.

I really wanted to like it more than I did. I enjoy the music and I think it's well arranged. It's a great example of 2000s British indie rock/dream pop. However, the vocal delivery just doesn't do it for me. It's not that I don't like the style, it just seems to be someone trying to do Morrissey and Thom Yorke at the same time. It comes off as a bit too on the nose. I can't shake the feeling that this band is trying too hard to be the next Radiohead while sounding a bit like the Smiths.

This album is incredibly important and for that it gets credit. However, this album is also quite uneven. It oscillates between rap, funk, electronica, and even outright easy listening in ‘You Are.’ I’m a fan of range on an album, but here it can be jarring. The bass work in this album is phenomenal and the singing is great though some of the harmonies fall flat. I’m a fan of the synth here as well as dated as it is. Lyrically this album has moments of social criticism and it’s there where it has its greatest moments. The best track by far is of course ‘The Message.’

Morrissey’s first solo album strikes a different tone from his work with the Smiths. He has an incredible gift for melody and his voice and delivery style are iconic. There are some truly incredibly songs on this album. One song that I found challenging was ‘Bengali in Platforms.’ I know this song is controversial, and while I see how this song could be seen as darkly ironic, the use of the word ‘belong’ is a bit troublesome to me.

I can’t believe I’ve never heard of Joan Armatrading before. Her music is a seamless mix of funk, country, and folk that is lush and driving. Her voice is versatile and her songs are well written.

What a delightfully strange album. It’s part ode and part send up of English life with a psychedelic twist. The album spans genres though it is mostly whimsical folky psychedelic music punctuated by bluesy heavier tracks. I can hear shades of David Bowie in this album and believe that it must have been an influence on him.

This album really took me by surprise. I wasn’t expecting such a wonderfully layered and atmospheric album. I like when albums take their time to build and allow each layer to be savored. The sounds of wind and the ocean really added to the effect. The use of the driving Motorik beat, typical of Krautrock, kept the songs moving. The more contemplative tracks are punctuated by high energy tracks which read more like proto-punk while still featuring the droning synth in the background and the Motorik beat.

Physics Graffiti is a sprawling album that contains some of Led Zeppelin’s most straightforward hard rock songs as well as some of their most exploratory and experimental such as Ten Years Gone and Kashmir. There is also a good deal of slower folky and bluesy songs that round this album out as a full representation of Zeppelin’s range. It runs a bit long but it’s well done.

Possibly the best Talking Heads album. David Byrne is at his songwriting peak here blending his surreal lyrics that satirize society with his unique blend of funk, world beat, and new wave. This album is fearless and in being so, sounds like nothing but the Talking Heads. This album is a tremendous achievement and though it was released at the top of the decade, may be the best album of the 80s

Another incredible album by Marvin Gaye. This album takes us through his divorce and the wide ranging emotions that come with that. He oscillates from expressing anger, reconciliation, sadness, defensiveness and finally acceptance. His vocals are tortured and magnificent. I loved the use of thematic grounding around the phrase ‘When did you stop loving me, when did I stop loving you.’ It’s gives the album a sense of unity to persist through the roller coaster of sheer emotion

This album is what would happen if the fifties were resurrected as zombies and given instruments. This mix of rockabilly, surf, goth rock, and punk is really fascinating though it doesn’t particularly appeal to me personally. Fifties rock and punk don’t seem at first glance like they would compliment each other, but due to the simplistic chord structures, they are natural compliments.

Interesting to be sure. The grooves are very open and spacious with lots of room for the variety of sounds and textures to inhabit. This allows the music (and language of the lyrics) to be incredibly varied while still being intelligible as a coherent album. That being said, there's nothing in this album that feels cutting edge to me though the album is pleasant to listen to. I am biased of course and think that what we call 'world music' should be refined quite a bit to reflect that there is not just one dominant form of music with other minority categories.

This album reflects a transitory period where Kraftwerk was blending electronic influences and coming out of their Krautrock origins. This album is atmospheric and melodic. Though it is not as fully realized as their later work. It documents early experimentation and for that reason alone it belongs in this list.

Transformer is a huge departure from Lou Reed’s work with the Velvet Underground. While it still focuses on the transgressive elements of New York City, this album is driven by a very camp aesthetic that reminds me of the Kinks more experimental work. Perhaps this can be explained by its British production and recording. David Bowie’s production lends a glam rock feel, but there are jazzy American elements here as well that ground it as definable Lou Reed.

This album is a mix of everything happening in rock in the mid 90s. I hear aspects of grunge, pop, garage, and Britpop. It oscillates quite a bit. I hear shades of early Radiohead, some Nirvana like melodic lines, and the seeds of what sounds like pop punk. It’s perfectly fine, but I’ve heard these genres done better though the mixing is interesting.

I really enjoyed this album. Bobby Womack’s voice is so versatile and can be as smooth or gritty as he needs. I was also very impressed with how fluidly he goes between and mixes genres. I was surprised to hear slide guitars in one song. His mix of soul, funk, gospel, blues, jazz, and even country is energetic and incredibly well done.

This one was a new one for me. I enjoyed much of the lead guitar playing. Neil Young has a very distinct lead style that incorporates blues and jazz motifs with unusual rhythms. Some songs here miss the mark while others show Neil Young pushing himself into new territory.

This is a symphonic pop masterpiece. Harry Nilsson employs techniques from Brian Wilson, the Beatles, and Phil Spector to create an idiosyncratic album that is occasionally silly, and always well produced and arranged. The lush orchestration complements the close harmonies perfectly to create something that has commercial appeal yet pushes the genre forward.

This album has been a top five album for me for quite a while. Though I’m more partial to the 2011 release made with the original 1967 tapes, this release is more fleshed out and features lyrics that were never recorded by The Beach Boys. I won’t rehash the history of this album, but it was intended as The Beach Boys’ follow up to Pet Sounds. I firmly believe that if this album had been completed and released, it would have eclipsed Sgt. Pepper in its influence. Just its mystery alone, along with bootlegs cobbled together by fans as speculative releases gave credence to this album’s supposed genius. And genius is exactly what I would call this album. It is a kaleidoscope of Americana with ponderous and abstract lyrics by the great poet Van Dyke Parks told through Brian Wilson’s incredible and complex songwriting. Themes arise and are revisited and inverted to thread the album together to culminate in the emotional release of Good Vibrations in what is perhaps the most satisfying ending to an album ever. Surfs Up remains my favorite pop song and this album is always in heavy rotation.

Written and recorded by Dave Grohl in the aftermath of Kurt Cobain’s death, this debut album is a strong start to what would become one of the best known alternative rock acts of the 90s and 2000s. The first half is its strongest, and is clearly reminiscent of Nirvana, Grohl’s previous band. The melodies are strong and some moments remind me of the Beatles and Oasis. Overall I’m not a huge fan of the Foo Fighters, but I appreciate this album for what it is and what it allowed Dave Grohl to do.

This album was influential to the point where it was preserved by the Library of Congress which is ironic considering its anti-establishment message. First of all, much of the messaging here has aged poorly. The misogyny, homophobia, and toxic masculinity are not necessary to the central message of this album and take away from in in retrospect. Some of these beats are incredible while others feel stuck in the 80s. I enjoyed the use of samples some of which are some of the best sample work I’ve ever heard. This album feels like it’s in between styles and on the cusp of developing a more complex flow pattern while still having a foot firmly in straight 80s style delivery. Caveats aside, this album is one of hops hop’s statement records and with good reason. Here we see the emergence of g-funk and gangsta rap.

This album is immaculately constructed. The way the music builds and complements itself is masterful. Each instrument is clear and the whole is spacious and atmospheric. The production is crisp though it sounds a bit dated. Overall, I really enjoyed this album though a lot of it sounds similar.

There’s not much here. The music is fairly standard late 90s rock. It’s unimaginative, especially when you consider how much innovative music came out of the late 90s. There is an excessive amount of noodling much of it repetitive and not terribly constructive. It sounds fine but it just doesn’t seem to belong on this list

This music is executed very well. John Martyn is exceptionally musically literate and manages to bring together folk, jazz, and soul into one coherent whole. Incredibly, his playing and song structures reflect an incredibly nuanced understanding of his music works such that it doesn’t sound like he’s just adding jazz flourishes for color, he understands what he’s doing and why it works. The vocal delivery is reminiscent of Nick Drake and overall this music is identifiable at the outset as part of the British folk movement

It is a disservice to the Clash to label them as a punk band. They incorporate elements of garage, ska, rockabilly, and emergent new wave sounds that would influence the next generation. Their lyrics are insightful and socially conscious which creates a sprawling whole taking the listener across various sonic landscapes

It took a minute for me to get into it, but I ended up enjoying the mix of punk and folk that characterizes this music. The lyrics were a bit hit or miss. I’m really not a fan of the self loathing/self pitying man singing about women not wanting to be with him while sounding like an entitled creep the whole time.

DJ Shadow never raps a single line but is one of the most consequential hip hop producers ever. He builds long contemplative beats featuring unusual instrumentation with virtually everything being sampled. This album, typically regarded as his best might best be described as trip hop though I hear some industrial sounds that would later be incorporated into hip hop. DJ Shadow is a master of layering and composition. He strips other music for parts and when he’s finished, the whole is certainly greater than the sum.

It took me a minute to get into, but once I did I really enjoyed. I get some Jim Morrison vibes from the lead singer. The music itself is a hypnotizing pulsating blend of new wave and synth pop. Though the use of synth and echo dates the album a bit, it comes together very well. The arrangement is careful and deliberate and creates a sense of suspension and release throughout.

It's perfectly decent house music with its driving four on the floor beat. I'm much more apt to like French house, but this album is fine. I'm sure it's great for dancing but I didn't find anything here that really stood out to me. Some of its sounds are dated which is to be expected.

This album is a wonderfully cohesive mix of post-punk/new wave with a healthy dose of 60s garage rock in the style of MC5, rockabilly, and surf rock. The mixture of these more diy genres fits in well with the Fall’s post-punk ethos. Despite the genres involved, the production is very slick and precise. I was disappointed by some of the Fall’s later work, but this album captures their essence at its peak and I understand now why they’re important.

I read an article talking about how classic rock radio does a disservice to artists by condensing varied careers into just a couple of signature songs that get played. Thin Lizzy was used as the prime example and after listening to this album, that article was spot on. Thin Lizzy is known for their hard rock two guitar harmony, but their music incorporates elements form soul, jazz, blues, and of course Irish traditional music. Phil Lynott is an incredible frontman and his lyrics explore the trials of the working class, something with which he was very familiar. To top it off, these guys are just phenomenal players. I’ve grown quite disillusioned by classic rock as I’ve gotten older, but Thin Lizzy shows that despite its tired superiority complex, classic rock is often seen as classic for a reason.

Hüsker Dü’s later work is straight alternative rock. It is highly layered both musically and vocally and is very melodic. I read that they are the main link between more simplistic and driving hardcore punk and the melodic college rock that would dominate in the 90s. I think this is the best way to describe the later part of their career. Though their hardcore roots are present, I can hear tinges of Barenaked Ladies and Hootie and the Blowfish here that point towards what would become college rock.

I enjoyed this album from start to finish. This neo-psychedelic post-punk record is intensely layered and melodic. It has a frenetic energy to it that borders on the claustrophobic creating a simmering and explosive record.

This is perhaps the greatest hard rock album of all time. It shows Led Zeppelin at their most accessible and their best in terms of songwriting and arrangement. Many of these songs are still radio mainstays and their influence on the genre cannot be overstated.

I was surprised by his much I enjoyed this album. George Michael had a hell of a voice and his level of vocal control is very well developed. The music itself was fairly basic late 80s early 90s pop, but his voice is able to give a huge depth of emotion and energy to the songs. It’s four stars on the voice alone.

One of the greatest albums ever made. From beginning to end this album is a sweeping symphonic journey exploring life, death, and madness. Pink Floyd were always keen to experiment, and this album sees them going beyond to use the studio itself as an instrument in a way that no one had before. Pink Floyd is known for their long songs that blend into each other and this is no exception. Songs are allowed to build naturally and it is clear that this album was not made for radio success, though it is still in heavy rotation on classic rock stations

Funeral is a watershed indie rock album that shaped the genre for the next two decades. It incorporates elements of baroque and symphonic pop into contemporary indie rock to yield an uncommonly lush and melodic album. Lyrically, the album is ultimately hopeful at a very polarizing time in the wake of the invasion of Iraq

Another groundbreaking album and modal jazz classic. This album in four movement takes a more avant garde approach to the form with its experimental rhythms and improvisation. Though less melodic than his work on Kind of Blue, this album is very listenable and has a lot to offer the casual jazz listener. This is one of those albums that rewards multiple listens.

Fairly decent trip hopish pop. There were some really interesting sounds here that I hear in later Radiohead and Röyksopp, but the delivery is often so bland that it just doesn’t stand out to me.

This album was full of energy. The arrangement was great and the fusion of African and western music was seamless and done in such a way that highlights the African influence in western popular music. Ginger Baker was a great addition to this as well.

Nick Drake is absolutely captivating. His voice commands attention and his songwriting is wistful, melancholic, and deeply moving. His short career, lack of a public persona, and tragically short life lend an air of mystery to him. He was not appreciated in this time but has ascended to the upper echelons of British folk. I’ve been listening to him for quite a while now and he still sounds as crisp and relevant as ever.

The production on this album is fantastic. Ice Cube has one of the greatest flows of all time and his aggressive delivery punctuates the political and confrontational lyrics. This album is not easily pigeonholed. It contains elements of funk and jazz while using samples in a way that reminds me of some modern day artists like Kanye West and Kendrick Lamar.

Syd Barrett’s talent is apparent. He has a talent for contracting whimsical unsettling songs with unusual melodies and chord changes. His lyrics are ruminating and surreal with a touch of childlike naïveté. Some of these songs are simply better constructed than others and makes me wonder how these recording sessions went. This album can be seen as a contraction of his work with Pink Floyd, but it often veers into darker territory where the psychedelic whimsical facade falls to reveal the extreme anguish and mental illness beneath. The music has tinges of proto punk and some musical elements would sound at home in modern indie rock.

The influence of Joy Division is strong here. This album is a look at the Cure before they embraced a more upbeat New Wave style. Pornography is driving, dense, and foreboding. Robert Smiths languid delivery and depressing lyrics add to the oppressive mood of this album. The musicianship is subdued but almost like a wall of droning looping sounds.

I had heard of Living Colour but had never listened to them. Their brand of socially conscious funk metal fused with R&B and soul is certainly interesting. The music is punchy and was a lot of fun to listen to. The biggest issue for me was just how dated a lot of it sounded. It was quite enjoyable though.

A deeply unsettling album characterized by Eminem’s aggressive, yet self aware lyrics. Despite its unsavory moments, of which there are many, this album is a cohesive statement on fame, notoriety, and the insanity that comes with it. Eminem knows his violence towards women is wrong, he knows his homophobia is misplaced, yet he persists in it continuing a self destructive cycle consumed by fame. Say what you will about the violence and misogyny in his content, Eminem’s sound is distinctly his own.

One of my favorite things about Daft Punk is their desire to break their songs down to reveal their structure to give us an insight to their process. They are also keen to share their influences within their work as shown by ‘Teachers.’ This lends their music a sense of approachability and enthusiasm. Homework is Daft Punk’s first major label record and was one of the first wide reaching French house records. The music is driving, playful, and minimalist in parts.

Good New Orleans swamp rockabilly played by folks who grew up in the suburban Bay Area. John Fogerty is a powerhouse vocalist and a fantastic guitar player. These songs are tight, well written, and a lot of fun to listen to. Most of these songs can be found on greatest hits compilations which really goes to show how great this album is. Creedence is accessible and commercial without the psychedelic rock trappings that alienated listeners in the late 60s and 70s. They are one of those bands who found a way to innovate within the genres that came before and carve out a unique sound that is solely their own.

This is very much not my thing. This overt satanism was the stuff of nightmares in the fundamentalist church I grew up in in the 90s. Of course the satanism is an aesthetic choice and one that works well for them. This album is akin to hearing thrash metal being born in all of its galloping glory out of the British metal new wave. Apparently the genre black metal was named after this album. I enjoyed this a lot more than I was expecting and honestly, the satanism still feels dangerous to my ex fundamentalist mind. It’s exciting.

It took a few songs but I got into it eventually. The clarity on this album is impressive given the quality of other Profi punk records. There’s a lot to like about this album. The melodies are catchy, and the musicianship is better than I was expecting based on what I had read. The singing is a bit flat sometimes but is overall good. This album sounds ahead of its time and clearly influenced the New York punk scene that would emerge.

This album was surprising. I was expecting more straight bossa nova, but this album expertly incorporates aspects of Brazilian music into mor popular western forms to create something lush, beautiful, and something that knows exactly what it is. I read that Caetano Veloso thought this album was poorly executed, but I strongly disagree.

Kid A is one of the most important album of the last 30 years. It was however, not made in a vacuum. Radiohead had long been influenced by electronic artists such as Aphex Twin, and sought to explore what music could be if one looked outside of conventional instrumentation and song structure. The result was this watershed album which managed to show Radiohead at their most electronic and experimental, while remaining deeply human.

The Eagles debut album opens with the iconic ‘Take it East’ and features other well known tracks that showcase the band’s unique laid back country rock sound infused with Laurel Canyon contemplation. Unfortunately, the album suffers because that sound is not fully developed throughout and sees the Eagles writing a lot of filler material that doesn’t really sound like them.

Not my favorite new wave/pop album. Some things were executed well such as the songs ‘Guilt’ and The Ballad of Lucy Jordan’, but overall, I found that this album was not as engaging as other new wave music from this time period. However, this album does represent a triumphant return for Marianne Faithful after 12 years without an album and bouts of drug abuse and homelessness so something should be said for that.

I know Steely Dan is one of the most influential bands of the 1970s but I’ve never actually sat down to listen to an album of theirs. I was impressed. This album features a great blend of jazz and rock with interesting lyrics. The musicianship is top notch and the songwriting was very tight. I was blown away by some of the guitar work and with the complexity of the music in general. There were a few songs that didn’t resonate with me, but overall, this is a phenomenal debut

This was a remarkably smooth album. This neo-soul record had tinges of contemporary R&B, funk, and a lot of jazz. The influence of Marvin Gaye especially could be felt. I also heard some Michael Jackson-esque vocal delivery patterns. Overall Maxwell very successfully brought these elements together in a sharp departure from the hip hop centric R&B of the mid 90s.

This album has moments of where everything seems to line up and the instrumentals and vocals complement each other well. However, when mixing a timeless style like soul, and a very dated synth sound, it’s bound to be jarring when listened to 35 years after its release. The lyrics occasionally express economic anxieties that were prevalent at the time especially in the UK, but there’s such a disjunction between the music and words being sung that it doesn’t quite have the same effect as a new wave album for example that expresses the same sentiment. Overall, not bad, not great, but an interesting clash of styles.

This album has so much potential but ultimately suffers in its execution. I’m a big fan of chamber/symphonic pop but was disappointed with this album. First of all, the lyrics are melodramatic to the point of being over earnest drivel. The vocal delivery is somewhere between Jim Morrison and Frank Sinatra which is a cool sound, but paired with the often obsessive lyrics of unreturned love, they come off as incredibly cheesy. All meaning here feels forced and for me it just doesn’t work. It gets a three for the musical execution and the grandiosity of its vision, but it is closer to a 2.5

Aerosmith is a solid hard/blues rock band. Their music is tight and clear. However the lyrics are really not the best and they don’t really bring anything to the table in terms of innovation. They are just simply ok. They seem perfectly content with cruising in the shadow of better hard rock bands.

Pretty good debut. There were some great tracks but also some very dated tracks that firmly place this record in the 80s with the over use of echo. There’s nothing wrong with that per se, but with a genre like country, you expect more of a timeless quality to it. I really like Steve Earle and this album clearly shows his songwriting prowess.

This album really straddles the line between punk, hard rock, while incorporating elements of art rock and psychedelia into a palatable and exciting package. There’s a sense of danger and sneer to this music which is appealing. These songs are interesting enough musically but accessible enough to be at home in a pub or a college dorm room.

This album is notable because it features the Hammond organ and creates a link between jazz and soul music that Jimmy Smith is known for. Other than that link, this album does not really push any boundaries. It's a solid jazz album, and features interesting organ and saxophone improvisations.

Super smooth album. I enjoyed the fusion of jazz and R&B. Where some albums incorporate jazz elements, this one goes a bit further and quotes entire passages featuring walking basslines to draw the connection between earlier and contemporary music forms. The singing was fantastic and it suited the music well. My biggest complaint is the length of the album.

This is a solid album that expresses sentiments of love and social awareness all mixed in musical package that is very carefully constructed and produced. Stevie Wonder’s emotional range is vast and his vocals are practically perfect. The biggest drawback are some of the lyrics which are a bit too on the nose and verge into the saccharine.

This album is a great mix of New Wave and pop. I was truly expecting to dislike this album but it was catchy enough to keep my attention. The music is firmly within the pop traditions and oscillates between how much new wave is thrown in. There are moments that are pure power pop and moments where the post punk/new wave influence is apparent. Some of the arrangements on this album predict the rise of boy/girl bands in the 90s and really contextualized for me where that music came from.

This was an excellent album of what I would call Americana today. The Band incorporates elements of traditional American music including bluegrass and blues in a popular song format to create memorable songs, many of which have become standards.

A lot of the music I really love is influenced by this style of music. I can hear early Vampire Weekend in this down to the tone of the guitar and the lines played (I think the mixolydian mode is used quite a bit in both). Overall, I found this album to be enjoyable and accessible and it helped me to connect Afrobeat as played by western musicians with how it’s played by Africans. Both forms are similar and involve borrowing from the traditions of the other.

Steely Dan’s masterpiece is a complex album of accessible jazz rock that features prominent bass lines, jazz chord changes, funk rhythms, and virtuosic playing. This album is incredible tight, yet features some fantastic exploration. The guitar work alone would place this album at a 5, but it’s the combination with the bass, keys, drums, and brass that makes this one of the greatest albums of all time. It may sound self-indulgent to some, but this album manages to push popular forward in a more musically literate direction while maintaining its commercial viability

Mark Knopfler is one of the greatest guitar players. His style is known for its highly melodic and virtuosic lines, but his rhythm playing is also complex. Every note he plays is perfectly and intentionally placed. His is never sloppy and despite the highly orchestrated nature of his songwriting, it retains emotion. This album’s greatest downfall is the dated production. Furthermore, the use of a slur on ‘Money for Nothing,’ tongue in cheek though it was, is jarring and took me out of the song. Nevertheless, the album as a whole is fantastic.

This album is so far ahead of its time that’s listening to it now still sounds fresh. Though I wouldn’t classify this as ambient, this music is certainly less harsh than some of Aphex Twin’s subsequent work. The influence this music has had across genres is staggering; it’s clear that Aphex Twin influenced Radiohead and inspired their Kid A era move to more electronic based music.

This isn’t my favorite Leonard Cohen album, but it’s nice to hear him with a more stripped down sound. As great as his songwriting is, it’s hard for me to get into his 80s sound due to the extremely dated synth and drum sounds. This album however is acoustic and sparse, having been produced by the same producer that produced much of Bob Dylan and Simon and Garfunkel’s mid 60s output. Though this is just his second album, Leonard Cohen’s thoughtful songwriting shines through.

This is such an strange yet earnest album. The orchestration is beautiful and expertly oscillates through moments of beauty, strangeness, and dread. Simply put, it is an avant-garde masterpiece. The use of traditional orchestration within an experimental folk framework packaged as an album of popular music manages create something that stands out among the experimental and progressive music of the 70s and that says an awful lot.

This album sees a recently returned Elvis back in the studio after a stint in the army. From his first album, this album is clearly an improvement. His voice is more assured and it is better developed. His rendition of 'Fever' particularly showcases his delicacy and control. Elvis is just not an album artist though and this album contains a lot of filler though the production is clean.

This album is a great mix of honky tonk, doo-wop, and a healthy dose of the Bakersfield Sound. KD Lang is strongly influenced by Patsy Cline to the point where she uses her producer on this album. Overall this album reads like a love letter to KD Lang’s heroes and it works incredibly well; her voice can be forceful and delicate and suits the music perfectly.

This album is a wonderfully produced college rock/alternative rock statement piece. The signature arpeggiated guitars and Michael Stipe’s distinctive voice are at the forefront here. Stipe’s lyrics are insightful, sarcastic, funny, and rank among some of the best. REM is certainly influenced by new wave, but I wouldn’t group them in with that genre. They really do have a unique sound that can be heard in later alternative bands especially within grunge.

I have mixed feelings about Van Halen. First of all, their music is very dated and firmly rooted in the 80s synth and hair metal aesthetic. Second, their lyrics are at worst crude, and at best, unimaginative. However, their musicianship is tight, acrobatic, and expressive although it doesn’t show much variation. As a guitarist, I understand why they are important, but I find their melodies lacking. EVH is incredibly technically gifted, but his style doesn’t resonant with me as much as the style of other less technical more melodic guitarists. To me, Van Halen is less about solid song writing and more about showmanship.

The production on this album is incredible. The vocals are clear and sound very close and intimate. The music itself is beautiful both melodically and harmonically. Chord structures are intricate and the songs themselves are suite like in their changes. In terms of genre, this album infuses jazz, classical, and western folk into Brazilian music to create something truly unique. This album pays tribute to earlier musical forms (like Bossa Nova) and weaves them into more contemporary styles to create a truly unique piece of baroque pop with tinges of psychedelia.

This album is a less a coherent musical statement and more of a document. The Nitty Gritty Dirt Band reached across generational lines to unite some of the greatest bluegrass and country players and singers. This album is a celebration of an unbroken chain of American folk music and introduced a new generation to this music stewarded by the then contemporary Nitty Gritty Dirt Band. This album is joyous, and just by the sheer amount of legends included (Doc Watson, Mother Maybelle Carter, and Earl Scruggs to name a few) contains so many incredible moments that it is impossible gauge the significance of this album.

Nick Drake’s music is expressive, beautiful, and ponderous with a tinge of melancholy. His debut album confirms that his unique style and songwriting ability was already well developed by the time he committed theses songs to tape. This album contains some of my favorite Nick Drake songs and I enjoyed every second of it. I discovered Nick Drake about a decade ago and believe he was one of the greatest if not the greatest English folk talents.

This album is firmly rooted in the sounds of its time, but is startlingly contemporary. It pulls indiscriminately from 80s pop, 70s piano ballads, and even progressive rock. Songs like ‘Waking the Witch’ sound as though bits of Pink Floyd’s The Wall were brought into a pop format. The album is a masterclass in pop production, arrangement, and experimentalism. It’s incredibly musically interesting and Kate Bush herself is woven throughout in a sort of now you see her, now you don’t fashion.

The use of of Oppenheimer in the final track in his quote of the Bhagavad Gita, ‘Now I am become death, the destroyer of worlds’ to bookend an album that opens with voiceovers from the India/Pakistan nuclear situation was chilling and really underscored Nitin Sawhney’s exploration of British/Asian identity and its inherent tensions. The music itself is really engaging downtempo drum and bass that incorporates elements of Indian music throughout in various degrees. Sawhney is incredibly musically literate and this translates to an album full of various motifs across genre contextualized together over the hypnotic beat. Several songs lose the eat completely and play out within more of a jazz format, but those tracks work well to break up the more electronically driven elements.

One of the great things about the 1001 album project is discovering music that influenced the music you know. This album is a watershed protopunk album that uses humor and genuine musical chops to push the genre forward. While the music is fairly simple, the Dictators’ use of rhythmic changes, vocal harmonies, and great guitar playing betray their garage rock/protopunk aesthetic and show them to be very musically literate. The closing track is a satire of the car/girl centric superficial pop of the sixties, but is done with a sense of earnestness that lets the listener know that while they acknowledge the lyrical superficiality, at the end of the day, The Dictators are paying tribute to the music that made them.

There are some interesting moments on this album that incorporate jazz elements, but on the whole, this album is not doing anything new. It’s neither the best country rock statement of the late 60s nor the best jam/psychedelic record. Having said that, this record is perfectly pleasant to listen to, but lacks the ingenuity that would place it higher.

I enjoyed this album more than I expected. I didn’t realize how large of a role Peter Tosh had played in the Wailers as Bob Marley has become almost a mythic figure. The music was tight and had a great funky groove that took me right through the album. I didn’t care much for the title track, but the rest of the album was engaging and a lot of fun to listen to.

Pete Townsend states that this album did not influence Tommy, but I’m very skeptical. Not only that, but the storyline here shares a lot with Pink Floyd’s the Wall which came out 12 years after SF Sorrow. This album seems right place right time but doesn’t seem to have the influence that Sgt. Pepper or Tommy have. After listening to it, I really am not sure why. This album is musically very interesting and combines psychedelia with proto punk, possibly proto metal, and various experimental soundscapes. Sonically, this album pushes the limits to the point where the Pretty Things had to mime the album during a live performance because it was too complex to recreate live. I’ll keep thinking about this album for a while.

After touring, Damon Albarn became increasingly influenced by the shift in 60s songwriting which is exemplified in the Beatles and the Kinks. These influences are reflected in this album which manages to incorporate a dizzying array of sounds ranging from experimental 60s rock, to more punk like and electronic sounds. The lyrical content similarly treads the familiar ground of disaffected middle class life. What I love about this album is it’s undeniably British aesthetic and its folding of so many styles into something cohesive and new.

This album is rooted and folk and Americana idioms but placed within a grandiose new wave format. The instrumentation combines banjo, and strings, with highly orchestrated and bombastic horns. It reminds me of a more nuanced Spector like wall of sound punctuated by new wave style drums and bass.

This is a solid old school album. The title track anticipates Run DMC and the rise of new school to the point where I assumed this was a new school album before I did some reading. This album ranges from more minimalist moments that are more electronic driven to some really great funk/rock inspired moments which incorporate more instrumentation. I would say that this album sits between hip hop at the cusp of old school/new school and electronica. My biggest critique is that this album sounds very dated now. However, songs like 'Go Go Pop' would sound at home in a 90s club and as a whole, I can see how this album would be very influential in hip hop at a critical time in its development.

This album is another entry in the rock star fall from grace concept album/rock opera catalogue. David Bowie draws on a variety of influences including his contemporaries as well as 1950s rock and roll to create something of a proto-punk/glam rock masterpiece. This album stands out within Bowie's catalogue which certainly says a lot. Bowie incorporates strains of metal (still in its infancy), pop, and jazz as well which shows that this album was at the forefront of musical development at that time. For me, this album is in my top 25 and possible in my top 10.

Tusk is the result of obsessive behavior in the studio, a deep desire not to make Rumours 2, having access to the Beach Boy’s aborted Smile sessions, and a healthy interest in new wave/post-punk. Largely driven by Lindsay Buckingham, this sprawling album really does cover it all. Some songs have a more new wave like frenetic pop energy, while others are more thoughtful meandering songs that make up some of the best of Fleetwood Mac’s catalogue. This album has some undeniably gorgeous moments but I do think it suffers some from the grandiosity of Buckingham’s vision and need for control. Overall, I think I still have to give it a full five stars because while it’s not perfect, it is still a deeply textured and beautiful album.

This is much more accessible than Teenage Daydream while still remaining recognizably Sonic Youth. The layered alternating guitar is front and center and musique concrète is used throughout which lends the album an experimental feel. The studio techniques used in the recording of this album were also similarly experimental and often led to issues getting final takes. The lyrical content often centers the experience of women in American society and issues a challenge to the expectations. This is best exemplified in 'Kook Thing,' a dialogue between Kim Gordon and Public Enemy's Chuck D.

Listening to the album now really changes how it sits on the palate. Many of these songs are written about the collapse of her relationship, a relationship that would later rekindle and turn into a tumultuous marriage. Songs like 'Rehab' sting a bit now given her untimely death due to alcohol use. However, this album portrays a strong, self-possessed woman who refuses to get buried in her emotions and chooses to face them head on. Her use of soul, R&B, jazz, and a little ska in the beat conjure an image of bygone glamor that highlights her big emotions, and in a way undermines the seriousness of her pain. She was insanely talented and I wish we could've heard more from her.

I absolutely adore this album. Somewhere between a jam band, musique concrète, and ambient, Can managed to make music that still sounds strikingly modern. I can hear their influence in Radiohead, especially in the OK Computer era. This album goes in and out of coherence somewhat ominously at times in their more experimental songs. They deconstruct song forms and in doing so completely blow open the door for what music can be.

This is the best album from one of the most influential bands of all time. The Smiths are the quintessential indie rock/British post-punk band. This album shows the Smiths at their most mature. Morrissey manages to deliver his message in a way that doesn’t come off as heavy handed as he did in ‘Meat is Murder.’ The songs themselves are crisp, melodic, and impeccably arranged. Johnny Marr’s jangly guitar is simply iconic and is textured wonderfully with the bass and drums to leave songs that feel filled out despite still communicating a sense of alienation.