It's got 90s style, but reminiscent of Smiths, Cure, New Wave stuff, and some Bowie. So Young - good teen-emo jam. Animal Nitrate - Interesting title. This one reminds me of something. I can't place it. The riff is kind of like Oasis. She's Not Dead - slower ballad. Good song - apparently about joint suicide of his aunt? Moving - Reminds me of Empire Records. Rock song. Called moving and it moves. Pantomime horse - Weird title, like one of those costumes two people wear of a horse? The Drowners - This is another great song. Awesome guitar work. I'm told this one's about a man trying seduce another man. Could be. Hopefully not incest. That word Brother is dubious. Sleeping Pills - beautiful song, very sad sound. Breakdown - Another slow one with a good build. Instrumental solo is solid. Sounds like Bowie, and also about loss. Metal Mickey - Strip club? She sells heart, meat, money shaking in time. Animal Lover - Story is apparently about singer's girlfriend, returning with scratches from being with another dude from the band? Guitar at the end sounds like Matthew Sweet. The Next Life - Damn - what a downer of a sad song to end it on. Another Bowie sound.

She came on the scene with an explosive presence. She is indicative of Phil Spector's sound and Ronnie Spector's voice. There's definitely a bewitching quality to her vocals. This is especially present in "You Know I'm No Good." She's one of those artists that could sing the phone book and make it work. "What kind of fuckery is this?" is a question for the ages, and it sounds delightful coming from Winehouse. She sings from the heart as well. No song is a throw-away. Even the minor songs like Just Friends hit that mark of emotion she's going for. The beats are also so catchy on this album. Back to Black is practically iconic now. If Winehouse, Gaga, and Adele could have gotten together...Anyway, this album is a modern masterpiece.

OH MY GOD, 1001 ALBUMS GENERATOR, WHAT ARE YOU TRYING TO DO TO ME? This is nonsense of the highest degree. I just forced my way through Nightmares on Wax, and this is what you serve up next.?! Give me a break that this is "before you die" critical listening. Music for a rave is great for ravers the same way that an album of dogs barking is great for dogs - I am neither, and am uninterested in both. No.

I remember being scared of Alice in Chains when I was a kid, and having listened to it now, I was right to be scared. This is dark stuff, but I can appreciate them so much more now. Drugs suck. Them Bones is a perfect opening track. Really great work on that song. Sets the tone, awesome licks and the chorus is solid. Dam the River is an angry song. Then Rain When I Die is one bummer of a song. It could be taken to mean that he'll die right be fore the "rain" that could have saved him. Or it could just grunge angst about death and rain and darkness. As I read, I see that the two main songwriters, Jerry and Layne had a tumultuous relationship to say the least and Layne tended to write the darker, sadder, drug related stuff, and Jerry wrote about girls. Also, a girl named Demri apparently had quite a grip on Layne in some way. Down in a Hole sounds like a Layne song, and it's excellent. Great rock song that has elements of grunge, ballad, and alternative styles. As I write this I discovered I am wrong and Jerry wrote this about a girl named Courtney, but Layne singing it certainly fits his persona. Oof, Sickman is a drug song. Jesus, to be so aware of your addiction and express these thoughts only to inevitably fall victim to them is just so tragic. This song is so segmented; I think the idea here is to mirror the manic wildness of the high and then follow it with the self-loathing low afterwards. The video for "Rooster" tells you everything you need to know. Very important song for the band, and one that makes you think about war, parents, life, everything. Junkhead - another drug song, but a totally different take than Sickman. Sickman can be seen as a metaphorical journey, but Junkhead is on one hand an honest account of a user and on another an admittance of helplessness. Either way, it's dark as hell. What I did just read though makes this album amazing. A theory is that Junkhead, Dirt, God Smack, Iron Glad, Hate to Feel, and Would? are all an interconnected mini-concept album on the cycle of drugs. Listening to it that way made for a hell of a trip, and if it is indeed the point of this final suite, it makes the album far more epic.

Hip hop with a message, most definitely. I'm instantly a fan. Hip hop is the only genre of protest anymore. This is from 1992, but even then - mainstream music has little to no message, but that is not the case with music like this. The lyrics here are a lot to take in. They are critical, but not afraid to be self-critical. There are injustices and cultural/social problems that affect all people. Its a classist society that created a racist society, so he takes aim at the racism by bringing up the elites control the narrative through money, sports, media, television, etc. Language of Violence is going to be my go-to as a father of young kids (obviously not sharing the full song with them for years to come). Dehumanizing the victim makes things simpler. Mob mentality, all of it. Really thoughtful here and terribly tragic. This album was a masterpiece. There are two tracks not listed on the YouTube playlist, a "cover" of Dead Kennedy's California Uber Alles and Water Pistol Man that I suggest be sought out if you listen to this album.

Opens with a nice groove. I'm familiar with the band, and they rely on a distorted vocal that I think is a little obnoxious. Next Girl is a much better song that Everlasting Light. Good riff, much clearer vocals, bluesy, and simple. Tighten Up is a catchy jam. This is the most popular song on the album, and I think it sums up the band pretty nicely. My feeling is they are talented, they have great hooks, but something about their music keeps me at a distance. I am a casual fan, but their music, while technically impressive just isn't my taste. Howlin' for You is another song I am quite familiar with. Has an "anthem" element to it - and at this point the album has a really cohesive feel, and you know the groove you're in. There's a thread of looking for love/relationships all passed through a filter of the search or regrets. The Black Keys have a sound and a style, and this is it on full display. It's just not my bag. I do like the line "Throw the ball to the stick/ Swing and miss and a catcher's mitt/Strike two" She's Long Gone fits right in that same thread as I mentioned. Black Mud is an instrumental with Tarantino vibes. He should get a hold of that one. The Only One puts the Organ front and center. Feels like a 60s song. Kind of has a hook like Tom Jones's She's a Lady. Too Afraid to Love you - more of the same. Bass line is pretty sweet. Ten Cent Pistol - Finally a ballad of sorts. A song with some story behind it. But it is still lyrically similar to everything else. I wonder what this is based on. Is this drugs? Sinister Kid - Got some gospel roots here - I like this one. This might be my favorite song. The Go-Getter - Meh. Scorsese has made this movie I think. Doesn't make me want to visit LA. I'm Not the One - More self-mockery and deprecation. The whole, I'm broken baby, stay away from this mess idea. Unknown Brother - It was okay. I like how none of these songs overstay their welcome. Never Give You Up - I thought this was going to a moment of hope breaking through the bleakness...but no. These Days - Definitely a culminating song, which reminds me of why albums should be listened to. This song on its own is good, but as a closing track on an album, it carries more weight. Bonus Tracks - These can stay gone. The album ends a These Days.

Love Frank. He was the soundtrack of a generation and somehow the little man's story was bigger than the music. Wee Small Hours - Sweet tune, and actually heart wrenching. Musically, very minimal. Mood Indigo - Very slow start to an album. Based on the album art and the first two songs, we have a moody record for sure. The moment of jaunty piano is so starkly different. Makes you want more. Lost love is the story so far. Is Mood Indigo Depression? Glad to be Unhappy - Wow, really pouring on the isolated man who lost his dame motif. This is one sleepy album. The ironic title is clever...but I don't think he's glad to be unhappy based on the lyrics. Unless this is like Shakespeare's sonnet where he says being in love is boring and sad, but I am in love and I love being that kind of sad? I Get Along Without You Very Well - Damn! Who is this album about? Ava Gardner? She messed him up! Deep in a Dream - Now we get the reflective idealized love song. It's funny that this came after that Black Keys album - which also was full of songs about looking for love or reflecting on the result of lost love. I See Your Face Before Me - Feels like Deep in a Dream Part II, but awake. Can't We Be Friends - Not a bad track. A clever turn on the same self-loathing style of previous songs. I'm not worthy of anyone, despair. This is one mopey album. When Your Lover Has Gone - Now this is getting ridiculous. Who listened to this album?

This is an album. I have it on vinyl and it’s a cool record. Obviously the total track is just a masterpiece. Classic riff - great jamming. Kind of overstays, but the rest makes up for it. I dig the whole guitar centric rock anthem vibe. Just solid 60s rock. Reminds me of the Guess Who.

Whoa - now this is new to me. Never heard of them, never heard of this, never thought this would be something people wanted to hear. So, anyway, let's go. Autobahn - Song builds like it's trying to introduce something. I would assume that this music was experimental for its day. Reminds me of the Blue Man Group. "Repetitive electronic music" is putting it mildly. That being said, I don't hate it. Fahren, fahren, fahren auf der Autobahn. How long is this "song?" Kometenmelodie 1 - Ok - was actually not sure if I was still listening to Autobahn - that song was 22 minutes. Anyway, this is well, like an 80s David Lynch movie. Just synth and piano, and ominous buzzing. Kometenmelodie 2 - Now we're bouncing. Stark contrast to 1. Victorious is what comes to mind. Mitternacht is back to the Kometenmelodie 1 sensibilities. Kometenmelodie 2 is definitely the preferred sound so far. Morgenspaziergang - The last song is like radio waves and a flute. So we're way out there now. Way, way, way out there. Overall, this was a fun diversion into something I've never ever ever thought to listen to. Is it good? To me, not really. It's hardly listenable in terms of a cohesive thing. It's avantgarde in that it is art for sure, but not what I would consider musically appealing. My guess would be these guys are cited as influences to bands like Depeche Mode though.

Everything I know about Belle and Sebastian is from the book and movie High Fidelity. I can say, that if this is sad, bastard music, I'm a sad bastard, and I don't know what you'd call "In the Wee Small Hours," which is way more sad, bastard than this. The State I'm In - interesting rhythm. This song builds nicely, and it's lyrically interesting. I am not quite sure of the message, but it is certainly from the perspective of someone with regrets. Expectations - Another jaunty song with cryptic and and verbose lyrics. This song mentions Velvet Underground, and I did get vibes of them with the style of this music. There's a coming of age bit in here that echoes the confusion of adolescence. She's Losing it - Another ironic song in that it is a happy tone with some real tragedy in the core. Feels like a continuation or appendix to Expectations. We are also getting names now: Chelsea, Lisa You're Just a Baby - More about school and an upbeat song that feels dangerously exploitative of a younger girl. And the album artwork gives that same sense. "Kiss me on the cheek before you know what's sweet?" But then he says you will be crying in the morning and you will be married in the morning, so maybe it's more about someone who's marrying the wrong guy. Electronic Renaissance - Clearly the first think I think of is Kraftwerk with this one. The electronic sound is a stark contrast to the first three songs. An attention to dates (at least years) is a theme. Also a rave/drug vibe here. I Could Be Dreaming - after the previous song about "dropping a pill and going," this feels like a continuation. Like someone's weird drug fantasy. We get a return to the idea that there's some abusive guy causing harm to a school girl. We Rule the School - Another song with a school theme. NC is another person we get named by initials, who is not Chelsea or Lisa I guess. Then the line, You Know the World was Made for Men repeated at the end. And then, "And not us." My Wandering Days Are Over - We get Michael named, and a sense of growing up. Leaving the disco boots behind, but also innocence. They also (Belle and Sebastian) name themselves in this song. Is this the song about how Belle and Sebastian got together? I don't Love Anyone - Stream of consciousness. I don't love anyone, well maybe my sister, maybe my brother? Reminds me of that scene from the Jerk when he says he doesn't need anything...nothing...well I need this. Mary Jo - Last song, another girl's name. Very High Fidelity I guess. Lots of women just listed. She's reading the book mentioned in the first song. This was a fun album. I feel like there's more to be read between the lines, but overall, this was a solid album of theme, instrumentals, lyrics, and ambition.

Without reading about it, I could tell this was the group who accompanied Paul Simon on Graceland. Not understanding the language is both a pro and a con. On the pro side, you focus more on the rhythm, tone, and cadence. On the con side, I mean, what’s Unomathemba? It’s nonsense to me. Some tracks have English translation for the title but still - not that useful. Generally, I’m stitching together prior knowledge and outright stereotypical knowledge to get the feel for this.

Love that Motown beat. Unmistakable sound. Cloud 9 - This is way funkier than I associate with the Temptations - no big band sound. Just guitars and drums. There's an almost live sensibility to it - lead vocalist comes off the mic. I am guessing this was recorded live in studio and not produced and pieced together. I Heard it Through the Grapevine. Now, I associate this with Marvin Gaye or Gladys Knight. Was this a Temptation song first? Apparently this is a cover, but it's good. Run Away Child, Running Wild - Back to that funkier, rock sound of Cloud 9. This is a surprisingly fresh and rocking album. Not the way I think of The Temptations, and I like it. "I Want My Mama" scream is jolting and terrifying. Quite a message, and then the instrumental jam that follows is impressive! Love is a Hurtin' Thing - Much more produced with that backing horn section and strings. Soulful song though. I like it. Great album! Hey Girl - Another soulful song - simple lyrically, "Hey Girl, don't go away." It's more about mood. Probably the worst song on the album. Just meh. Why Did She Have to Leave Me - A better version of Hey Girl. More story, more vocals. Side A of this album is definitely the side to listen to. Side B is more derivative, but it's a great sound! I Need Your Lovin' - More don't leave me. I was wrong, and I'll fix it stuff. I think the well is drying up. Don't Let Him Take Your Love From Me - Interesting spin on the old familiar. The broken man who is being left is pleading with her to not let HIM take her from him. Crazy. Typical Temptations song. simple drum kit snare/closed cymbals with horns and a guitar. Decent rhythm, but this side of the album does get repetitive. I Gotta Find a Way to Get You Back - How many girls leave this guy and send him to a desperate plead to get her back. Got a little saxophone on this one though! I do like this song's vibe more than the others on this topic. Gonna Keep Tryin' Til I get Your Love - Bass line is super reminiscent of Sugar Pie Honey Bunch I can't Help Myself, which was a Four Tops song. Interesting.

It's got 90s style, but reminiscent of Smiths, Cure, New Wave stuff, and some Bowie. So Young - good teen-emo jam. Animal Nitrate - Interesting title. This one reminds me of something. I can't place it. The riff is kind of like Oasis. She's Not Dead - slower ballad. Good song - apparently about joint suicide of his aunt? Moving - Reminds me of Empire Records. Rock song. Called moving and it moves. Pantomime horse - Weird title, like one of those costumes two people wear of a horse? The Drowners - This is another great song. Awesome guitar work. I'm told this one's about a man trying seduce another man. Could be. Hopefully not incest. That word Brother is dubious. Sleeping Pills - beautiful song, very sad sound. Breakdown - Another slow one with a good build. Instrumental solo is solid. Sounds like Bowie, and also about loss. Metal Mickey - Strip club? She sells heart, meat, money shaking in time. Animal Lover - Story is apparently about singer's girlfriend, returning with scratches from being with another dude from the band? Guitar at the end sounds like Matthew Sweet. The Next Life - Damn - what a downer of a sad song to end it on. Another Bowie sound.

Van Morrison's voice is so recognizable and so powerful. His politics and issues regarding the pandemic and masks have soured me on him, but his music is excellent. I know a few songs off this record, and I love listening to them. And it Stoned Me - Great mood set here. Poetic and love the horn section and the use of piano. Timeless song. Moondance is a masterwork. Jazz, soul, rhythm, blues, it's all there. Romantic, jazzy, and all around a great song. Bass line is killer. Crazy Love - The rhythm feels like And it Stoned Me, but then it gets to that familiar hook, and it becomes its own thing. Much softer vocal than usual. And the backup singers move it to more pop than jazz. Beauty of a song. Caravan - Back to the Van sound you're used to. Makes me think of Elton John. Great mix of instruments, vocals, and a chill beat. And a nice message about togetherness. Into the Mystic - One of my all time faves by Van Morrison. I put it above Brown Eyed Girl. It's beautiful, poetic, and a great groove. This, Tupelo Honey, and Moondance are a slow jam trifecta! Also, I never heard that "foghorn" instrument before. It's layered in there. Crazy! Come Running - Horns remind me of Blues Brothers intro music. Toe tapper. These Dreams of You - Feels like a 50s bopper. Another easy listening song for sure. Brand New Day - Song of hope for sure.

I definitely know I know something by this band. They have a big hit I think. My guess is it is not on this album. One of those John Hughes songs. These guys are exactly what I thought they were. The Smiths, The Clash, The Cure, that whole vibe. The New Stone Age - Electronic Emo. Experimental Kraftwerk stuff in here for sure. Depeche Mode feel, but less polished. More punk. She's Leaving - This one starts with a Joy Division sound. Souvenir - First of the "singles" off this album. Nice song. How was that a single? It was pretty "care-free" to me. Sealand - Avant Garde to say the least here. And it's a long one. Feels slightly pretentious so far, but for its time, this might have been a true demonstration of something. 4:00 before vocals set in. I just don't feel that this song held up as the anchor it apparently was designed to be. The industrial noise part made me laugh. Like now I'm expecting animal sounds like a goat or something to mix in...and if they do - I'll pee my pants. Joan of Arc - Second single off the album. First thought is, "Why?" but it's more of a metaphorical comparison I think. This has a stronger single feel than Souvenir. Maid of Orleans - So what's with the Joan of Arc motif? The music video for this one is...something. The message being, "we're smart." We read and play chess and know things about Joan of Arc. Also, here's a cross, so keep your faith? Architecture and Morality - Title track. And as title tracks go, it's a let down. More loud, industrial noises, all building to...nothing. I know this was inspired and inspiring, but without context, it's not something I want to listen to. Georgia - This one sounds like Devo. Or Donkey Kong? Some kind of commentary on Russia and the USSR? The Beginning and the End - Honestly, the guitar was a welcomed sound. These guys got a little too self-important I think. Give me synth pop, not a lecture. Sorry. Overall, experimental, somewhat interesting, but ultimately all over the place.

Scentless Apprentice is really aggressive. It demonstrates the rebellion and angst of the grunge movement. Heart Shaped Box is quintessential Nirvana. Definitely an emotional and angry record overall. Lots to unpack. But All apologies as a closer - brilliant!

Bloody Well Right is the only song I knew. I do like the quirky style of this band. The lead vocalist is so distinct. Story songs, very experimental mixing of instruments. Easy listening tracks but never stray too far from the rock.

Folk music at its purest. Homeward Bound is an awesome song. Silent Night / 7 o’clock news still packs a distinct punch. Some filler in there that doesn’t pop but mostly a decent record.

This is another one I have on vinyl. The title track is an opus, and like Paul's Beatles songs, really plays with genre and rhythm. This album sounds like it was tons of fun to make. Like so much of it is celebration and silliness, but in the best way. I love it. I love how Paul sounds, I love the instruments, the drums, the comradery, and the tone. It's also quite brilliant with songs like Let Me Roll it. Great record.

Come All Ye - This definitely feels fresher than I expected. The lyrics are a little goofy because they're going for this Gaelic folk thing, but from the first track, I got the feeling that this could fit right in with modern day independent folk. Matty Groves ROCKS! The rest was pretty repetitive but jaunty. I am mostly impressed with their instrumentality and vibe. The songs are secondary. But Matty Groves stands out!

Sounds like where the blues were born. I like the whole of it. The riffs are classic - Mannish Boy and Bus Driver riffs have become synonymous with what the blues sound like. And there's a dive bar sensibility to this album with the "crowd" chiming in here and there. The lyrics are minimal, but convey the mood perfectly in between the numerous blues breakdowns, which are the focal point of the record. I Want to Be Loved Again - Simple, real, and another classic bluesy feeling. Jealous Hearted Man - I've now heard a lot of records about women leaving men, men not being good and begging for women to come back, etc., and it has almost never worked better than it does in this album. I Can't Be Satisfied - Just when I was about to say how the one complaint I could make about this album is that the rhythm and style at this point is starting to run together, here comes I Can't Be Satisfied. This song is a perfect placement in the album. A different style, cleaner, smaller, more technical, and awesome. What if the Blues Got Pregnant and they named the baby rock and roll - A return to the classic blues riff, but this time with more observational substance. Another classic. What a talent! Deep Down in Florida - I love how this album moves. No song overstays. I am always ready for what's next. Crosseyed Cat - A new take on the "lost by baby song, and I loved it." I mean - where does he come up with this stuff? Little Girl - Sounds like Bus Driver, but a variation. Easy to groove to, and again - simple but genuine blues. And those breakdown sections are sweet. Could have been the last track, easy. Walking Thru the Park - Interesting choice to make this the closer. It works too though! Great album!

Roots Bloody Roots - So, how is this on this list? Hilariously has a verse that sounds like the heavy metal version of Elevation by U2. Attitude - I Cut Throat - Hate Ratamahatta - This (this one is kind of funny though) Breed Apart - Album StraightHATE this album.

Leonard Cohn definitely has a reputation as a kind of Tom Waites type. I have never heard one of his albums until now. Avalanche - sounds familiar...was this in a movie? Was it covered? I like the hurt vocals and the frantic guitar. Last Year's Man - I want to figure the message here. Another album with multiple Joan of Arc references, like Orchestral Maneuvers in the Dark. Anti-war message for sure. Dress Rehearsal Rag - Not a Rag at all. This is the most lyrically minded album I think I've heard yet. Musically, we're in nomansland. But Cohen is so emphatic, deliberate, and clear. Diamonds in the Mine - So weird. Like - he's going out of his way to not be in tune or sing well. I'm sure there's a commentary here. There's this happy tune with this grating angry vocal. At this point we have established a deliberate vocal, which makes you listen, and so when you listen, it's very bleak. Making his words more emphasized and we get an ironic message that life is empty. Society is moral-less. Life Calls you By Your Name - Softer approach, reminiscent of Avalanche. Famous Blue Raincoat - What a story. This song is packed with raw emotion and imagery. So a guy tried to steal this guy's girl. Then the guy who has the girl, sends him this message? Thanks for the trouble...you took from her eyes. Great lyric. Sing Another Song, Boys and Joan of Arc. Dark, depressing end. Song about Joan of Arc's experiences burning at the stake. I'd honestly probably give it 3.5 instead of 3.

This album was shorter than I remembered. There is little to be said that hasn't been said though. A ton of hits came off this thing, most notably the title track. That song is timeless. At just 44 minutes, the only complaint is that I wish there was more. The movie is a weird one, but the music is pretty much perfect. Prince was stylistic, an influencer, and a true artist.

Never heard of these guys. A 1978 title album. The whole vibe is Bowie/Lou Reed for sure: vocals, saxophone and the like. The Whole of the Law - Slow love song, but, "whole of the law," makes me curious. He's in love. He had to contact this person, and that's the whole of the law? Another Girl Another Planet - I get a Cars vibe from these guys as well. A little reminiscent of the punk genre as well, but not fully in the punk vibe. I'm guessing the Cure was influenced by them too. This is their most Pop-accessible song for sure. Breaking Down - They bring a lot of music between the four guys. Speaking of "breaking down," I love that little Doors-esque breakdown in the middle. Good stuff. City of Fun - Good song. No real feeling about overall. The Beast - Feels like Donovan. Definitely about drugs. Some Beatles influence and Oasis definitely knew who these guys were. Creature of Doom and It's the Truth are kind of nothing songs. The music continues to be strong, but the songs don't really go anywhere at this point in the album. Language Problem - There's a theme of the line "talk to you," all over this album. Language and talking. Must be deliberate. No Peace for the Wicked - Complicated love song. Immortal Story - Oooh - got a Led Zepplin vibe in the opening. But the lyrics and vocals take away from it. These guys have a real musical talent no doubt. I definitely see these guys as very, very influential overall, and yet completely unknown to me. And what a finish!

Not my cup of tea. I get that they were pioneers of this, and if I were more knowledgeable about this music, maybe I’d see the brilliance.

I don't know if I appreciated this album enough when it debuted. I went through a White Stripes phase, and I bought all their albums. This one, however, I listened to and enjoyed, but now I really appreciate the entirety of it. Meg and Jack create an entire genre of music through drums, guitar, and production. The influences of 90s grunge, 70s funk, Nashville, and their own spin on things is just so refreshing. Not one dud on this album. A truly great record.

Like the White Stripes, I definitely did not give this album its due respect when it came out. I had bias against Courtney Love pretty much my entire adolescence as she always seemed like bad news. Even when she broke through as an actress, I just had a bad sense of her. This album actually is as solid of an alternative rock record as anything else that arrived in the 90s including Smashing Pumpkins, Nirvana, or Green Day. There's a tragic personal depth to the album beyond the enjoyable riffs and rhythms. I can see how these relatable themes could be very valuable to coming of age audiences, especially young women.

Ah, I was worried I was in for another techno garbage album. I know the first song, and it's a relief that they clearly have the skills of those bands like Boards of Canada, but know how to make a song too. Connected is a great song. Good beat, strong production. Love it. I'm pleased the album doesn't fall off after that stellar first track. Ground Level has the feel of 70s funk/soul mixed with this new techno jazz sound. That being said, the lyrics of these songs so far have not been my focus. I like the vibe, and have no clue really what, if any, message there is to these songs. I do sense an anti-war sentiment at the start of Everything, but then when the rap starts, it makes no sense. Overall, this was a surprisingly fun and enjoyable album.

I am looking forward to this. I have NEVER listend to an entire KISS album. I have seen them in concert, and I have heard many of their songs, but an actual album will be interesting. I also want to read up on them because, like how the HELL did a band like this even come to be? Detroit Rock City - Definitely heard this one. Classic rock sound all over. Big, big, big rock song. The album is as kitchy as they band. I mean, they love themselves so much. They embody the rockstar mentality on every song. Every song is so full of ego, it's insane. Beth is a clear outlier. A piano ballad amongst just boys club debaucherously male fantasy songs. Anyway, it's a crisp, clear rock album that does NOT overstay its welcome. 10 songs, 3 minutes a piece and we're out.

No way in any possible universe that Kacey Musgraves didn't craft her entire career around Emmylou Harris. We've got my first country music here. I am generally not a fan. Bluebird Wine was a decent little toe-tapper though. I can see why it's a hit! She follows up the fast song with a very slow ballad, "Too Far Gone," which has Nelson/Cline "Crazy" vibes. Also has a Linda Ronstadt/Eagles sound. I like it. So I looked and Linda Ronstadt is listed as backing vocals on this album - so there you go! If I Could Only Win Your Love is a cover it seems. Pretty standard, but musically decent and good harmony with the male backup singer. Again - sounds like early Eagles. Boulder to Birmingham showcases Harris's vocals. She's a talented singer. A lot of heart and range in her voice. Before Believing is a sad song. She's really taken the tempo down at this point. There's a Joni Mitchell vibe here. Easy listening to the n'th degree. Bottle Let Me Down - All the up-tempo songs are drinking songs. What's that all about? Country music can be so predictable, shallow, and silly. Sleepless Nights: This is an album about an alcoholic whom in between fits of drinking is sad about stuff, so she drinks again. Pretty tragic! Coat of Many Colors - Here's a story song - very sweet song about love, family, and of course the cruelty of general mankind. Powerful song. "One is only poor, if you choose to be." Heartbreaking. Best song so far. For No One - Beatles cover. I heard it right off the bat and thought it was just a similar lyric and sound, but upon closer listening, it's a cover. Definitely a beautiful rendition. Overall, if I'm going to listen to country music, this is the kind I'll listen to. I'm not sure how to categorize it, but the Nashvillian, Dolly Parton/Kasey Musgraves type of stuff is impressive at times.

Haunting vocals. The album art and sound remind evoke the Evanescent style from the mid 2000s. Cocteau Twins were probably an influence. I'd say the guitar work is ahead of its time for 1984. It feels like its ushering in what will be the alternative wave of the 90s. Like Autobahn or Ladysmith Black Mombozo, not knowing the language forces me to focus more on the music and rhythms. On the whole, this is not really a negative for this album. The first two songs Ivo and Lorelei are actually really great, the former being the better. Lorelei has a sense of 80s that is not bad but very time stamped with those synths and bells. I do like how the female vocals mix. I think The Cranberries were probably also influenced by this band. Persephone reminds me of of a funky blues rock song like Led Zepplin maybe? As the album goes on, I began to wish I understood the lyrics, so it's not musically dramatic or diverse enough to carry me all the way through. Otterley gives me David Lynch vibes though, so I wonder if he's a fan? This would have pre-dated Twin Peaks and Angelo Badalamenti definitely scores similarly to this song. I'm going to give this 3 stars, but for something like this, 3 stars is pretty impressive to get from me.

By the track listing, it would seem like this is a concept album or something. This is another band I've never heard of, and it's becoming abundantly clear that the acclaimed and inspirational albums in rock are not those that I generally know about. Let's give it a try. Who Do You Love - Ok - we have a rock record here. The name and the album artwork led to believe I was in for more rock-a-billy stuff. When the vocals come in I hear Jim Morrison style singing for sure. This is 1969, so they were contemporaries. When/Where do you Love - Jamming songs. Lots of avante-garde guitar. It's all liver performance, so it seems to be performance art equal to typical album music if not moreso. Side 2 is kind of the same thing. One traditional rock song followed by some experimental jamming. Like Grateful Dead meets Jethro Tull and Iron Butterfly. There's talent with this band, but it doesn't really lend itself to album listening to me.

My first reaction is, "What the hell is this?" 2 songs in, I'm still thinking that, but according to the album title it's "Tango" music, so now I know what the hell this is. But is there a point to listening to this if you're not dancing or watching people dance to it? It's fine. I mean the beats are fine. It's also another world language album, and I've already made myself clear that when albums come up like this, I am forced to focus more on the music, and these songs are quite rhythmic and repetitive likely for dancing purposes. I know a little Spanish, so I can make out some of the lyrics, but overall. I'm underwhelmed. This is basically background music to me.

Ok, there's a lot going on here. Definitely reminds me of those old Hollywood escapist movies. The ones The Purple Rose of Cairo celebrates. This is definitely good music, but like so many of these types of albums just don't work because this is music you'd probably go see live, not listen to in an album. What it is, is the music that used to be piped through Starbucks all day in all their locations before they went pop music. That's exactly what this is! In comparison to the Gotan Project though, this is far more enjoyable, so relatively speaking it's a 2.5/5, but I'll give it a 3.

I like the Byrds sound. I think there were some major egos in this band. Their lyrics are preachy and self-important, but I do think they are a solid band. They have that harmony nailed down, and that is something special for sure.

I couldn't believe how long this was, so I had to look it up. This was his first double album, and he played all the instruments and did all the vocals himself as well as produced it. Pretty damn amazing. Definitely know Todd Rundgren, but never knew he was such an intrumentalist. The first two songs are decent. Wolfman Jack caught my ear. There's a motown vibe, but I can't get over the fact that he wrote an ode to a damn DJ. You can see how the business has changed. The idea that pandering to an DJ is just completely acceptable makes my head spin. Sure you want to get played on the radio, but come on, man! He also covers "Money, That's What I want," so... Cold Morning Light reminds me of the Eagles. I get the sense that these LA artists of the early 70s really tapped into something that all manifested into a "sound." The Intro is brilliant. How often do you hear the artist talk to you like this? And for it to be about poor producing is even better. I would like to see more records have a track like that. The Night the Carousel Burned down definitely has that relatable feeling of loss. Interesting, sad and eerie. Saving Grace has a weird opening mix. Otherwise, a sing-songy song. Feels like a George Harrison song, which is funny since Rundgren apparently things the Beatles are over-rated. This album is an odd listen. It kind of goes all over. A love song about Marlene followed by the song of a Viking? Marlene was a beauty though, so I get writing a song about her! A few solid rock songs in the middle of this record. He can certainly rock on the guitar when he goes after it. I like Dust in the Wind. Has an Elton John/Billy Joel quality. Piss Aaron - it is stupid, but it's cool. Hello it's Me - Everyone knows this one. I didn't realize it had that little count down start. He's really working out a constructivist approach to this album. Slut is also Elton John-esque. The Bitch is Back kind of vibe.

I remember being scared of Alice in Chains when I was a kid, and having listened to it now, I was right to be scared. This is dark stuff, but I can appreciate them so much more now. Drugs suck. Them Bones is a perfect opening track. Really great work on that song. Sets the tone, awesome licks and the chorus is solid. Dam the River is an angry song. Then Rain When I Die is one bummer of a song. It could be taken to mean that he'll die right be fore the "rain" that could have saved him. Or it could just grunge angst about death and rain and darkness. As I read, I see that the two main songwriters, Jerry and Layne had a tumultuous relationship to say the least and Layne tended to write the darker, sadder, drug related stuff, and Jerry wrote about girls. Also, a girl named Demri apparently had quite a grip on Layne in some way. Down in a Hole sounds like a Layne song, and it's excellent. Great rock song that has elements of grunge, ballad, and alternative styles. As I write this I discovered I am wrong and Jerry wrote this about a girl named Courtney, but Layne singing it certainly fits his persona. Oof, Sickman is a drug song. Jesus, to be so aware of your addiction and express these thoughts only to inevitably fall victim to them is just so tragic. This song is so segmented; I think the idea here is to mirror the manic wildness of the high and then follow it with the self-loathing low afterwards. The video for "Rooster" tells you everything you need to know. Very important song for the band, and one that makes you think about war, parents, life, everything. Junkhead - another drug song, but a totally different take than Sickman. Sickman can be seen as a metaphorical journey, but Junkhead is on one hand an honest account of a user and on another an admittance of helplessness. Either way, it's dark as hell. What I did just read though makes this album amazing. A theory is that Junkhead, Dirt, God Smack, Iron Glad, Hate to Feel, and Would? are all an interconnected mini-concept album on the cycle of drugs. Listening to it that way made for a hell of a trip, and if it is indeed the point of this final suite, it makes the album far more epic.

The funny thing about The Faces is that I do not like Rod Stewart...as a solo artist. Most if not all of his solo stuff just rubs me the wrong way. However, I like everything I've ever heard from the Faces. That, to me, shows the power of a band. A band is not its front man. He's the voice of the band, but all the components elevate the music to something great. This is also the vibe and fun I needed after Alice in Chains. "Memphis" is an example of a worthwhile cover. They give homage to one of their influences and role models, but they also make the song their own. Ronnie Wood's Rolling Stones sound is on full display on "Too Bad." I'm so close to a 5/5 on this one. All comes down to the last track. "That's All You Need" is like Rolling Stones meets Van Halen, and that's a good thing. This is a solid album worth regular listening, and I will definitely seek out live filmed performances of these songs. They'd be fun to watch.

What the hell was that? The 70s must have been fun. The hilarious conversations I've had about this album will not permit me to give it 1-star, so I'll give it 2.

Steely Dan has a strange sound. I mean, on one hand, it's a funk, soul mix like Doobie Brothers or even Hall and Oates. But there's a Disco sense in it too that turns me off. The lyrics are a little more substantial than I expected, which is cool. The horns remind me of Chicago. Black Cow is quite a production. Aja is also pretty layered. Not sure if it's about a girl or just some other cultural observation The album cover seems to lean towards the former. This band always gives me a sense of a dark room with red lights, not a club or and not really comfortable. I just don't see them as "open air, and free. They seem confined I guess. Deacon Blues is a song I always kind of liked. It just sounds good. Definitely a story to Deacon Blues - which I admire as well. Peg is an uncharacteristically brief song for this album. Another log song but not ordinary. Home at Last is more of a return to Aja after Peg. This time its an ode to life at sea it seems, but with another solid groove that propels the song. I got the News - the title makes me think of A Day in the Life by the Beatles, but this appears to have nothing to do with that. Some great guitar work, really quirky jazz beats and is that Michael McDonald singing back up? Josie - Solid jam again. This was better than expected. I think I'd listen to this again for sure.

Hip hop with a message, most definitely. I'm instantly a fan. Hip hop is the only genre of protest anymore. This is from 1992, but even then - mainstream music has little to no message, but that is not the case with music like this. The lyrics here are a lot to take in. They are critical, but not afraid to be self-critical. There are injustices and cultural/social problems that affect all people. Its a classist society that created a racist society, so he takes aim at the racism by bringing up the elites control the narrative through money, sports, media, television, etc. Language of Violence is going to be my go-to as a father of young kids (obviously not sharing the full song with them for years to come). Dehumanizing the victim makes things simpler. Mob mentality, all of it. Really thoughtful here and terribly tragic. This album was a masterpiece. There are two tracks not listed on the YouTube playlist, a "cover" of Dead Kennedy's California Uber Alles and Water Pistol Man that I suggest be sought out if you listen to this album.

This is one of the best albums I've ever heard. I'll never forget the first time I listened to it. A song or two were released prior to Bowie's death, but when the album came out, Bowie had just died or died within days of it. The album is as perfect a mix of who Bowie is than any record I've heard from him. Brilliant musical pieces with depth and lyrics that haunt me to this day. A beautiful, tragic, and complete album that delivers beyond the music and lyrics. I can't say enough about this album.

The tones of the opening track remind me of the indie folk movement that has really taken off in the past decade or so like Tom Petty's solo stuff, The Lumineers, Lord Huron, and Head and the Heart. The album hits a samey-samely level around track 8/9, but this is a nice mellow listen and a good background listen.

George Michael had a great voice. These songs are the epitome of pop music. Just pure ear candy and accessible melody. It's an album that screams Prom (Aside for "I Want Your Sex," although in all honesty, that's fair game too).

Thank you album generator. I needed this today. Bowie is one of my all time-favorites. Having recently reviewed Blackstar, it's great to get a chance to go back to one of his earlier records. I have not listened to many Bowie albums in their entirety. I've listened to some live albums and over time I've heard entire albums in pieces, but not all in one sitting. I like that he reinvents himself from project to project. The "Thin White Duke" moniker is so cool - I wonder if he proclaimed himself that or if it was given to him. Either way, the fact that he incorporates it in his music is great. I think Station to Station as a song is a really fun "ride," starting with the sound mixing and then just the musical ride straddling genres. Golden Years is such a great song!

First track is like a female Cure. I'm digging it! This thing moves along nicely. Tight little moody, alt-rock album. PJ Harvey is like an edgier Alanis Morrissette. It's a very complete album. Lots of feminine power in here. There is also a jazz component to her music, especially with Plants and Rags. At the end, there does feel like a thread runs through this album, but I'm not quite sure what it is. There are sevearl songs named after people, song titles are all very simple and short, some instrumentation is similar between tracks, but maybe it's more to create mood. It does get a little redundant, as many moody albums do, and while not totally memorable, it was a bit of a surprising album, and I have a better idea of who PJ Harvey is now.

I mean...I'm starting to think this album generator gets stuck in a groove sometimes. Here's PJ Harvey, a moody alternative 90s British female artist, and here's Beth Orton a moody alternative 90s British female artist. Tomorrow, I'm looking forward to Adele, perhaps the Spice Girls? Anyway, this is more poppy than PJ Harvey for sure. Reminds me of Jewel. There's a "Who Will Save Your Soul" sound to her. And some Sarah McLaughlin in there too.

Got a Pat Benatar meets the Ramones vibe. Never heard of this band, but they can rock! This is definitely punk, but a little more refined. Ramones is really a good comparison. I also love just the fast-rock 2-minute jam and done tracks. Adult Books sounds so much like a Talking Heads song, I have to know if they collaborated or were just fans. Boom: from John Doe: "But he cites his live introduction to punk rock, a gig by the Talking Heads early in their career, which took place at New York City’s CBGB, appropriately enough, as a true life-changing event. “Their music was an elixir,” he recalls. “It filled the space and affected everybody who was there. The band played Psycho Killer, and at the end, David Byrne took off his guitar and just walked out the door. I thought to myself, This could be his last performance." Clearly an influence there. This was pretty good. They carved out a style and it mostly works. I don't know how memorable it was, but I think I would listen to some of this again, and i can see how it can get its hooks into you. Definitely an album about having fun - no bummers in here.

Yeah, this was explosive when it came out. I was in college, and everyone was obsessed with Eminem and this album. Being from Michigan, it was even more of an impact. There's no denying the impact and influence Eminem has had since this debut. The speed of his verses and rhymes are crazy, and he also put humor up front in his persona. The Eminem moniker allows him to skewer society in horrendous and crazy ways, but the satire is clear (regardless of all the critics).

There's a distorted sound to the drums on the first track. I'm not sure if its intentional or my poor equipment. Anyway, I have heard of the Flaming Lips, but am not very familiar. They lead vocals on Race for the Prize sounds like Neil Young. The more I read about these guys the more I like them. They did a concert during the pandemic in bubbles and the audience was in bubbles too. Just brilliant! Do You Realize is a song I do know - but it's not on this album. That must be how I know them. This album has made me a fan though. Great inclusion on this list. There's so much happening with these songs. Music, lyrics, experimental stuff all mixed up. I like the whole weirdness of it. As this album goes, I like it more and more. I never would have listened to this or gave it much of a thought. Moreover, if I did, I doubt I'd listen to the full album, but this is a complete album where each song has something great about it. There's a Beatles psychedelic vibe to many of the songs, which I also like, especially What is the Light, A Spoonful Weighs a Ton ,even Race for the Prize. Spiderbite song was really good too. Call it a 4.5

This band sounds a little like The White Stripes, especially Up Against the Wall and Spit on it. However, the songs don't pop like the Stripes's songs do. Spike Island is a nice change from the heavy guitar, metal sound. I do like alternative rock, and I think they have a polished sound for sure. The lyrics are intense and the singer clearly has some issues he works out in these songs regarding his opinion of himself and falling in love. At times this album also reminds me of the 90s too with STP or Alice in Chains too, but I'm not won over.

This is a musician! Guy can play. He can sing. He has a complete mastery from his appearance on the scene for what it is to be Stevie Wonder. While I know many other Stevie songs that I like more than some that are on this album, you can't deny his talent and ability to put together an album. The soul and funk is on full display in songs like Maybe Your Baby and Superstition, but also beautiful love songs that are catchy and understated are here like You and I and Sunshine of my Life.

I love this genre. That 80s UK New Wave. While there are lots of bands that fit this genre, ironically this album sounds more like The Cars, an American band! Perfect Skin is a poppy, fun, introduction to the album. Speedboat is a great groove. I can see this song being a real fun part of a live show towards the end of the show or just a break from an upbeat set in the middle! I see Lloyd Cole cites Booker T and MGs as an influence, and I completely see that influence in songs like Speedboat and .

I'll admit, knowing what I do about Wilco, I am not excited to see them here. In my mind they're a jam-band like Phish who play on forever. I like an album that moves rather than lingers. I see 19 tracks, and I'm worried. But at least I get the weekend to get through it. This is a lot of Wilco. I wager too much Wilco. But their full style is on display here. A little rock, a little pop, a little folk, a little country. Just all of it. But I think I'd prefer the less is more approach.

This is a pretty fun album. I knew Stop Your Sobbing, but none of the other ones. Chrissie Hynde is amazing. Such a character. She really brings it. The songs are all really fun to listen to. This is one of those bands where they have a sound all their own. It's just so distinct. I enjoyed it!

Morrissey is the sound of a generation. His "growl" in the first two songs draws me in. I'm fascinated by it! Girlfriend in a Coma is a weird song. There must be a story there. Overall, this album gives me a good sense of this band. Vocal acrobatics, dark-ironic lyrics, crisp guitar paired with sonorous synths. It's The Smiths, take it or leave it. They pioneered a vibe and attitude. Their songs are about stuff, so that's great too. 3.5 stars.

So wait...is this Oasis? No? This is not Oasis? This is Oasis, right? Ok, with that out of the way, it's actually really good. I love the guitar riffs. These are really great pop/rock songs. I mean if it was Oasis...and I'm still not sure it's not...this would be one of the good Oasis records.

Sex Beat is pure punk, but Preaching the Blues is solid blues. Preaching the Blues feels very current even today, ironically it even sounds commercial! It's a love letter to punk but also a pioneer album for punk. 80s punk need look no further than this album. I am not too well versed in punk, but this is probably the best punk album I have heard. Songs are great, ranging for life, drugs, love, lust, music, freedom, all the punk tropes! Cool Drink of Water is a blast! Just bayou, haunted, strange, bluesy punk.

If you're looking for an easy intro to hip-hop, look no further than Bizarre Ride II from Pharcyde. This album represents the perfect transitional record between old school and new hip-hop. Eminem had to be looking at this thinking, that's my roadmap to success. Oh Shit is amazing! Definitely glad to have heard that one! I'll be referencing it for years! Obviously some of this album is meant to examine both humor but also racial inequality in the style of hip hop, which both wants to exclude and include me as a white man, who clearly can NOT sing along. But it's their humor that keeps everyone on board and it's brilliant to make a record like this. The beats are amazing too. There's a Jazz under current and references to Thelonious Monk. There's some real weird stuff in here, but it's captivating. At the end of the day, it's innovative, compelling, funny, and like I said, a great intro to the genre!

Another great one I actually have on vinyl. Never saw the play or the film, but I have loved the album. I think that's pretty incredible for a rock opera in that it really stands alone and it stands the test of time. Daltery and Townsend are a legendary duo. I went through a Who phase. They have a ton a of great songs, but when it comes to an album, I come back to Tommy every time. Who's Next and Quadrophenia are crazy good though.

Got a vibe of The Zombies, House of the Rising Sun here. That being said, it's nowhere near that good. First track is musical discomfort. There's just a vibrant frenzy all over it. Not a bad thing, but I'm not really feeling it. Orange Skies is a total time capsule. Jazz flute, psychedelic vocals, weird song. Again, I'm not feeling it. Que Vida is jaunty. It feels like it's making fun of itself though. A this point - I'm feeling this album did not stand the test of time, but it must be influential in its own way. I see a lot of comparisons between Love and The Doors. I guess I see it...but The Doors is fully realized music. Yes, there are organs, horns, and psychedelia, but it just doesn't work. Seven and Seven Is is interesting. The rhythm section is solid. I like how it "blows up" at the end into something else. I'd have liked to see where that musical interlude goes. The Castle is the best song on the album. I'm not sure where Love went after this, and if they pursued more ballad, guitar driven baroque songs, but that's where they are strongest. She Comes in Colors and Revelation are bluesy and decent. Revelation really is the crux of the album, but I'm not really sure if this album works in the first place, and then to end it with this opus is a little unusual.

This is different. Like a darker Nirvana maybe. Repetitive though and grading at times - especially this barbaric howl from the singer. Super emo - just "wish I could die, blah blah." Religion was solid - I wish these ideas permeated society better. Not a song, but a scathing perfect criticism of religion and how it's been perverted and leveraged to push hypocritical societal and cultural agendas. Annalisa is more of a song. The punk comes through with the solid drums, and primal screams. Decent track.

This is just not something I was in the mood for. I understand that this inspired a mood or tone for music and film scoring, but I rarely am in the place where I can or would want to listen to a film score. It's all fine. Not difficult to listen to but also not much more than background.

Ice Cube is a talent. His career is a marvel. He's part of NWA and also a children's movie icon. He can do it all. The misogamy in this genre does not age well, not that it was ok then. What Cube does though is create a persona that allows him to dip in and out of otherwise increasingly wicked ideas and statements. Performance is the key. And he is able to build up commentary on race, society, culture, and the industry. This is an incredible debut for a Ice Cube as well. His role in NWA was huge and then he was able to jump out and put this together.

This is good. Reminds me of Badly Drawn Boy or even Bright Eyes. This is a sound that I think other singers definitely emulated. These songs are beautiful, catchy, and thoughtful. I never knew Elliott Smith and I am saddened by his tragic ending. I will certainly seek out more by this artist and it's a shame he's not here to perform live anymore.

Funky and fun. Their influence is apparent from the first second of the first track. Greatest Dancer is sampled in Will Smith's Gittin' Jiggy Wit' It, and the rest is history. The Disco genre is tricky. It blew up and then died a miserable death, but what Sister Sledge does is not lean too far into it. The Bee Gees did a similar thing, but maybe occasionally let the disco define them, which hurt them. This stands a little more apart. The title track is definitely the crown Jewell, and that song is timeless.

Good album. Really build momentum. I think the sweet spot is Monkeys, Crocodiles, and Rescue. Band sounds good. Good harmonies, crisp vocals, and cohesive new wave sound.

Just listened to the 50th anniversary of this record. Good lord is it good. Every song is a gem. The volitility of the personnel in this band is completely quelled when they are able to make the music they all love to make together. These songs are beautiful, heartfelt, and purely collaborative. One can listen and reflect and weep both out of sadness and happiness at the same time. A masterpiece.

I have heard this phrase associated with Prince, but definitely missed out on this album. It's pretty expansive! Basically, this is quintacential Prince. You have good stuff (Adore), weird stuff (If I was Your Girlfriend), creepy stuff (Hot Thing!), and everything in between.

She embodied the 80s like no other female artist. She has edge, memorable lyrics, an amazing look, and just the whole package. Full-tilt entertainer. Albums like this and Faith by George Michael are in the uber-commercial category, but how can you criticize an artist that innovated and then gave the public exactly what they wanted. This album is hit after hit! You even have Prince on this thing!

Got a Nirvana sound for sure. I like their whole vibe. They seem like a fun band with a great sense of reality around them. They also sound a little like Pearl Jam. That Seattle Grunge scene was remarkable.

First of all, the video for Frontline is worth the price of admission right there. I forget about videos nowadays, but there are still good ones. This one is unique and of course accompanied with a cool song. Ok, this is the most modern album I've been given yet. I've never heard of Kelela, and I am pleasantly surprised by the whole thing. Black, solo female R&B is not usually my go-to music genre, but it's mostly because I just don't have exposure. I think Kelela is a force! Her beats are so complex, especially with headphones. She knows how beautiful she is, and she exploits it in the dreamy, fantasy sensibility she sells with her lyrics, but her music is timeless. There is a tremendous mix of instrumentation going on. On one hand, there's that mellow Mariah Carey sound that calls back to the 90s/early 2000s, but then she layers on so much more that makes it sound like new music but also classic. Pretty hard to tail. Waitin' is a song that embodies what I'm saying perfeclty. Right now, she is focused on that youth, attraction, love, breakups, identity, which is as relatable as things can get. I'm excited to see where her style goes as she grows. There's a bit of a lull in the middle of the album when you hit Enough, Jupiter, and Better. But there's some really cool sounds in those sounds too and some optimism that is nice to hear about how life has beauty everywhere. Things get back on track with LMK though. I feel cooler having listened to her.

This album is essential. Changes, Queen Bitch, Life on Mars, I could go on and on. Bowie was a force! Oh Those Pretty Things is such a great song too. I love this album. I love Bowie, and I marvel at his genius.

Can't deny that voice. Her story is inspirational, and Coat of Many Colors is touching, beautiful, empowering, and telling about society. A very wise song. Obvioulsy a little preachy here and there, but a comforting album that is beautiful, human, and wholesome.

All I know of Joy Division is Love will Tear Us Apart Again from Donnie Darko and I was surprised to find that they weren't The Cure. Now, having heard an entire album of theirs, I don't get that Cure vibe, but I am still confused by them. The music feels really well produced, and the vocals sound like the singer is in another room and doesn't necessarily have any idea what the music is? Was this album an experiment where a bad took a singer's recording and played to his vocals? There's definitely a lot of mood and emotion in here. Many bands that came after followed in their footsteps, and for my money improved the genre.

Well, duh. This is the best record by The Beatles. Sgt. Peppers and Abbey Road come in a close 2nd/3rd though. That being said, the White Album is amazing. So many incredible tracks and a complete effort by all four members. Revolution 9 still confuses me, but hey - Yoko and experimental this or that. Whatever. It doesn't matter. Best Beatles album hands down, and possibly #1 album on this list. 6 stars!

I enjoyed the raw, alternative rock on this album. Some great guitar work, a very charismatic lead singer, and some bitter feelings about relationships are all over this thing. He's got a Jim Morrison thing going in "Fountain and Fairfax," and I think that he must have been influenced by The Doors. I admit I got kind of lost in this one. There's substance, cool riffs, and passion.

Great singer/songwriter vibe. She reminds me of Carole King. Songs like "Sweet Blindness" are very indicative of their time. Horns, tambourine, vocalized "ba ba ba bas," like classic Dylan. These songs are well produced. I like that she has something to say. She's definitely a budding activist and she uses her music to entertain but also inform. She's as confident as they come, willing to intimately feature her voice with minimal accompaniment, which is raw, bluesy, and beautiful. I had heard Eli's Comin' and I always attributed it to some 70s band (3 Dog Night?), but I guess it was Laura Nyro. Good song! Stoned Soul Picnic is awesome! I am a Laura Nyro fan - she's an inspiration and a talent.

I am really loving the chance to visit these Bowie albums in their entirety. I can't believe how great they are. I love so many of his songs, but these albums are spectacular. This one might have the best "closing act" I've ever heard: Ziggy into Suffragette City and then finishes with Rock n Roll Suicide. Just awesome!

Roundabout is one of the best songs ever made. The next four tracks pale in comparison. Long Distance Runaround is decent. This band is great with those classical guitar riffs. I would rather listen to Roundabout on repeat than much else from this album, but that song alone gives this album 3 stars.

Don't get it. Don't like it. How are there two albums by Sepultura that I'm supposed to hear before I die? That' seems excessive. Did Sepultura create this list?

This is a good, "small sound" album. It sounds minimalist and unproduced. Waterloo Sunset was in Rushmore, and I do really like that song. The Kinks are reminiscent of the silly side of The Who or The Beatles. I know there are pure, all-in fans for The Kinks, and I regret I am not one of them, but I enjoy them.

I like her. Has a Guy Ritchie vibe. She could easily score any Ritchie or Soderburgh movie. Selfish is a beauty of a track. Wounds sounds like an Eminem track. VENOM! So much being said there. I need to revisit that one. This was a true project. Tons of work, talent, hooks, beats, all of it. If you're going to make a hip hop record today, this is required listening.

This is a fun pop record. I did not realize T. Rex had been around since1971 let alone the 1960s! Mambo Sun is a very subtle intro to the album. But a fun vibe is created with it and the album does take a mellow tone in its early tracks. Bang a Gong is still great. I see why people like these guys. There's a real Bowie sound too. I like it all.

Finally! I was going to sue this whole generator if a Talking Heads album didn't come up on here. They are one of the best bands in the history of music. It's a delight to hear the whole album where they debuted. David Byrne is a global treasure. The whole band deserves all the accolades, but Byrne owns the vision.

I can't believe all these songs came from one album! All Through the Night is so good. This is a great pop record. No filler - just good songs to sing and dance to.

The instruments are so crisp. I was expecting something that sounded a lot more dated. Now - there is a "Muzak" quality to it here and there, but overall - it's a jaunty little album. As I've said before, these world language albums are tricky because I focus much more on the sound than the lyrics due to my not understanding the native language. That can be a detractor since, as I said - while crisp, some of it sounds like it would play in a mall or elevator. Rebento had a Stevie Wonder meets Elton John thing going on, which I liked! Album really kicks in with the O Medo De Amar track that sounds like Steely Dan came in and backed it musically! This is probably one of my favorite non-English albums so far!

I remember what a big deal this one was. I think they sold it online and anyone could pay whatever amount they wanted to pay for it. Everyone lost their shit over it too, but I never really thought it was that great. I still don't. OK Computer is the quintessential Radiohead album as far as I'm concerned. This is fine, and Reckoner and Jigsaw Falling into Place are great. And I know they have a huge following and they're geniuses at melding instruments with tech music, but it's still a "meh" for me.

First of all New Order runs circles around Joy Division, and they give The Smiths a run for their money in terms of moody Brit new wave. This is a solid record with good beats, melodic songs, and a good dance rock album. Definitely not my genre of choice, but I like the sound of this one!

Oh boy. So Dylan. I appreciate his poetry and his gentle folk style. I like a lot of Dylan. I am not an obsessive though. I don't crave the bootleg sessions. I don't seek out little known, previously unreleased recordings. I didn't faint when he went electric. I know many who claim he can do no wrong. I beg to differ, but this concert is pretty good.

What a launchpad for Snoop Dogg. It's amazing how present he is on this. It's hard to believe he wasn't already a famous and known entity. Dre knows talent. He also knows how to produce an album. There's so much work here. He attacks his enemies, proclaims his greatness, breaks new talent, and gets creative lyrically. Even his material that has not aged well can't be dismissed due to its cleverness.

British punk. I've heard this genre several times now, and these guys do it pretty well. I like the new wave mixed in and the unusual instrument choices here and there. Better than Joy Division, less so than New Order. Not Great Men reminds me of a Talking Heads type sound, which I think they accomplish.

There have been times where this album moves into my number 1 Beatles album, but the White Album usually wins out. This thing is another perfect album on the list. What else is there to say about this album. Just awesome songwriting, musicianship, performances, and creativity. I've heard it tons of times all the way through, but I never tire of it. Even the album cover is magical.

I didn't know I knew who this was. I definitely have heard Running up that Hill. I like how quirky this one is. She marches to the beat of her own drum, and it's great that she explores her own questions and desires in this album. There is a lot of family, mother, father stuff below the surface here. This album grows on you.

This is a perfect concert and to me, the BEST Nirvana album. It spans their entire skillset, shows their versatility, and cements them as one of the best bands of all time.

Hard core metal. The singer sounds better than the Sepultura guy at least. This is ok. Lots of talent in there - drummer is insane. Guitar is driving everything. NFL made me laugh. Some songs are just derivative, like Skeleton in the closet. I'm giving it 2 stars, but that's like 5 stars for this genre.

I'm not sure what this is really. Like electronic Amy Grant? I liked Spying Glass and Karmacoma. This album sort of reminded me of Portishead as well, which is a band I do like. I think this type of music is best suited for background music and even music to focus attention on tasks. It is mostly surface level to me, which is not a bad thing, but not something I can fully engage with.

Yes! I know Neil Young can be polarizing, but I'm firmly in the camp that he's a musical pioneer and crazy genius. He's one of the few rockers left who always did and still continues to sing about something. The music with a message can be preachy, but not Young. He's brilliant at being inspired and translating that inspiration to us in a song. This record has a much lighter, sweeter, comfortable vibe than some of Young's other work, especially that with CSN, but I loved it.

When I was in Middle School, Ozzy was legend. All the stories about biting bats heads off on stage, and his weird performance style were the main attraction. His music I feel took a backseat in the conversations because we were kids and didn't really understand. Now, I am happy to revisit this album. War Pigs is incredible. What a song. The guitar riffs are so awesome, Ozzy sounds great. Paranoid is a classic. Again, it shreds, it rocks, and it is iconic. And Iron Man, of course more iconic riffs and awesome rocking. What an album! And the whole thing clocks in at 42 minutes. Beautiful.

Jazz records are still eluding me. I understand why one would want to go see jazz performed, but I'm not sure why people want to sit and listen to jazz records. I've heard of Thelonious Monk enough to know he's gospel to the jazz world. This is another album I am sure I heard on repeat in a Starbucks in the early 2000s when I was studying for college exams. It's all good. I mean, nothing to hate here - just background music for sure. Also reminds me of Ryan Gosling's character in La La Land.

I didn't realize the impact Bobby Womack had. I saw the movie, One Night in Miami and I learned about the influence he had on Sam Cooke and the crazy story about his personal life. Womack married Sam Cooke's widow, but then his brother married Cooke's daughter! Then Womack carried out an affair with the daughter while married to the widow! This led to Womack being shot at by Cooke's widow and to their divorce, but the daughter married his brother and worked with Womack on a ton of records! Crazy. Anyway, this is a great album. First Bobby Womack album I've ever listened to. I knew Across 110th Street, which is amazing, but this dude is great! So much soul in his voice. I'll admit, this album sounds more dated than his earlier stuff. The 80s are all over this thing, but he sounds great, and it reminds me a lot of Prince at times.

Victoria is by far my favorite Kinks song that I've heard thus far. The last Kinks album that came up left me wondering what the hell the big deal is with this band. I knew people loved them, but I just didn't get it, except for maybe 'Nothin in the world can stop me worryin bout that girl' or 'Waterloo Sunset," but this album sounds much more produced, cohesive, and interesting. There are touches of the Who, the Beatles, and just their own thing. 3.4/5, rounds down to a 3.

One of my favorite albums of all time. I've seen Oasis live twice, thank goodness before they broke up. I know it's suggested that they're derivative of the Beatles, but I think they are much, much more influential and talented than that. They have a sound their own, a masterful attitude of rock and roll, and the ability to craft songs that play in clubs and arenas. Their work is suggestive of the Beatles, but in a commemorative way. This album never lets up, either. It is one of the perfect albums of the 90s and all time; each song is fantastic. All killer and no filler.

I'm not familiar with this band at all. I read that this album is universally acclaimed though, so I'm intrigued. Introductory song is disarming. I get Fleet Foxes/Band of Horses vibe. Maybe the Postal Service. So we'll see if that vibe carries through. The singer sounds just like the guy from the band Milky Chance. I enjoyed this album quite a bit. The sound is great. It's got lots of what I look for in a music listening experience, great rhythm, a build of unique instrumentation, good lyrics, and toe-tapping beats. I was kind of sad when this one ended!

Burke reminds me of Brown, Cooke, and Womack. Maybe some Ray Charles too. He’s not quite at the level of those guys but he’s got a sound and the sound of soul.

They remind me of the Arcade Fire mixed with Pink Floyd and maybe the Smiths or Cure. A lot going on here. It's a fun album overall.

This is THE Radiohead album for me. I remember buying it and bringing home to listen on CD. It was a very important album to my musical knowledge. Paranoid Android is one of my favorite songs ever, and I remember the music video vividly. However, Let Down is by far the best track on the album. I am not a major Radiohead fan, but this album is a wild exception. Just beautiful, inspiring, and fully realized. There's a little bloat/dead weight around the middle, but minor qualms with an otherwise, excellent record.

Everything I know about Bjork comes from the X-Files movie, Dancer in the Dark, and the Swan dress she wore. Now, it turns out Hidden Place from this album was the song from the X Files soundtrack, and I listened to this song a LOT. She really has a style of electronic and pop that works. Her music is a combination of fantasy, nightmares, dreams, and like drugs. It's a trip for sure. I think in the realm of electronic pop, she's close to the best so far that I've heard. She plays with mixes and sound too, which makes for a unique listening experience.

So is this Beyonce's sister? I am unclear who this is. On one hand, that's got to be tough. On another, what an opportunity to apparently discover her talent as well. This album has a smooth vibe. Solange's vocals are sweet and commanding. Cranes in the Sky and Mad are standout great tracks. Don't You Wait feels like it belongs in an awesome 80s action movie. Where Do We Go channels the Elton John - Bennie and the Jets punctuated piano. This album is a surprising delight!

So Perry Ferrell is super cool. He is just a rock star. I hear he's a control freak, but he makes awesome rock music. Been Caught Stealing was a song I listened to endlessly when I was younger. I failed to hear the full album until now though. They kind of scared me then. Stop is an excellent opening track. Really introduces the band and their sound. The music, while obviously influenced by 80s guitar rock, still stands the test of time. There's a Van Halen vibe, but the bass is on another level. Knowing now that Three Days and Then She Did are about Perry's deceased girlfriend is very grim. What a tragic life he had in the beginning!

This dude's weird. How did he know there was a market for this? Reminds me of Leonard Cohen. I admit, this album seems like a joke. I am sure there is something punk going on here. I just don't get the progressive element. I get the examination of death and the stripped down nature of the album as a motif for sure.

Moby is a strange bird, but you have to hand it to him on his ability to take this style of music into the mainstream. This thing was huge. Songs played on the radio, in movies, and albums sold. There's a vibe to this album that on one side is meditative, but on the other it feels very dated. These songs take me right back to the mid 90s, and not necessarily in a good way. There's beauty here, cool beats, stylistic vocals, and imaginative concepts, but overall, I'm left with a sense of Brian Eno, again, not in a good way.

I don't know if I'm rating this high because I was surprised or if it really is good. Other vibe, world music albums don't really work for me, but this one hits the mark. I feel like if David Byrne could have gotten his hands on this band, he'd have had a whole other Talking Heads career!

These are just classics. I had no idea this album existed, and I love Christmas songs. Next year, this will most definitely be in high rotation for the holiday season. I have heard many of these here and there, but what a collection! Phil Spector was a crazy dude, but his sound is unmistakable and iconic.

This album sounds so great, and it is timeless. I still hear Jimi Hendrix's influence in all kinds of modern rock music. He was a genius, no doubt. Third Stone from the Sun is weird. Jimi was super cool though. Watching him perform is amazing, and I can only imagine how many more awesome performances he had left! This album receives a 5 solely based on the revolutionary guitar.

Well, this is what my third Brian Eno album on this list? I guess I can tell you this much, it's the best one. It's dreamy, but a little like Morrissy meets The Kinks. Not great, not horrible.

I related to this right off the bat. It's aimed at females, but it also resonates with fathers of daughters. Pretty Hurts sounds like a club song, but it's way better than that. This is apparently a visual album, so I may have to check that out too. The album proceeds beyond beauty and infatuation and gets deeply sexual, which again is a celebration of Beyonce's femininity. Flawless is like a precise commentary on self confidence and worth. Heaven and Blue are a perfect ending to an album like this. This is truly an album tha tells a story. She uses all the tools in her arsenal to entertain, but also engage us in her story of a woman coming of age, developing, combatting hate, letting power and self-worth prevail ultimately to persevere tragedy and evolve into a mother of a daughter.

This is a better album than the Slim Shady LP. That being said, I rated Slim Shady as a 5 and this a 4. The reason is that while Shady was subpar to this album, what it represents, what it introduced, and what it made possible in terms of Mathers, hip-hop, and the future of the genre is much more powerful than what this album represents. I remember buying this record the day it came out and listening to it in my car CD player over and over. Stan is a standout achievement for sure. I knew it backwards and forwards, and while it's great, it's also dated now, a little derivative, and still in my opinion not his best work, which comes with Encore, after which, he never achieves that level of quality ever again.

Well, they have a place in this genre. It's hard to evaluate so many different sides of hip hop. They sound polished and their lyrics are quick and strong. The sound is unmistakable, and clearly they took the west coast hip-hop style and ran with it. They are the product of a violent sub-culture, and on one side, like NWA, they comment on the violence around them and the disparity between groups, and they also glorify violence both as posturing and as a way to promote the conversation. This is distressing and requires context to understand appropriately so not to consider it glorification. That being said, I think Cypress HIll lean too far into the violent side without much explanation. The gangsta side is pretty heavy handed here, but the pro-marijuana element is a nice side theme to their work. Overall, this is a pretty solid album, albeit, the emergence of the band more than what I think they were capable of becoming, which their next couple albums accomplishes. 3.5/5

Punk. But not aggressive. Love the guitar work, and her vocals are great! Monitor is my favorite track. Such a great riff and beat. She reminds me of Jefferson Airplane. I liked it, but overall, not an album I'll probably revisit. I'm glad I heard this though, and I feel I get their appeal, but just a middle of the road album.

Good enough alternative rock music. They remind me of The Wallflowers. There's also an REM vibe that has some Tom Petty roots. I like the basic sound they make; lyrically, it's pretty middle-of-the-road. I can see these songs showing up in a 90s romantic comedy movie in the background, which is not necessarily a bad thing.

Same folky sound you attribute to Stewart. There's a retrospective feel to this, which is unexpected for a 1970 album by a guy who has made only his second solo album. The writers on this thing are epic though, Ronnie Wood, Bobby and Shirley Womack, Bob Dylan, and Elton John/Bernie Taupin. So cool! The album moves and feels like a compilation. That comes at the cost of cohesiveness, but it's still a great listen and great collaborations.

Jesus - these guys come at you turned up to 10 from the first second. It's a little unsettling, to be honest. You hit play and, \"DO YOU WANT TO DANCE AND HOLD MY HAND?\" Like get to know me first - come on! When I Grow Up to Be a Man is a good song, possibly a sign of what's to come with Pet Sounds, but overall, this is not really that special to me. The only thing I can say, is that like my colleague says, the sound of the Beach Boys is unmistakable, and that is something. So for that, I'll give them a 3/5 Seriously though, I am not a Beach Boys fan. I understand they were the American innovators during the Beatles dominance. But they are not the Beatles. They are also, not boys anymore. In 1965 they were like 25. I do think God Only Knows (on their next album) is one of the greatest songs of all time, but just because they stopped singing about cars and surfing doesn't mean they have evolved. This thing is fine - but if Pet Sounds makes this list (which I am sure it does), then this one has no place really. When I Grow Up to Be a Man is the only song that really sounds like they're on to something, which I think speaks to their evolution to Pet Sounds. That being said, this album is not really that special to me. I do have to admit that like my colleague said, the Beach Boys have a sound that is unmistakable, and that I suppose is something, so for that 3/5

Pure rock opera. Just like the second coming of The Who's Tommy. This thing is rock with influences from all over with a sensibility of rock but also for storytelling and it sounds great. It's a musical experience non unlike Bruce Springsteen and the E-Street Band. I can't believe I never heard this album because it's great!

Decent rock album. They sound better than I expected. They call it "stoner rock," but that doesn't sound like a fair comparison. They sound a little more technical and together than that. Still, nothing special overall.

This album is magical. I guess it's jazz adjacent, but it sounds like its own thing. Her vocals are strong, real, and passionate. Four Women, especially is a stand out example of Simone's talent, ability, and presence. Break Down and Let it All Out is also great!

This guy's voice is a gift. I mean, it doesn't matter what he sings. I even don't hate the cover of Under Pressure he did that was totally a misfire because his voice is so incredible. Country music is not my favorite genre, in fact, it may be my least favorite, next to whatever Brian Eno is, but there's something special about Willie. Here he goes back to covers, which is generally not the strongest form for an album. He does create a calming album here and stays away from typical country trappings and just makes these songs Willie. There's a lot to say for an album that can put you in a calm space, so I have to hand it to him there. I can't believe this album is from 1978 and it was his 22nd studio album! This guy's been rocking for a LONG time. The arrangements are nice, singer-songwriter style versions. It's an easy listen for sure.

This is the Dylan album I've been waiting for. Like a Rolling Stone is a great song. Dylan goes electric, but mixes everything in that he's come to represent by the mid 60s. This is Dylan the poet in the style that I appreciate most. He is introspective in songs like The Ballad of the Thin Man, but he's also meditative about the world he's living in in songs like Like a Rolling Stone and Tombstone Blues. I have not been completely mystified by Dylan as many are, but I think this is my favorite album of his as far as I know. There is a similarity that evolves as the album moves along. There are also precursors to other Dylan songs that will come later on Blonde on Blonde.

She came on the scene with an explosive presence. She is indicative of Phil Spector's sound and Ronnie Spector's voice. There's definitely a bewitching quality to her vocals. This is especially present in "You Know I'm No Good." She's one of those artists that could sing the phone book and make it work. "What kind of fuckery is this?" is a question for the ages, and it sounds delightful coming from Winehouse. She sings from the heart as well. No song is a throw-away. Even the minor songs like Just Friends hit that mark of emotion she's going for. The beats are also so catchy on this album. Back to Black is practically iconic now. If Winehouse, Gaga, and Adele could have gotten together...Anyway, this album is a modern masterpiece.

Pleasantly surprised at the opening of this one. Great guitar-forward anthem style song from a band I always attributed to songs like "Here Comes Your Man," which happens to be on this album. Debaser is a solid rock song. Wave of Mutilation is a great song! After listening to "I Bleed," I think Weezer has some explaining to do about that Sweater Song. This is a surprisingly great album!

This is a record that demands attention. Like Michael Franti, Mike Ladd turns his lyrical venom towards systemic issues and not towards the typical gangsta style that makes up much of the mainstream hip hop. There's an interplanetary thread that runs through the album that examines the dystopia we're creating, which I think is a decent idea to elevate the lyrics and tie all this together to a concept. Afterfuture is not a bright one. Airwave Hysteria may be the only total miss on this one. I guess electronic music people might like it? But will they like it for 11 minutes?

Thank you for this one. I needed it today. Badlands is one of the best opening tracks I've experienced. What a great way to kick this thing off. Adam Raised a Cain is a driving, blues-based anthem track set on delivering some personal details between him and his father. Then Something in the Night softens things for a moment. The lines "Well you're born with nothing And better off that way Soon as you've got something they send Someone to try and take it away" are obviously about the music industry, but appeal to everything. Candy's Room and Racing in the Street hit a similar theme, a girl or a race is what helps make meaning out of an otherwise meaningless existence. Life is at night. Anyway, this is a solid outing for Springsteen. His style is on full display, his themes are explored with a maturation. Following Born to Run had to be some kind of impossible idea, and it's smart to do something like this.

It's like if Frank Sinatra fronted a synth/electronic band. This is a fair assessment and not necessarily a negative critique. It's disarming and quirky. Tinseltown in the Rain though, feels like a lost Peter Gabriel song, and I love it. Stay is another stand out song here. This album is better than it should be.

Only a handful of live albums on here so far. There is a certain sound and atmosphere from a live album, and while this is not one I ever thought I wanted or needed to hear, it is a decent collection of songs performed by a somewhat underrated band in their heyday. Jailbreak is a sweet track to open a concert with, and I had no idea that Rosalie was a Bob Seger cover. I knew it only as a Thin Lizzy song, and consequently the name of my daughter. While this is not a classic in my mind, there's not one clunker here, which I think is the appeal of most good live albums. I can't really rail too hard against this.

Ok - so this album is undeniably iconic. Pusherman is such a cool song. So perfect for Superfly, but just a great concept. All said and done, the album is so closely tied to the film and its subject matter and plot, that it's hard for it to stand alone. I can imagine a junkie chase without any effort whatsoever. It's genre defining and 70s funk to the max, and boom-chicka music was born.

This is not an album I needed to hear. Take on Me holds a place in the 80s ear-worm songs, and the video was interesting. The rest of the album feels disconnected, and the title track feels like an unused James Bond theme or like something for Jaws 5 (was there a Jaws 5 already? IDK).

Yikes. This is trippy stuff. Can't deny their prognosticating either. We are definitely living in the American Metaphysical Circus now. This album claims to have no guitar (other than bass) on it, which is crazy after listening to "Hard Coming Love." "The Garden of Earthly Delights" could use less laser beam sounds, but it's a decent song. "Where is Yesterday" and "Coming Down" are wacky little experimental songs. I like them enough. They push this thing to 3-stars.

Damn it. I don't want to like the Beach Boys. My life would be so much more easier in terms of music, if I didn't have to reconcile my complete distain for their sound and lyrical content, and then this album comes up. The production on this album is like no other that I've heard. God Only Knows is like one of the best songs I've ever heard. There are a few very sleepy songs on here though, that really drag this thing down the tubes. Overall, though this is an establishment of the Beach Boys as something a bit more relevant in the landscape.

Well folks, you heard it here first. I like a solo jazz piano album. Dude's complex with his whole orchestration, and the story of how this album came to be is also great. I also like that Keith Jarrett sued Steely Dan.

I had never heard of Television, but right from the first track, I liked it. There's a familiarity to it that I can't quite place. They do sound ahead of their time. I hear a new wave sound emerging, which I don't associate so much with the late 70s.

I feel that you need to be in a certain place and mood to explore these jazz and musical albums. People talk about albums like this being healing and therapeutic or a journey, or a break from redundancy. I get all of that. But with the absent of a hook or a message or performance - I can just take it at a certain level. This is music that I could never conceive, and I do get a mood out of it as a listener. I would expect that musicians find much more to grab onto listening to this. My "barely able to play 6 chords on the guitar" level is left ignorant of exactly what's happening here.

Instantly thinking St. Vincent or Avant-grade type alternative here. This album is light and breezy. I find it acceptable as music. I am not going to remember it. I am not going to recommend it to anyone. It is the perfect example of a 2.5 star album. I will offer it a 3 because when I look back at my 2s, it is not as bad as those.

I have heard Good Fortune. Never knew that I knew this song, but it instantly brought me to a certain time/place. Reminds me of REM meets Pretenders. A Place Called Home is a lost Cure song if you ask me. Really good stuff.

I don't know what to really say about this. It's hard to resist the rhythm and the beats here. And if you listen to it while you're working or hanging around the house, you'll definitely be grooving around unconsciously. Nothing not to like here, but as I say about a lot of these music-centric, international, and jazz albums - the performance aspect likely outshines any recording. There's only so far an album like this can really take me.

Some of this is not perfect, but a lot of it is perfect. Little Wing is one of those songs that defines Hendrix. The Rolling Stones would only be so lucky to put together 2:25 like that, and they have tried...like all the time. Castles Made of Sand is another masterpiece. This is Hendrix at his lyrical best, but also maybe some of his rhythm guitar best. Like I said some of this is messy, but what a follow up to Are You Experienced. It doesn't reach the heights of that one, but damn close.

Every song on here sounds like one that is playing in a nearly empty saloon when a stranger arrives in town looking for someone, when one of the regulars instantly challenges the stranger, who through little effort subdues this challenger before asking once again if anyone knows the person he's looking for. Anyway, not my cup of tea.

I'm glad there's a world where Elvis Costello works. What an original. Obviously, he is cut from the cloth of Buddy Holly, but that era of American music had such an influence on the greatest British acts like Elton John, The Beatles, Elvis and of course this Elvis...Costello. No Dancing is the song that I think ties it all together in terms of where Costello came from and where he's ultimately going. His roots are in a Motown/rockabilly/pop sensibility that will evolve in the same way as Bowie and Springsteen would. Alison is timeless and whatever it's about - it stops you in your tracks and makes you reflect on life a little bit. Great debut album here.

I have an appreciation for this music. Love Vigilantes is like new wave Springsteen. The drum drives it - the simple instrumentation and clear vocals command your attention and it articulates a slice of tragedy for the common man. I just hope the rest of the album can maintain the greatness of that first track. So far so good...Perfect Kiss is an excellent more upbeat follow up for track 2! This Time of Night is pretty solid as well - Drugs? Love? Who knows. Three songs, three different subject matters, and three different tones, which is not a bad thing. Sunrise kicks into gear and is all kinds of The Cure. It's a heavy one - about loss, or doubt or something. Even though Love Vigilantes is 1000 times more tragic or sad than this song should be, there's something more personal here. This song then leads into the lyric-less Elegia, which feels like part 2 of the previous song - I see now that New Order formed out of Joy Division after the lead singer died, so this must be for him? This song kind of brings down the listenability though - it stops the flow in terms of a full-album re-listenable experience. Subculture and Sooner than you Think are a little sub par and while Face Up is decent, the album starts with a roar and goes out with a whimper. Still I'm a fan overall!

They rock. No way around it. Connection is the jam! Then Hold Me Now takes it up another notch. They sound a lot like the band Garbage, and that's a good thing. Garbage clearly has to cite Elastica as a founding influence. 2:1 is an instant classic. Great album!

This album is wild. Just so much energy here. It's loud, it's unapologetic, and it's kind of a mess. It feels like a live album. Maybe it is. Maybe it's not, but it doesn't sound polished. Driving guitars all over the place, and Iggy Pop's vocals are turned up to 11. I'm not sure how re-listenable this is for me. I am glad I heard it, I've heard Iggy Pop songs that I like and those I don't, and this album has both. Not bad, not great, so a perfect 3.0 stars.

17th album. How...just where and how does he come up with all of this music? There's some substance to the lyrics here beyond the just soulful sound you expect from Wonder. Songs about being better people and knowing each other. Pretty good stuff!

I respect the musicianship here and face-melting guitars But, this death metal stuff is just not my thing. However, this is like 100000000 times better than those Sepultura albums that kept coming up. This is more Metallica than Sepultura. They appear to have an alien conspiracy fixation, which is weird. Anyway, this is not my genre.

I almost bought this album so many times, but the singles off this thing were unavoidable in the mid-late 90s. I just wasn't sure I was alternative to this degree. I liked Nirvana and Green Day, but these guys were something else - like fake punk instead of real? Anyway, songs were catchy, but there was something artificial about them to me. Just doesn't grab me even though it was supposed to!

Nothing can touch Born to Run. But lord are there some great tracks on this one. I think this album is amazing, and yet I also think it has become over rated. Darkness on the Edge of Town and Born to Run are appropriately rated. This one, somehow as good as it is, is elevated in some circles as THE Springsteen album. It is not, but it is great. And yet it is still 5 stars.

Loud. Very loud. The album title is misleading. Anyway, not in the mood for this - maybe a different day, but it's painful.

This one was fine. Had some good alt-rock riffs. Sounds like the beginning of bands like Oasis and Weezer. I enjoyed it, but it's not memorable.

The first Muddy Waters album I got really introduced his style to me, and I found it pretty inspired and surprisingly engaging. This one (while admittedly released 17 years before the other one) is not as "inspired," so I can't put it at the level of that one, but I do love his command of the blues.

So...this stuff isn't Cream? I am way off on when Clapton went solo. This 70s style rock is something special though. Eagles, Clapton, even later Beatles all have this vibe. Easy listening, masterful guitar, and smooth vocals. I'm saddened by his recent diatribes about vaccines. It is hard to separate that stuff from the music since its all about strength, planting your love and letting it grow, etc. I mean - Pot? Meet kettle.

Hmm. I dig this, but my limited Spanish puts me at a disadvantage. This sounds like the soundtrack to the amazing Netflix show Narcos. I'm guessing this was playing on a loop at all of Pablo Escobar's various homes. I would totally listen to this around the house regularly though, which is one of my major criterions for a great album.

I can tell how this band came to be, and I can hear the influence they had on alt-rock bands of the 80s and 90s. "I Want to Destroy You" is timeless. Kingdom of Love musically sounds like a lost Talking Heads song, but lyrically - kind of gross. Positive Vibrations is the most retro of the songs structurally with elements of The Who, The Byrds, and The Beatles. I Got the Hots is a throw-away track to me, but it sounds a little like Oasis did in their throw-away tracks. Insanely Jealous is like alt-rock Bob Dylan. I love the way it builds. I can't fault this album much. I will throw it in my rotation.

This is again, not my thing. There are several albums like this on here - all of them sound the same. The Eagles are the only band that can pull this off, but that's because they don't stay in one lane...They try life in the fast lane (lol).

The title track will forever be associated with Trainspotting for me. The rest of the album, however is completely new to me. This is punk-Bowie. Same instrumentation and vocal stylings. The Passenger is a great song. Tonight has a Broadway "Skid Row" sound and feel - clearly about overdose, and do I detect David Bowie singing backup on this? This is better than a lot of glam and punk rock. A nice surprise!

I...I really like this. This album has shredding metal guitar, killer rhythm, genre bending tracks, dark humor, and sweet rock vocals. Falling to Pieces is a blast. I'm not crazy about the thrash stuff like Surprise! You're Dead, but I like the typical hair metal stuff.

What a drag it is getting old, indeed. Stupid Girl didn't age well; we can agree with that. This has all the sounds of Stones. Rock, blues, baroque, rockabilly, and great riffs. But this is not peak Stones. This is also not their most listenable album. As far as one of the more mainstream albums on this list, it's not a home run at all. I do love how Tarantino used Out of Time in Once Upon a Time in Hollywood though. I am Waiting is another clever song that is buried deep on this album. This is a 3.5, and I will round up because while it's not top Stones, it would be for almost every other band.

Novocaine for the Soul is like Lou Reed meets Beck or Cake. This is some quirky, dark stuff. Initially, the songs are listenable and toe-tappers, but if you listen to the lyrics, these are dark, sometimes devastating songs. That irony is unsettling but also imaginative and intriguing. Also, unlike a lot of albums, this one builds as it goes. Some of the better tracks are in the middle/towards the end!

I wish I wrote these songs. These guys had a sound and performance style all their own. This album is rock and roll. This album is a party, every track a rager. After reading about the death of the original lead singer, this is even more of an accomplishment! If not for the misogynistic trappings of 80s rock lyrics, this would be a five-star right here!

I don't know what the lead singer is saying most of the time on this album, but I like her voice. Pitch the Baby is so quirky, and again - I've listened to it twice now - I don't know what she's saying. It's English though, and I like it. So there you go. The rest of the album continues on in this style. That makes it hard to review much higher than a 3.

No. More. Beach. Boys. Please. BUT, this one is less Beach Boys-y that the last several. I don't know why they're on this list so much though. I mean, This much Beach Boys before I die? Seems outrageous. Feel Flows is good. I'd like to hear They Might Be Giants cover some of these songs. 3.5/5

This is the BEST! Benny and the Jets may be my all time favorite Elton John song. What an entertainer this guy is.

This sounds like the menu screen music on a video game. This is a nope from me.

OH MY GOD, 1001 ALBUMS GENERATOR, WHAT ARE YOU TRYING TO DO TO ME? This is nonsense of the highest degree. I just forced my way through Nightmares on Wax, and this is what you serve up next.?! Give me a break that this is "before you die" critical listening. Music for a rave is great for ravers the same way that an album of dogs barking is great for dogs - I am neither, and am uninterested in both. No.

Second T. Rex album for me so far. While no song reaches the heights of Jailbreak, this album as a whole is more sonorous and listenable than Electric Warrior. There's a refinement to them that may be less experimental, but more polished. They are a solid 4/5 band!

Cult of Personality is better than it has any business being. This album kicks though. Good riffs, some cringy 80s style posturing on social issues instead of 70s style, outright, protest style commentary. But, hey, at least they're trying. I will keep this album in the short list of decent 80s rock and roll.

1988 kind of rocked from what I'm seeing as these albums keep coming. This is quintessential Metallica. Clearly they have lasted the test of time, but Lars and James are lights out on this, especially Lars. This was when they were probably wasted out of their minds though. One is a great track! If you love thrash metal and this genre, this is a 5/5. I, however, do not. That being said, this is as good as it gets to me, and so I"ll give it a 3.

Hall of fame album here. The Stones emerged as more than a fun time rock band (if they hadn't already over the decade of the 60s). Certainly a must-hear album. It hits on all cylinders - musically, lyrically, culturally, sonically. Huge fan. Gimme Shelter and You Can't Always Get What You Want are the stand outs, but they are also the opening and closing tracks, leaving what's in the middle to give the album its strength.

At first listen, they sound like Cream. Not a bad thing. I was concerned I was getting yet another ridiculous electric, rave album, but this is refreshingly psychedelic, bluesy rock. There's also a Three Dog Night/The Guess Who. Overall, this album clicks. It also doesn't overstay its welcome at 44 minutes. In hindsight, I see why this album makes the list. Taking into consideration that this is 1967, the band and the album are part of a musical movement, but while they didn't rise to the mainstream enough for me to hear them, they clearly innovated and inspired others who did. Section 43 sounds familiar - and it has a real vibe to it that I imagine played well to Doors audiences. This album is pretty slick.

The King definitely gets right to work on this one. I never really got into Elvis. Can't deny his music has stood the test of time and persists into contemporary culture. That being said, this stuff is corny. Once in a while a song hits with me like Viva Las Vegas, That's Alright, Suspicious Minds, and in the case of this album, Fever. But everything else is meh for me.

Listened to this on a road trip. It's ok. A little repetitive, but some good songs on there here and there in between all the synth.

There's a lot of talent on display here. Definitely a lot of groove and nothing to hate here.

They had such a distinct sound. It's really surprising that they caught on, but they were smart enough to know it would. Their samples are iconic, and most importantly, they know what they are and offer no pretense. HIp-Hop can be heavily hyperbolized and degrading, but they are able to be mostly real, innovative, and take aim on interesting subjects...like Bill Laimbeer. I think Sabotage is the perfect example of what they are. It's a great track, produced perfectly and timeless. This album is way better than I expected it to be.

They had such a distinct sound. It's really surprising that they caught on, but they were smart enough to know it would. Their samples are iconic, and most importantly, they know what they are and offer no pretense. HIp-Hop can be heavily hyperbolized and degrading, but they are able to be mostly real, innovative, and take aim on interesting subjects...like Bill Laimbeer. I think Sabotage is the perfect example of what they are. It's a great track, produced perfectly and timeless. This album is way better than I expected it to be.

Essential listening? Nah. Pleasant? Sure. Could be inspirational to the indie film maker. I can see David Lynch grooving to this stuff and writing another masterpiece.

This is hot stuff. Funky, fun, and "fresh." Bruno Mars owes it all to "The Message." Can't fault it for anything except Scorpio, but I assume this is some kind of impressive DJ stuff, I guess. This is a classic otherwise and checks all the boxes. And I hope Stevie reached out to them. The Message is Fire!

Well, it's not all "sad bastard music," as Jack Black called in in High Fidelity. But some of it is. I get a folky vibe from this album, like something that would have sprung out of the 60s. Good title. It's a jaunty, light, musical album, but that title track is a downer.

I like this album. It is definitely my favorite in the punk genre thus far. Fast, pointed songs - lots of energy, and a love for freedom and free speech.

Structure: Masterpiece Mood: Masterpiece Musicianship: Masterpiece Significance, Impact, and Lyricism: Masterpiece Album art: Masterpiece 5/5

It's just not for me. I see the influence, especially in Pink Floyd, but I just...can't. Sorry.

This is actually one of those bands that I have grown to appreciate much more thanks to this 1001 generator. I was pleasantly surprised by Ritual, but Nothing's Shocking is even better. Perry has an amazing voice, and this album is timeless and transcendent. It's crazy that this was released in 1988.

Can't help think that it is no coincidence that I got Jane's Addiction instantly followed up with this RHCP album. They are very similar in their notoriety, musicality, and timelessness. Most Peppers albums do not feel like they are of their time, and this one is no exception. What a record. It's hard to believe they were able to ever come close to this one again, and they kind of routinely do reinvent themselves. Nothing beats them when the are at full strength with John Frusciante. There's definitely something missing without him. Crazy dude though. And Flea's bass lines are hopping on this thing. Anyway, This one has something for everyone, and while I'm not a devoted fan of this band, this album is something else, and deserves to be heard. It grows a little long in the tooth as it rolls on but the energy never stops.

There's a frantic energy to this album. It's a little messier and unpolished than some Bowie albums are. That being said, it's undeniably catchy. The opening instrumental is surprisingly engaging. The album is also very bass-forward. Sound and Vision is the only song on here that I knew already, which is not really that indicative of the rest of the album. It continues Bowie's inter-galactic, alien, space kind of vibe, but it's hardly stale. Interesting listen.

Oooh! I like this. The 90s are growing on me lately. Mixing of genres, embracing and evolving the grunge, and in the case of Manic Street Preachers, building nicely on alternative. Songs on this album are typical structure for the 90s, and no filler!

Never, ever, ever, ever heard of The Divine Comedy or this album. According to Wikipedia, this is Chamber Pop. I also am unfamiliar with that genre. There's a Dexy's Midnight Runners sensibility to this, so maybe that poppy new wave sound is chamber pop? Anyway, this is ok. I think it is a weird choice to put a bunch of child laughter on a track you hope will be a single. It's very distracting. The Alfie song feels like a joke, and it has that Burt Bacharach background instrumentation. There are some clear 80s/90s references and then all this Alfie stuff. What's it all about? :) Middle Class Heroes is another goofy song. I'm shocked this band ever caught on. These guys sound like I would sound if I was pretending to be in a band.

Got some Joni Mitchel vibes from the opening track. Not sure what she's talking about though - hard to decipher, but the song's called "clowns" and I heard the word "titties," so I'm guessing this is some condemnation on cosmetic surgery and fake appearances - which I can dig. Or maybe I'm totally wrong. Very nice song though. The next two remind me of Electric Light Orchestra, especially in the case of "Happiness" sounding like "Mr. Blue Sky." This album is growing on me, which I did not expect. Next the album strolls into Pink Floyd "Dark Side" territory before really settling in its own thing for the final few tracks. I will definitely come back to this album from time to time. Good stuff!

Shining Star That's the Way of the World and September are in the top ten of Best First Three Tracks of an Album. What a party these songs promote. Justin Timberlake owes a lot to these guys. If anything, this album stays a little too long at the party, but damn - they had a lot of funk and soul to share. This is just a happy, fun album that never lets up. When you feel down and out, sing a song, it will make you dance. There's your message right there.

If this is electronic music, then I guess I'm starting to admire it. Portishead is definitely tops in this genre. What makes it great is the combination of electronic beats and authentic instrumentation. Plus the lead vocals are haunting and captivating. Sour Times is my jam, but Glory Box is permanently in the rotation now!

Led Zeppelin II is the ultimate album. Following that is a difficult task, and III is a far cry from II. That being said, it's a different animal all together. Much more subdued, exploratory, but still cohesive. As a band, these guys are perfection. Every part of music is demonstrated to mastery with every song they perform, so it's impossible to not like this stuff even though they have peaks and valleys. What's great about III is that it builds and while you listen, there's a journey that goes out with a bang!

Masterpiece. This album has everything that speaks to a Cure fan. The extended instrumental intros, the moody, introspective lyrics, and the Cure sound. This album is amazing. Plus it generated like 5 hits - but the whole album is hit after hit. A true perfect entry to this list for sure.

Aeschau oahhadoaux! Gombasaavid Fuurlzixavin stoko. Yo kaieavou a siyin sarinavi lesuaudvoo. That's what this album sounds like. But somehow...I still liked it. I can't explain why it works - but it's not a total success because I am regularly removed from the experience because of the nonsense language, but musically, there's a lot to admire here. I want to give it a 3.5, but I'll score it a 4 officially.

What a breath of fresh air this was. Maybe because I just had to get through Agaetis Byrjun by Sigur Ros! This concept album with organized, thoughtful, thoughts all tidily articulated in 35 minutes over 15 tracks is exactly what the doctor ordered. I never knew Nelson wrote something so structured and cohesive. Some of the songs are overly "twangy" for my liking, but I loved the story and how it unfurls. I also love the minimalism - just a guy, a guitar, a harmonica, a piano and that voice.

I like Rush, but I never was a huge fan. I like some of their stuff a lot though; Tom Sawyer will always have a special place in music for me. I also feel like I really understand the lionization of Neal Peart thanks to 2112. I always heard he was one of the best rock drummers of all time, but I just never could understand what set him apart until I heard this album. The focus of this album is obviously the 2112 track, which is ambitious on a Led Zeppelin level. I do wonder how often the performed 2112. Was it a staple of their shows or was it a rare occurrence? Anyway, it kind of dwindles after the title track, but Rush is indeed a unique band with a trademark sound.

Busy album. Cool to hear the roots to Dre and Snoop Dogg's Let me Ride here. Parliament brings the funk here. Mothership Connection belongs on this list, no doubt. It's more of a feeling than anything though. It's about the funk, making the funk, showing others how to funk, all things funky. That makes for fun album, and there's nothing wrong with that.

Well here it is, the biggest selling album of all time. In a rare moment on this list where prestige and popularity converge. It's hard to see this album for what it was when it debuted because it now carries so much weight and significance just in terms of its reputation. Here's the thing though, Michael Jackson, love him or hate him took pop music superstar to a level that seemed impossible. The man himself will continue to puzzle us all, but musically - what a powerhouse. His evolution from child star to the king of pop is wild. His voice is a marvel - and when it comes to this album, the songs are all so, for lack of a better word, interesting. 7 of of these 9 tracks were charting singles. "You're a vegetable," in "Wanna Be Startin' Somethin'" is curious. And there's a Billie Jean reference in that song too. Never heard that before! With Thriller, Jackson pioneered the new way to put a pop record together - heavy production, centralized vocals, catchy hooks, focus on singles, marketing and revolutionary use of music video. I'm curious who's more responsible for "The Girl is Mine," I mean, I am a devoted Beatles fan, and I love McCartney - but what the hell is this song doing on here, and why , and what and huh? The conversation part of that song is cringeworthy. It almost made me give this thing a 4/5, but most of my 5/5 albums still have duds on them, just not this big of a dud. But the other 8 make up for it in spades. There's tons to talk about with this album; I haven't even mentioned Billie Jean, Beat It, Thriller, or PYT yet. This is where the Moonwalk came from for Christ's sake! It's a 5 album - and I'm saying this as someone who's not a big solo Michael Jackson fan, but I can't deny the way this one pops!

The Wizard is THE track on this album. Great mix of blues and rock! Clearly, the triple punch of Bit of Finger/Sleeping Village/Warning is where the focus is, but The Wizard is going to stay in my playlist. Decent little rock album here. Clean, good riffs, Ozzy is Ozzy, and a helluva debut here.

In the spirit of Todd Rundgren, we have another musical genius putting together solo efforts that is amazing to behold in terms of scope. The music is late-70s disco inspired, but strays far enough from those beats to keep it sonically distant from "disco," except for Second Hand Woman and Night Train. While You See a Chance is a good groove for sure. I went into this thinking I wasn't going to like it, but there's enough to like here for sure. Winwood's vocals are distinct, and as I mentioned, there's a lot to listen to here, and he did it ALL. Slowdown Sundown is a lost Bob Dylan/Rod Stewart/The Band song none of them ever wrote. The album enters its final act with the Peter Gabriel-esque Spanish Dancer. Night Train has to have appeared in some 80s cop buddy movie right? I mean it has to have? If it didn't that was a lost opportunity that must be corrected immediately! Dust is fine. Decent album.

Punk! Punk! Let's Go! Unmistakable sound, pacing, lyrics, messaging. The Ramones, man. They are a genre themselves. Authentic punk - no pretense. That's all I have to say, and Judy is indeed a punk.

Very punk! For some reason though, it doesn't have the energy or grandeur of The Ramones. There's a Pixies vibe I get from them instead of something wholly original. But brit punk is amazing, and they're a classic element of it! It's a 3.4/5, rounded down to 3.

First Queen album I ever listened to straight through. What an experience. They could do it all. 39 would be a bit today, forget the rest of this thing with Rhapsody and Best Friend

Reminds me of the band Spoon or Death Cab. That fuzzy electric guitar with the high, articulate vocals. This is really progressive stuff here. I never heard this album, but I can't believe they fell off the radar! Tunic is fascinating, and a track that would most likely never be played live. The woman vocalist also adds so much more to this band. Kudos to Sonic Youth for featuring their musicality so strongly. Vocals are secondary to just a tight rock band!

I'm loving this run of female rock vocalists I'm getting lately. So this is a band I have NEVER heard of. As provocative as the album title is, the music is most certainly not chill in any sense of the word. I am guessing I haven't heard of this band because the woman lead vocalist blew out her vocal chords after one tour of live shows. She wails...and she's angry! I like it, but a full album of this is...a lot. And I'm pretty sure I wouldn't survive a live show of theirs.

This has way more going for it than I expected. It's elevated background music, but a few tracks like Pilgrim and Letting Go got my attention. Still, I'm not too sold on these type of music overall. It's mood music, but not something I'm going to seek out for listening to.

Fats is a good band leader-style artist. His voice is distinctive. This is pop-style blues here. I'm not sure I feel the soul of the music, but it's still good stuff. For those struggling to find the album, here is a link: https://youtu.be/pFlvEdcypxU

What can you say that hasn't been said here. These are all great Beatles songs, and this album is just half the journey because it's the soundtrack to a great film as well. Some of Lennon's greatest vocals are on this album, and the whole thing just rocks from start to finish. Amazing.

Take Me Out is the clear hit here. The other songs are far from as memorable and don't have the licks. This stuff is pretty good though - Very listenable with crisp vocals. Musically reminds me of Daft Punk.

I wanted to love this, but it is way out there conceptually for me. I know how obsessed Brian Wilson was with completing this, but the end result is something out of time to me. That Beach Boy sound is on full display though, but I feel he broke this ground already prior to this album, even though this was his vision all along. I just don't really get it.

It's pretty annoying actually. If you're not dancing to this, it is a fairly obnoxious album. I don't have much to say about it. I'm open to electronic music now and then, but not the dance albums. I like some of the mixes here and there, and D.A.N.C.E was alright, but overall - I couldn't really get into it.

Kate Bush inspired, no doubt. Tori Amos should be prepared to be featured in a Stranger Things episode when the show gets into the 1990s! This is moody, dream-like album. Lots of fun sound mixing, great piano riffs, and her voice is incredible. Amos is a talented singer-songwriter, and a visionary artist. These songs are quite powerful at times. Precious Things is a poem and an entire experience. She's the anti-Sophie B. Hawkins in that all the same pieces are in place, but Amos is a minor key version of Hawkins. So dark, so intense, and in my opinion much more interesting - Aimee Mann type of vibe. I wish I could play the piano...and write songs...and sing...

Holy hell is this amazing. I thought Sticky Fingers was THE Stones album, but...I think it's this one now. The band's recklessness and powerful sound is on full display. Some of Mick's best vocals are on here, and Happy is a stunner for Richards. This album merges all the Stones' influences into one perfect album, blues, rock, horns! This is a fun one!

This album is a party. I can't say I was ever much of a Tom Waits fan other than moderately admiring his off-beat persona, but this album changed everything. I love this whole thing from start to finish. I like the instrumentals, Waits's unique voice, the poetic lyrics, and the variations in terms of the musicality. There are songs like Singapore and Clap Hands that are wacky, theatrical pieces, there are songs like 9th and Hennepin that are full-on beat poetry recitations, and then there are songs like Downtown Train that feel like an attempt at a Top 40 single in the style of Dire Straits, the Cars, or Springsteen. Love this album. Will definitely re-listen to it!

I know this band is lauded and the lead vocalist is considered great, but for some reason - his style of singing really feels dated and not enjoyable to me. I understand his clarity and style is so defined, but just not my style. It's almost a Broadway rock musical style. They do rock though. There are a couple of decent songs here - Privilege, The Warmth, and of course Drive. This album is okay.

Why? Why? Why, must I be subjected to soooooo much electronic music on this list. Beats, riffs, samples, repeat. If this was the first one I'd listened to, I could sort of see this as a fun departure from what I would consider the 1001 albums I have to listen to before I die. This being like the 50th of its genre, I have to wonder what I'm missing about what I think music actually is. I don't get heart, meaning, messages, enjoyment, thoughtfulness, or anything out of these. It's a feeling I suppose...barely. It's background for something else that as I listen to it, is not happening. I can't give the Chemical Brothers a fair shake here because I'm just not into this anymore.

First of all, they need to remaster this on Apple Music. The sound levels are way low. There's so much great sound on this, and you have to crank it up to hear it. Respect to Respect. What a hit this song is. Aretha's perfect sound, the Motown sound, the rhythm, the sax, it all works. This song will live on forever. Nothing subsequently reaches the heights of Respect, but it's a nice little gospel, jazzy little album, clocking in around 30 minutes. The cover of Sam Cooke's A Change is Gonna Come pushes it to the 4-star level!

Man, I LOVE this one. What a vibe. The orchestral crescendo into that dirty little guitar riff in Walk on By is one of my favorite musical segments I've ever heard. I could chill to this any day. Track 2, which I can't pronounce no matter how many times I read or hear the title is another funky, solid track. By the Time I Get to Phoenix is a lot. The last half is really great, but the poetic-story intro is really long, and so it interferes with repeat play on this album. I will probably skip the first 10 minutes of that song in the future. This is almost a great all-thriller, no-filler, except for that one section of the fourth track!

This band is polarizing. On one hand, there's a distinct sound, and some songs that really pop. On the other hand, I can only take so much of their sound. Aja was decent, and this one is decent too, but there's something about the that keeps me at arm's length. This album feels less confined than Aja though, but I just can't give them 5 stars even though I enjoy a lot of what's presented here.

More than Starbucks background music. This whole thing is a mood. Samba de Uma Nota So is something I've heard before, which I was surprised by! There's nothing not to like here, but it's also not an album that blows you away. I think it's great introductory jazz though. It's not abstract, and it is not overwhelming or 10 hours long. It's more or less a delightful listen.

How is this album from 1979?! Costello is so timeless, just like Springsteen. It's a sound that is big, fun, iconic, and always now. It's a shame that Oliver's Army became about the use of the "N-Word" rather than anything else. The word is used in a derogatory way against a British private, as it was apparently used in the 17th century. The song is actually a pretty biting attack on racism and war, but it's so poppy, people don't know what to do with it. Songs continue to push these themes as the album builds. Another good example of how the art of the album has basically died nowadays. I mean, what's so funny about peace, love, and understanding anyway, right? This album is a blast to listen to. Lots of fun melodies. Lyrically, there's a ton to digest as well. Song and substance on full display here.

Can't deny the influence they must have had. They pioneered a whole new level of the genre that still perseveres today. Reminds me of Michael Franti when he was Disposable Heroes of Hiphoprisy. Respect to Gang Starr

This is probably impressive. I just wasn't in the mood for this one on the day I got it. I'm more in an Elvis Costello "let's end war," kind of mood than a PJ Harvey one today, so that may have shaded my impression of this one. Most of these songs just kind of felt like an extension of the previous one. I love her voice, and I like the beat, especially The Words that Maketh Murder. Anyway, death, death, death - lots of death on this one.

She delivers a pop dance album with a message. Prince's fingerprints are all over this too. I don't care what anyone says, Jimmy Jam and Terry Lewis are not the only ones behind Escapade. Jackson has an iconic sound just like her brother. The sound bites are annoying, but that's part of the style of the times. The album is a party. It's over an hour, but hardly feels like it. I can see why she's so popular. I can also see why Michael emulated her sound later in his career.

What is this nonsense? The second track is mostly a the guy just going "wha, wha, wha, wha" over and over to a very minor key repetitive piano riff. This is too out there for me. I also have no idea what he's singing about in any of these songs. There's clearly some talent here and it's specified and focused on some group of people that probably really love this. Anyway, I never heard of Robert Wyatt and I think I know why.

For the first couple tracks, I had to ask myself, why is this the album that so many associate with Stevie as his best...and then the next 10 tracks showed me. Stevie is incomparable. He has more talent in his pinky finger than most musicians will ever obtain. He has the most soulful voice, the catchiest rhythms, and the most iconic sound of all motown artists. I don't know if this was originally a double album, but the version I heard was, and I figured when I hit disc two, it would start to even out, but the thing kept crushing with Isn't She Lovely, Black Man, and As. So many artists owe their whole being to this man. He can do no wrong. This album gives me the chills. Genius!

I thought I was in for another electronic music album by the looks of the album cover, but I was pleasantly surprised by this one. Great hooks, lyrics, musicianship, and overall presentation. This is a sleeper hit for me. I have a great admiration for Spiritualized as a complete album, not just a track here and there. The final track is a ride...

What happened to this guy? Rating this album in 2023 is like rating the Cosby Show. Can you critique the art without taking the artist into account? I am afraid I can not. I can say that Kanye may have been the titular artist on this album, but a LOT of others contributed to why this album is as good as it is. I can respect it as a very strong Rap/R&B album with memorable, insightful lyrics, but I don't think Kanye could do this alone now or then. His bravado is misplaced, and today, his mind is sadly not right. Here he sounds like a spokesman for the common man, a voice for the minoritized, but today - he is a misinformed, racist, hating bigot. The album is good, but the experience of listening to it is mediocre now, which is the worst word Kayne ever wants to hear.

Dude's never sounded better. Great collection of songs too. Cooke could command a room. That velvety voice just effortlessly bounces off the band. He was a consummate showman playing to the audience and making live music pop! Even the slow songs are mesmerizing as long has he's singing. Twistin' the Night Away is the high water mark. It is a jam! My only complaint is that this album is not long enough.

Sound Affects by The Jam is a solid addition to their discography, showcasing the band's growth and maturity as musicians. The album features a variety of styles, from the upbeat and catchy 'Start!' to the more introspective 'That's Entertainment'. Paul Weller's songwriting is top-notch, and the band's musicianship is tight as always. While it may not be their most groundbreaking release, Sound Affects is a strong album that any fan of The Jam should check out.

Oracular Spectacular, the debut album by MGMT, is a true masterpiece of psychedelic pop. From start to finish, the album is a journey through a whimsical world of catchy melodies, dreamy harmonies, and thought-provoking lyrics. Each track on the album showcases the band's unique musicality, blending elements of indie rock, electronic, and retro-futuristic sounds to create a sound that is both nostalgic and refreshingly new. The opening track, "Time to Pretend," sets the tone for the album with its infectious chorus and dreamy synth lines, while "Electric Feel" is sure to get you dancing with its upbeat tempo and groovy basslines. It's worthy to mention that Beck song Dreams sounds a lot like Electric Feel from this album, making it clear the influence it had on other musicians. Overall, Oracular Spectacular is an absolute must-listen for fans of psychedelic pop and anyone looking for something fresh and exciting in their music collection.

This album is considered a classic in the genre and has received positive reviews from critics and fans alike. One of the strengths of this album is John Lee Hooker's powerful and emotive singing. His voice is raw and soulful, conveying the emotion of the lyrics perfectly. The album features a mix of slow, soulful ballads and upbeat, foot-stomping tracks that showcase Hooker's versatility as a musician. It is a more accessible blues album than many because of the high profile duets as well. The guitar work on the album is also noteworthy, with Hooker's fingerpicking style being a highlight. The guitar riffs are simple but effective and perfectly complement the vocals. The production on the album is also noteworthy, with a raw and unpolished sound that adds to the overall authenticity of the album. One of the standout tracks on the album is "I'm in the Mood", which features Hooker's signature guitar riff and his smooth and seductive vocals. The song is a great example of Hooker's unique style and has become one of his most well-known tracks. Overall, The Healer is a great album that showcases John Lee Hooker's talents as a singer, songwriter and musician. It is a must-listen for fans of the blues genre, and it's a great introduction to Hooker's music for those who are unfamiliar with his work. It may not be perfect but it's a solid piece of music that showcases Hooker's signature style and raw talent.

Moby Grape's self-titled debut album is a solid effort that showcases the band's musicianship and vocal harmonies. Compared to Three Dog Night, the band has a similar psychedelic edge, but the songs on this album don't quite pack the same punch. While the album sounds nice, it doesn't quite hit as hard as it could have. I am not turned off by their sound, but I think it appeals to a Grateful Dead type of fan, and that isn't me.

Beatles influenced for sure. Guitar riffs are completely Harrison inspired, especially the Ticket to Ride-esque, Kicks. Then it devolves into a Beach Boys-ish sound, especially with Little Girl in the 4th Row. Inspiration is in the right place, and the band jives well, but organ chords and derivative songs aren't ingredients in the recipe for greatness to me. Stand out track is I'm Not Your Stepping Stone. I think this is the closest they come to pushing some boundaries. That song really hits. Also, I'm pretty sure the guitar filler in "There She Goes" is identical to the one in "Take a Look at Yourself," by the end they are ripping off themselves!

I have to admit, I always kind of saw The Temptations like fluff, but this album is hard! They sound amazing, the songs are killer, especially Papa was a Rolling Stone, and the Motown sound is downplayed for some epic song variety. Run Charlie Run definitely caught me off-guard. The album comes in like a lion and ends like a lamb. I understand why artists and bands want to show that softer side, but after Papa, the soul is quieter. Thankfully, Do Your Thing sticks the landing. Great album!

Here Are the Sonics really defines a counter-culture to the time. They are messier than a lot of the bands of their day. Distorted guitar, loud, wild vocals, and covers of songs also covered by the Beatles, but in a looser way. I think this album serves more as a bookmark than a long-standing favorite. Derivative bands like this can still be great. I'm not sure if The Sonics are great, but I'm sure the kids went nuts for it, which was likely the goal.

I guess I never knew Dion made it out of the doo-wop era. The folk genre suits him actually. New York City Song feels so tragic. I think an Elton John/Dion collab should have happened. The rest falls into easy listening. Clearly this album production elevates it above what I expected, but overall, it's a middling album.

Three words: Sultans of Swing. That's all you need to know.

21st Century Schizoid Man is some of the best progressive rock I've ever heard. That song has roots in so many future genres of music. The album sinks into some sleepy bits after that, but the Court of the Crimson King is a fitting finale. This album is big, loud, and nothing if not innovative.

Up-tempo classic hip-hop. Chuck D is an original! Michael Franti owes everything to Public Enemy. It's listenable and a balanced use of samples, rock, rap, and R&B. The messages are front and center. Reminds me of Beastie Boys as well. If you're in the mood, this is textbook Hip Hop, but their later work is where they hit the societal sweet spot.

Damn. This album melts in your years. Like Santana and BB King had a band and then Eric Clapton joined in. This is an album you can have on all the time. Just a great groove to hang with and some of the best guitar-centered blues you'll ever hear. The interplay between Clapton's virtuosic guitar playing and Mayall's expressive vocals creates a mesmerizing and unforgettable listening experience. "Bluesbreakers with Eric Clapton" is an essential album for any fan of the blues.

Hard not to like this. Marley tapped into a musical lifestyle and it comes across effortlessly. While the songs don't deviate too much from the reggae beat, the lyrics are optimistic and the vibe is achieved from start to finish. Marley's voice is soulful and passionate, and the musicianship of The Wailers is impeccable.

If we had more Hendrix, this album would be easier to critique in terms of its length and focus. However, this ultimately being all we get, it's a gift that he packed this thing to the gills. The standout features of "Electric Ladyland" is Hendrix's masterful guitar work. He effortlessly shifts between delicate, intricate solos and explosive, high-energy riffs, showcasing a range of techniques and styles. Tracks like "Voodoo Chile" and "All Along the Watchtower" are prime examples of his virtuosity and ability to create emotional depth through his playing. This album makes you feel music. Especially if you get to listen to it with LossLess audio. Insane.

Did I know any of these song? No. But Queen II is a decent album that truly showcases the arrival of Queen and their unique sound. With guitar work that feels inspired by Led Zeppelin and vocals that are at times reminiscent of The Who, Queen II melds different musical influences into something that's distinctly Queen. Every song on this album is a standout, from the epic opening track "Procession" to the powerful closer "Seven Seas of Rhye". The harmonies and complex arrangements are impressive, and the album as a whole is a testament to the band's musical talent. Queen II is not a must-listen, but it does demonstrate the birth of one of the most iconic bands in rock history and their lasting legacy.

This was another offering that was a complete mystery to me. On the surface, Dust is a collection of very 90s songs. However, the control of that sound is impressive. Clear, guitar licks that build and accompany the vocals. Drum fills reminiscent of Ringo. One of the standout tracks on Dust is "Sworn and Broken," which features a memorable hook and a killer keyboard solo that will get stuck in your head for days. It does lack a certifiable hit though. Something to hang your hat on. Overall, Dust is a cohesive and well-crafted album that was ultimately overlooked (at least by me) and deserves a place in the grunge era conversation.

The problem with this one is it is played out! But that's no fault of Bon Jovi's and every song on here bought each band member a house. So, when something goes so mainstream it defines mainstream and in itself becomes a stereotype, do we blame the art? No, we blame whatever derivative garbage came next that tried to rip this off. Therefore, there are some solid, iconic riffs and staples of the genre all over this album. Ballads, arena rockers, and everything in between. Is it a bit "by the numbers?" YES! But this album rocks and gathered tremendous success as one of the most famous rock records of all time. The album does feature catchy hooks and sing-along choruses, but the songs lack the depth and complexity that make a great rock album. The lyrics are often clichéd and predictable, and the music is formulaic and lacks innovation. Overall, "Slippery When Wet" may be a decent album to put on in the background during a party, but it doesn't offer much beyond surface-level entertainment.

So every song here just reminds me of different movies that have used these songs. Gershwin songs are standards and so memorable, but there's no doubt they can be elevated by the right voice. I mean - she's got a voice that can't be mistaken, and it is on full display here with these songs that take a back seat in a way to her skill at vocalizing. All that being said, this is a sleepy album, one that is comforting, jazzy, and sweet, but a glorified cover album in a way. I'm not bothered by this at all, and at times, it is heartbreaking and beautiful. However, these songs feel like they are missing an element of performance that the songs and the singer are known for.

Ok, this is way better than I expected. This is the beginning of Ska music. These guys are instantly recognizable in their sound and instrumentation. The band's energetic blend of ska, reggae, punk, and pop is infectious and irresistible. The album features the band's signature hit "A Message to You Rudy." It's a timeless album that still sounds fresh and exciting more than four decades after its release.

How do you not get into this stuff? Love, unity, and togetherness. The closest thing to Marley I can come up with ever is early Sting. Three Little Birds is an inspiration. The album's themes revolve around political and social issues, with lyrics that promote love, unity, and resistance against oppression. This is a powerful and uplifting and uplifting album.

This album is a party. I don't know what they're talking about, and I don't know what they're all on, but it works. The Beatles probably loved this, or Os Mutantes loved the Beatles. Anyway, this is 39 minutes of mostly great stuff. The bass and lead guitar work is popping and the non-traditional percussion gives it that Brazilian beat. This is a hidden gem.

This is a good rock album that combines elements of rock, pop, and psychedelia. Clearly drawing inspiration from Bowie and Elvis Costello, Super Furry Animals push some boundaries of innovating the genre. The album's first half is the most solid with catch rhythms, riffs, and some quirkiness. At the half-way point, some of the songs amble off the deep end and lose me, but overall, this is a decent little alt rock record.

What makes "A Date with the Everly Brothers" even more remarkable is how its sound is experiencing a resurgence in popularity. Bands like Lord Huron have embraced a similar musical aesthetic, incorporating vintage influences and lush harmonies into their own contemporary compositions. With its blend of rockabilly, country, and pop sensibilities, "A Date with the Everly Brothers" remains a classic example of the Everly Brothers' artistry and their lasting impact on popular music. Couldn't have been more surprised how much this album worked for me!

Yes, yes yes! Clean, hard metal rock. Vocals are not my favorite metal vocals, but the rock is rocking! Some inventive riffs in here, a half-hearted ballad in Red, White, and Blue; decent anthem in United, although - I'm not sure what they're united over...unless it's just united in Metal, which is cool, I guess. Metal Gods and Breaking the Law are my favorites. I can feel their performance in their music; probably a great band to see live. Decent album here, not top shelf metal, but close 3.5/5

Let's not bury the lead here: This recording of "Hurt" is one of the most poignant, emotional, impactful music ever made because of the song, the lyrics, the interpretation, but most of all because of who Cash is. Anyone else could not make this song do what it is doing. It is insane and a case study in music in itself. The rest of this album does not reach the height of "Hurt," but neither does almost anything else I've ever heard. Cash is like Elvis - almost a mythic persona . This album belongs on this list because of "Hurt;" it just must be heard by everyone. The other songs are good, and this whole album makes you go, why don't I just pick up a guitar - look at what you can do with one of those - sounds pretty easy on here! A few of the songs don't really soar that high, mostly the other covers like In My Life, Bridge Over Troubled Water, and Desperado. Still, Hurt alone makes this essential listening.

Wow - from the first vocal on Pink Moon, I am instantly transported to "One of These Things First" from the Garden State soundtrack where I first encountered him. The Garden State Soundtrack incidentally belongs on this list of albums - it's transformational. Anyway, I digress, Drake's falsetto register and rolling instrumental rhythms is hypnotizing. His life is so tragic, it is hard to separate it from the music, making the experience listening to this quite somber, and like Drake's life, the album feels too short and unfinished. But I do love it! Love the sadness, the stripped down, singer-songwriter style, the timelessness of it. But mood is part of this album no matter how you look at it, and so it won't be in high rotation for me, unless I need a think or a cry.

The singles of this album are remarkable and Apple’s voice is unique and melodic. The bulk of this thin is diminishing returns however, and many tracks feel and sound identical.

This album really broke through at the time. I have never been a fan of electronic music or techno, but I remember listening to this when it first came out and enjoying some of the sounds here. All that being said, the genre still doesn't really work for me. It was a fine background choice while reading a book. That's about all I can muster for this one.

This album was great. It's hot, fun, twisted, and great beats and rhythms. I've never heard of Maxinquaye or whoever makes up Tricky, but I'm an instant fan. Wild journeys through, sex, pain, loss, drugs and everything before, after and in-between give this album thematic depth. Tricky creates a dark and brooding atmosphere that captivates the listener from start to finish. The album is filled with layers of intricate production, incorporating samples from various genres, from hip-hop to reggae, and combining them with innovative beats and textures. The songs seamlessly flow into one another, creating a cohesive and immersive listening experience. Good stuff here!

So many strings. I know that's part of their sound and the disco phenomenon was in full swing, but I think it is too much. Jeff Lynne has some good hooks and really established a style all his own with ELO. This kind of soft rock fits squarely between Queen and The Eagles. Mr. Blue Sky is the stand out hit for me. That song gets its hooks into me, and I just love it.

Ultimately, the album presents a mix of highs and lows, with moments of brilliance that make it worth exploring. While it may not satisfy listeners seeking a consistently exceptional experience, "Sounds of Silver" showcases LCD Soundsystem's creativity and musicality, with "North American Scum" shining as a standout track within the album. All of My Friends is also pretty good. Reminds me of early Killers.

This is pretty good. The male/female vocalists work well together to deliver a delicate and enjoyable album. It's minimalist, atmospheric, and a little haunting. Overall, this album is not essential listening, but it's good focus music and pleasant.

Caution: Do not listen to this whilst enjoying a meal or snack. It's just disgusting how many mouth noises are front and center in the vocals. Every click of the tongue, half swallow, saliva shift, etc. is right there in your ears. It's such a weird mixing choice to keep that in there and produce those sounds so prominently. ASMR to the 1000th degree - but gross. Mouth sounds aside, the beats and movement in the songs are good. It feels like a Bjork album and sounds like one too. I do like the instrumentation especially Triangle Walks, but mostly, this album is annoying.

This album defines a time. Guitar forward rock record, rock star sound and lyrics. Sounds like Oasis. Bittersweet Sympathy ironically is the outlier on this album. Occasionally some strings enter the arrangements of other tracks, but mostly Urban Hymns to me is an extension of modern hair rock like Poison or Def Leppard, even Aerosmith - drugs, alcohol, guitars, and a couple acoustic ballads. It doesn't rock like those bands' records do, but the bones of that sound are here. Sadly, as the album goes on...and on (this album is also very long - like 76 minutes) it becomes diminishing returns. Some producer lost a battle with the band because no album, not even like if Jimi Hendrix came back from the dead, should be 76 minutes long.

This is kind of hilarious, really. There's some dark stuff here, but it's all poppy - presidential assassinations, atheism, apartheid, but all to fast, synthesized beats! The 80s were funny. And that last song, the only one anyone has probably ever heard from this...liiiiittle Weinstein-ish.

Yes, yes, yes! So many great singers and bands cite Holly as an inspiration. This is the album that proves them all right. If Rave On was on here, it would be 6 stars.

There's a sleek and stylish sound here, and the album transports listeners to a world of luxurious escapism. "The Thrill of It All" really kicks things off with a guitar forward Bowie-esque entry of glam and rock. The iconic cover art sets the tone as well, but the album does hit a slight low point with "Bitter-Sweet" and "Triptych." Those two tracks feel like part of some other Baroque album that was in the works. Bryan Ferry is such a catch vocalist to me, and the innovative arrangements create an irresistible atmosphere that's both sophisticated and groovy.

There's a folky, dreamy quality to this one. Some haunting melodies and a sort of atmosphere of introspection and longing. While 'Teen Dream' shares some sonic similarities with the emotive style of Band of Horses or Fleet Foxes, Beach House brings their own unique touch, infusing each track with a distinct sense of intimacy and vulnerability. This is another album I'd never have heard of if not for this list, and I do like it. I'm not sure if I'd seek out more of their music, but I did enjoy listening to this one.

There's people who sing good songs, then there's people who can really sing. Margo Timmins is one of those singers who can sing. She can make a bad song a glorious experience. Effortless, breezy, lyrical beauty. this album is a solid bluesy groove. I think Timmins is what it works though. I think the original songs are fine, and the covers are great arrangements, but to me, the magic of this album is in the vocals.

This album was pretty good. Musically it reminds me of the white stripes or even Velvet Underground. The songs are all short and fast. Is it me or is the song When it Started mixed at a way higher level than everything else on this album? Anyway, they are a tight little band with the distinct sound. That’s fun to listen to.

I don’t know if he ever did it but hopefully Gary Newman got into scoring 80s and late 70s sci-fi fantasy motion pictures. His sound is perfect for that. This is a weird album to listen to while you’re driving, which is how I listened to it. I was stuck in a construction zone while Metal was playing and it really went well with it oddly. Something about that driving beat with these machines, tearing up road and sending asphalt bits into a dump truck. Did Bowie know Gary was out there stealing his whole act? I think seeing this guy, Live must’ve been a trip! This album reminds me of when my kids get a hold of the keyboard and turn the synthesizer sounds up and you just go, I gotta get this thing away from them.

Every time a Bowie album comes up I get excited! This album feels like the beginning of his final act. A lot more industrial sound, and an art rock sort of mix. If You Can See me sounds like a song that belongs on Blackstar. I’d Rather be High on the other hand sounds like a throwback to the late Beatles era. Regardless everything on this album is great except for maybe Dancing in Outer space. But then How Does the Grass Grow follows that track and you forget all about about the silliness of the last one. Heat is a beautiful coda and the refrain “My father ran the prison” is just haunting.

From the first beat to the last, Sault's album '(untitled) Black Is' is a captivating journey through rhythm and activism. The infectious beats grab you from the start. There's something refreshingly underground about it, like a hidden gem waiting to be discovered. What truly sets this album apart, though, is its unapologetic activism. Sault fearlessly tackles the pressing issues of our time, from the frustration of gun violence to the insidious presence of police brutality. Each track is a powerful commentary on the modern Black experience in America, offering a perspective that is both urgent and poignant. But it's not just the message that hits hard—it's the music itself. The beats are irresistibly catchy, drawing you in with their infectious energy and refusing to let go. It's a rare combination of substance and style, making '(untitled) Black Is' not only a standout album but also a vital cultural artifact.

You can't beat the harmonies and crisp guitar rhythms that make The Byrds so recognizable. I mean The Byrds is the only reason I know what a 12-string Rickenbacker is. It is hard to deny the influence the Byrds had on rock music. Not to mention the talent that came out of this band (David Crosby)! the only knock on this is that it's a cover album essentially. But a good one, and one where the songs selected almost all become their own and in some cases, I think people probably think they are Byrds originals! We'll Meet Again is the ultimate closing track. Gives me chills. This is easy listening folk rock, and if not for The Byrds, would CSNY be what it became? Probably? Either way, this is certainly essential listening in the pantheon of important modern musical art.

Best album that has come up in a long time on this list. What a debut! The Cars inhabit that same intricate, quirky segment of rock and roll that The Talking Heads live in. And I'm here for that segment like no other! A performance-style lead vocalist and lyracist in Ocasek. A bouncy bass-driven sound thanks to Orr, and a clean and synth balanced sound that not only stands out uniquely but also produces some incredible, undeniable hit songs that don't pander to mainstream. They're just great songs. This thing is a debut and a greatest hits album at the same time. Supurb Friday album.

Funkadelic's album "One Nation Under a Groove" is a joyful celebration of funk in its purest form. From start to finish, the album exudes a free and loose tone that invites listeners to let go and groove along. What sets this album apart is its unapologetic embrace of fun, exemplified by tracks like the hilariously titled "Doo Doo Chasers." I now have the fear of being eaten by a sandwich. Musically, Funkadelic showcases their mastery of the funk genre, effortlessly blending infectious grooves, soulful melodies, and electrifying instrumentation. Lyrically, the band's messages of unity, liberation, and the power of music to uplift resonate deeply, creating an immersive experience for the listener. But perhaps what truly stands out about "One Nation Under a Groove" is its sonorous richness. Each track is a sonic journey, filled with layers of funky basslines, psychedelic guitar riffs, and dynamic vocal harmonies that transport listeners to a world of pure funk bliss. This album is a must-listen for anyone seeking to immerse themselves in the irresistible groove of funk.

This album has staying power. I like how the vocals mix is on top of the music. I think Blondie knew what they had in Deobrah Harry. She is Blondie. I appeciate New Wave, and like The Cars debut album, these songs just rattle off machine gun style, each complete with iconic vocals, catchy riffs, and that throwback, but also mainstream new wave vibe. I appreciate what Blondie is and how they developed their sound and legacy. It's not all for me, especilaly when they dip their toe into disco, but some of it is awesome.

Creepy album cover. But otherwise, a decent 90s rock album. Good guitar licks, atmospheric, and really trying to be cool. Definitely a counterpart to Oasis. A lot of this sounds the same though, so for an album that is over an hour long, some cuts could have been made.

I'm the unassuming fan Reznor did not know existed when he submitted this album. I don't know what it is about NIN, about the anger, about the sadness, about the negativity that fills this album, but I find it cathartic and raw. Other bands, artists, and songs that attempt to replicate this sound don't work for me. Mr. Self Destruct is as perfect an opening track as Hurt is a closing one. Reznor taps into something that is clearly painful and sadly associated with individuals who tragically have done some terrible things in this world. But, intelligent, thoughtful, emotional listeners realize this album and this artist is not trying to rile people up or harm anyone, but rather open up and satirize some dark emotions that are confusingly already present. All of the animal imagery, specifically pig-related animal imagery is meant to criticize an easy to lead and manipulate group of people who inadvertanly allow the minority to rule. I love an album that swings for the fences like this. It is an uneasy listen at times, but the more time spent understanding what Reznor is doing here, the less disturbing it becomes. This album is a rare alternative masterpiece that must be experienced from beginning to end.

It's fine. I was not a huge Metallica fan in the first place. This does nothing to change that, even though I would guess the entire conception of this was to broaden the fan base. The band is talented, and as far as heavy metal goes, I prefer them to most others that come up on this list. The orchestra mix does not totally work for me. There's a soundtrack feeling to it, which takes me out of the live album element. I probably would have attended this as a novelty, but I will probably not ever listen to this again.