This is a weird one. Obviously it was a big album at the time, and Destiny’s Child benefits in hindsight from Beyoncé’s place in culture, but there is some really really cringey early 2000s culture on this album. From the opening, the soundtrack tie in to Charlie’s Angels with name drops for the actresses, it seems like this is the definition of commercialized nonsense. I was kind of shocked by Nasty Girl, which weirdly embodies the early 2000s puritanical/slut-shaming culture of America and is absolute cringe, especially coming after Independent Women, Survivor, AND Bootylicious. It’s a really weird dichotomy of culture. Overall it's just incoherent as an album. There's no overarching theme or message. It bounces back and forth between female empowerment, slut-shaming/pick-me attitudes, lusting after a man ("Spotted me my baby's father" lol), and back to female independence - and that's barely even halfway through the album! I guess its an important listen for the cultural context and place in Beyonce's history, but woof, other than some catchy singles I did not like it.

Fuck Eric Clapton and his anti-vaxx shit. This album of mediocre tunes doesn’t make me reevaluate my distaste for him.

Don't get me wrong, I like the Black Keys. They have some killer singles but I just don't know that they have a single album that holds together as a "great" piece of work. It all ends up being kind of derivative and overlong in the end. I feel like sometime this list mistakes "you must listen to this ALBUM before you die" with "Hey this was popular during 20xx, or had a couple hits on it" with importance. Overall, yeah it's got some pretty good stuff, but would I tell someone they HAVE TO HEAR THIS IMPORTANT PIECE OF WORK? absolutely not. Its a specific genre and vibe, and The Black Keys do it well, but I think others have done it better.

It’s overstuffed and definitely bloated, but the sheer creativity and ideas explored really rivals The White Album. While I think I prefer Speakerboxxx, both “albums” have so many rich ideas and interesting sounds.

I used to listen to this album and Boxer back to back on road trips to and from college in the Midwest. I also have a distinct memory of listening to this album on an 18 hour train ride from Italy to Germany after missing a flight and needing to rush back to meet my girlfriend, who was flying in to visit me at the end of a study abroad program. I don’t know how it would be listening to this for the first time, probably comes off as nicely orchestrated existential whining from a baritone voiced white dude, but that was really a vibe for me during my mid-twenties. I usually reserve 5 star ratings for albums that really blow me away, or are personal favorites that I can listen to over and over (clearly this album falls into the later category).

Great start to this listening project. Both enjoyable to listen to with some touches of experimentation throughout. 3/5 Stars

Used to listen to this album a lot in high school/college. Interesting dynamic and backstory to the album, overall the nostalgia for it pushes it to 4/5 stars for me.

Overall I enjoyed listening to it, but by the second song my wife made me turn it off the Sonos and listen with headphones

ARE YOU READY FOR THE MATRIX? The album goes on a bit long, but if you are in the mood for 90s industrial/goth/techno nostalgia, it absolutely slaps.

Some decent songs, but Tom Petty’s voice is super annoying

Really enjoyable, even outside the hits.

I never listened to Minor Threat in High School even though I was into punk rock - if I did this album probably would have changed my life.

It was good and energetic, but I always have a problem with live albums. No matter the production, the vocal performances are always lacking or pack a lot of “pop” from the microphones.

Classic.

Excellent production/samples, but lyrics really showing their age

Sounds like the late 90s electronic, but pretty great use of old blues samples.

Loses one star for the cringe inducing outro on “the girl is mine”. Otherwise amazing album.

Pretty solid production and signs, I just hate Morrissey

Really disconnected and uneven - really long as well

Pretty fucking dreary, but solid songs

Fuck Eric Clapton and his anti-vaxx shit. This album of mediocre tunes doesn’t make me reevaluate my distaste for him.

There are times when you hear an album for the first time, and it fits a piece of your pop culture understanding perfectly. In this case, its the entire 90’s coffee shop folk vibe, I had no idea it came from this one album. Also, I don’t think I had ever heard “Fast Car” prior to today, which is a shame because its an absolute gem.

Great album, love this creative period from Eno

Great album, sad that the only streaming version I found had a bunch of weird bonus tracks (I recommend only listening to the original track listing). That Lady and Summer Breeze are obvious highlights.

Woof. I was really excited to listen to Can after hearing them referenced so heavily. Album starts out great, but holy shit I was not ready for the 17 minute ambient “experimental” clusterfuck, which the album never really recovers from.

I loved this, it was a really fun listen and reminded me of some of my favorite bands. Also it was a treat finding out that “worst band in the world” was the sample used in J Dilla’s “Workinonit”

It’s a fine Christmas album, but only a few tracks are the “definitive” versions that I would include on a playlist

A good reggae album, but it kind of one more for the entire album.

It was pretty cool and had some real vibes, but I had it on in the background and nothing necessarily jumped out at me.

Reminded me of the sound/looseness of the Stooges second album. Standouts were the longer medley tracks, really groovy/heavy listen

I really loved “This Years Model” in part because it had such a consistent sound - I was a little hesitant on this album but overall I liked it for a lot of the same reasons. “I want you” and “Blue Chair” are highlights

Fun times!

I was a little shocked by her voice, might be something that grows on me with repeated listens but I just couldn’t get into it today

It gets a little boring and repetitive by the end

It’s fine, but never mind

One good thing about this project is that it has forced me to confirm things I’ve thought for a long time, in this case it’s that I really don’t fucking like GunzNroses. The backing music is fine I guess, but pretty repetitive. After a few songs you’ve basically heard all of their tricks and flashes. Then there is Axel Rose, who continues to amaze me at how overrated he is as a vocalist. I find it sounds like listening to a baby wailing and posturing as a tough guy who fucks.

I generally like the Clash and this album is no exception. There is something undeniably fun about their vibe

I love the Yeah Yeah Yeahs and this album has always been a favorite. Always love a relisten

Just didn’t hit for me. It’s always a challenge when an album comes in at 60+ minutes

Fuck, what a banger. Really enjoyed the “jammy” parts

I’m surprised an album that made 1001 albums would be so hard to find. Not available at all on Apple Music, and the YouTube link was to some random user’s video playlist. I guess the music was fine, but kind of a head scratcher on why this was included.

It’s fine. There are a lot of good elements, but overall it just doesn’t come together for me and is never greater than the sum of its parts.

A+ 10/10 absolute banger. The only negative are the two interlude type songs, but as a whole it really works together. Excluding those two interludes, any of these songs would be a top 10 hit.

It’s fine I guess. Not a lot of variation with the backing tracks, and I couldn’t really focus on the lyrics to connect with them.

Impressive that it was one guy recording most of the instruments, the sound is energetic and fun but the style doesn’t vary too much. Some great guitar parts and some fun early synth work, but overall a little repetitive.

Ends up just kind of boring and cringey. The production is too quality, but a lot of the songs lack cohesive bridge sections and the lyrics are subpar

Hit or miss. Mercedes Benz was a real throwaway track.

I think this is their most focused output, and coming off of White Light/White Heat it’s surprisingly mellow.

What a tour de force of creativity. Definitely going to add this to regular rotation. Only downside is weird/bad mixing in a handful of songs.

Man, the opener has not aged well. The messaging of “it’s hard being pretty because people don’t care what you THINK” is a little oblivious and self -obsessed. Coupled with the following intro on “Haunted” with the refrain “people all over the world working 9-5 just to stay alive” seems completely disconnected and out of touch, with a follow up line of “probably won’t make no money off this, oh well” like, thanks so much Beyoncé for being so selfless to bless us with this without considering making money (even though it obviously would be a smash hit). Luckily those are the only real down points, Haunted turns into a great track and everything after is pretty great. Shocking frank about sex, love, and relationships and superstar production.

Extra long album, but no fat to be found.

Banger after banger, so many classic riffs and songs.

It didn’t really grab me, but musically it was fine. Don’t know if I would go back and Re listen but I can see the appeal

It didn’t really grab me, but musically it was fine. Don’t know if I would go back and Re listen but I can see the appeal

Has some interesting ideas but the mixing is terrible on several tracks

I was honestly going to give this a chance even though I fucking hate Eric Clapton. It starts out pretty good with Strange Brew and Sunshine of your love, but nothing else on the album really pops.

It’s always amazing to here such a vibe, consistent throughout a piece of work like this, that encapsulates an entire time period and genre.

It’s overstuffed and definitely bloated, but the sheer creativity and ideas explored really rivals The White Album. While I think I prefer Speakerboxxx, both “albums” have so many rich ideas and interesting sounds.

It’s a solid album, but ends up a pretty tedious listen. Masterful performances, but the length and drama require a specific mood.

A real banger of an album. While side 1 doesn’t ever really match the energy of the opener, it’s still rock solid. The only misstep on the album is “Darling Nikki”, which is both just kind of a bad song and the mixing was terrible.

Kicks balls and slaps titties. Hits for days, and its one of the rare albums where skit/field recordings add to the narrative.

I’m not super into thrash metal, and some of the songs go on a little long, but there are some super interesting ideas and dynamic shifts that took me by surprise. Prime example was the middle section in “Master of Puppets”, just really compelling and epic guitar moves.

Competent blues played by a bunch of white British dudes

It’s great, but loses a lot of Re listen potential since it’s a live album

It’s long and kind of slow, but the overall atmosphere is so singular and well executed. Also “Love Song” would get almost any album to at least 4 stars.

It’s fine. The music is good, but I really can’t stand Morrissey.

I might need to Re-llisten, but nothing on here connected with me.

Pretty great, solid bangers throughout. Main detractor is the super annoying “Mango Pickle Down River”

Not as good as live through this, but solid

The music was great and there was something charmingly off kilter about the vocals

I was between a 2 and 3, but honestly it was just too repetitive for my taste. Almost every song just has too much of Mariah Carey’s humming/display of vocal range. Like, “OOooOoooWahHooOoOoOoo you get a twoOoOooooo”

Interesting sound (although definitely “of the time”), somewhat of a concept album that’s connected by a bunch of interludes. Overall it’s an interesting cohesive listen, but the amount and frequency of interludes weakens it’s appeal for relistens.

Torn between 3 and 4 on this one. “Two Weeks” is an obvious highlight, but I felt like I was maybe missing the moment or impact that this had. It’s a prime example of mid-2010 pop, but I don’t know if it’s the best example of the period (although maybe it helped define the genre-sound at the time).

I used to listen to this album and Boxer back to back on road trips to and from college in the Midwest. I also have a distinct memory of listening to this album on an 18 hour train ride from Italy to Germany after missing a flight and needing to rush back to meet my girlfriend, who was flying in to visit me at the end of a study abroad program. I don’t know how it would be listening to this for the first time, probably comes off as nicely orchestrated existential whining from a baritone voiced white dude, but that was really a vibe for me during my mid-twenties. I usually reserve 5 star ratings for albums that really blow me away, or are personal favorites that I can listen to over and over (clearly this album falls into the later category).

It’s amazing how hard it is to block off 3 HOURS during a workday to listen to music. I respect the concept and overall think it’s successful, but in reality there is probably 1-2 albums of great songs, with a lot of experimentation and filler.

A couple good singles, but it’s hard to listen back without ignoring the context of his shtiness as a person.

It is a distinct piece of art from beginning to end, an immaculate singular mood.

Good vibes good times

It’s a little tedious, the first three songs all revolve around gangster posturing about killing people, the rest didn’t really hold my attention. Solid beats though.

Boring and monotonous

Points deducted for being a live album, I feel like it’s always an annoying negative and would just rather listen to the studio version of these songs.

Crass and perverse Brit pop, A+ listen, absolutely kicks balls

This is my favorite Beatles album, even though “Run for your life” is a little cringy in today’s context, the whole album kicks balls and slaps titties.

The production is top notch

It might be an important artifact, but overall just didn’t age well and didn’t connect with me

I guess this is an important album as it seems like a prototype for a lot of nu-metal bands that came in the mid-late 90’s. Not my cup of tea though.

This is one of my favorite albums of all time, no way to be objective. I still remember being in my freshman year of college hearing the announcement that they were releasing a new album in 10 days, for whatever price you wanted to pay. I can’t remember if I paid $0 just for the memory, but I eventually bought a CD copy. Aside from the unique (at the time) release strategy, this album kicks balls and slaps titties. Each song is unique in style and sound, but they work amazingly well together on the album.

So many bangers on this album, only suffers from a few cover songs that are only so-so

Some great songs, but some real weak points and overall doesn’t feel as cohesive as some other CSN (excluding Y) albums

This is another high school classic for me. It’s a great listen straight through, the only weak point is “The Boy done wrong again” but in the context of the album it works.

I was in between a 3 and 4 star ranking, and I think the 10 tracks of the official album are a 4 star, but there isn’t a good indication (other than Wikipedia) that the last three tracks are “CD bonus” tracks, and the quality is a real step down.

Bobby D is a legend for a reason. Kicks balls and slaps titties.

Overall the album is good, but it seemed like the recording/mixing on the horns was distorted at times. There were also some kind of weird hippy/spiritual sections, but overall cohesive listen.

It’s a little long and definitely not LCD’s best album, and there is still a sour taste in my mouth after the whole retirement controversy.

Really sounds like pop Oasis, so pretty good

It’s fine, but if you can listen to this on a speaker system vs. headphones. Really bizarre mixing/panning choices, for example on “Elected” the vocals are pushed all the way to the left channel, while the drums are squished hard to the right.

This was a major album for me during my college years. Listening to it again, it’s amazing mix of cacophony and subtle timbres. “Love Dog” is still one of my favorite songs, the mix of heavy drums and love-lorn cooing is a perfect combination.

Voice of an angel

This was interesting as a historical listen, but there were some really rudimentary electronic experimentation moments that maybe don’t hold up as well. Also much less exciting than Can

This one grew on me. I really appreciated recognizing some of the bands The Jam has influenced (Bloc Party), and were influenced by (The Beatles). Would return.

I absolutely love Brian Eno's early solo albums. So many great songs on this album, and the sounds and experimentation work so well.

Really lovely album. Loses 1 star due to the fact they have a traffic siren on one song, which limits when I would want to put this on (it freaks me out during car listens, and is annoying at home). But overall some absolutely charming tunes.

A lot of the sounds remind me of early Gorillaz. Lots of great tracks and a great vibe overall.

Absolute ball kicking titty slapping rock n roll

I don’t know, there is something about the overall sound that I really liked. Parts of it reminded me of the looseness of the first Velvet Underground album, which has that sort of heroin haziness to it, most notably on “A Sailor’s Life”, which is an absolute banger.

Something about this album resonated with me. The lead singer's voice is a bit goofy and like Morrissey but I found it more charming and less annoying. Really enjoyable listen.

I don't know, the backing music has some good moments but overall wasn't into his voice on a lot of tracks - too much moaning/slurring through songs. It was almost bearable until "Rockin' Chair", which I found really tested my patience.

Pretty sweet grooves and vibes. Definitely will relisten/put this in regular rotation.

This one had some elements I really liked and definitely an interesting listen to hear where subsequent bands were influenced. I think the main downside was the lyrics and subject matter, just didn't connect.

It's definitely an impressive album and has some amazing hits, but it definitely starts to drag on during the second disc. At almost 2 hours, its a real commitment to listen all the way through, and can be a bit of a struggle.

I found a lot of the covers underwhelming, they really pale in comparison to the original/better known versions.

I guess I only really like The Temptations singles, their albums have been pretty underwhelming overall (this was my second album from them this week).

So many hits, the appeal is undeniable. Even less well known tracks like "Dirty Diana" really kick balls. The overall cohesiveness to the record is impressive.

It's a fine, if somewhat middling, effort from Tom Waits. But with so many other albums he has released that I think are more important, this one just seems average.

Honestly if this was anyone else, it would be a decent album. But I absolutely despise Morrissey, and this album doesn't do much to change my opinion.

Not my cup of tea, and overall their style and sound feels like a bit of a joke.

It's such a singular sound that it limit the times and environments you would want to listen to it in.

When they're on, like on the single "Ain't no right", it's good. But there are too few moments like this on the album, so overall you have to be into their sound and Perry Farrell's voice can get annoying pretty quickly. I think it's just not for me, but I can understand why it was important/other people like it/why it is on the list.

It's an undeniable classic that had significant impact on culture, and the production is impeccable. That being said, there are still a few issues. It seems like several songs include extended outros that are mostly shit talking Easy E, and several skits about fucking or "DEEEEEZZZ NUTZZZZ".

It has some issues, like the extended intro telling the audience that there will be a recording happening and that they will be using lyric sheets, and the extended outro of “Willow Weep for Me”, but I feel edified having listened to it.

I loved this album in college, and Re listening only reminded me why. It’s hilarious, rollicking, and just a great groovy glam time.

Shit man, this was really great. Reminds me of the best aspects of Radiohead around The Bends and Ok Computer, just awesome instrumentation and sound. I'll have to relisten, but what a treat that will be.

Absolute classic. Totally kicks balls and slaps titties.

Immediately on the opening song, there is the overriding sense of joy that carries through the entire album. It really is a stunning work from start to finish and is clearly deserving of the praise it initially earned, and its inclusion on this list.

This album dropped when I was a freshman in highschool, and with a lot of things from that time period I was interested in, I was expecting to cringe while relistening to this. I'm happy to report that wasn't the case, this album still holds up and was pretty ambitious for the time. While I think I prefer other rock operas, Green Day tried something new and found a format that really worked for them.

There is so much material (maybe too much, at over an hour it's a lot to really listen to in one sitting) that it's hard not to rate it highly. Not my favorite Stone's album, but still a great listen.

It's definitely a great album with some essential material ("Trampled Under Foot", "Kashmir"), but as an album listen it's too long. Since its a double album, it does have some logical breaks which helps out. I think this comes from the history, it seems like they had enough material for 1.5 records so they added in b-sides/outtakes from earlier recording sessions. All of the songs hold up, but its definitely overstuffed.

Really inventive use of samples, solid listen.

Kind of mediocre, there are a lot of solo acoustic folk singer albums from this time period and I don’t know what is supposed to elevate this one.

All in all it's pretty ridiculous, but the original ambition and really solidly launching the idea of a Rock Opera had so much impact on rock music. I love when bands take big swings like this, and overall it really works.

Might be my favorite Bob Dylan album, which says a lot because he has so many classic, influential albums. It really does have a loose unique feel to it, and while it's long, that looseness makes it a great hang out album. Even if you put it on in the background, every now and then some lyrics will just jump out and hit you at the right moment. Truly an album that I would recommend everyone listen to before they die.

Overall a fine collection of songs - I'm just a little confused as to why this compilation would be on the list rather than a full album. Maybe the band had more of an impact outside of the US, but other than "Hate to say I told you so" I don't think I've heard any of these other songs - which are supposed to be their big hit singles!

This is a perfect album. It has long been one of my favorites (my wife and I had our first dance to "God Only Knows"), and it is still so singular and grand in its sound. It doesn't try hard to be deep (although the alternate version of "I know there's an answer" is straight up about tripping on acid), there is such an earnest innocence on the edge of adulthood that instantly hits a nostalgic nerve.

It's got some great all-American songs, but some real weak points, like Darlington County and Workin' on the Highway.

Some good music, but Morrissey still sucks. Its unfortunate for the rest of the band that they are consistently dragged down by an officious asshat.

It runs pretty long, and is pretty clearly derivative of a specific 80's sound.

The vocals are a little corny, this album is emblematic of a distinct style of 1960's folk singing. However, the music is really well done, the playing is great, and it has a real charm to it.

Loved the overall sound and music - the vocals for the Beastie Boys are always a little muddled. But based on vibes alone it was a great listen.

Probably my favorite Stones album from this period, "Gimme Shelter" alone elevates this to classic status.

It's really compelling. For some reason the track listing on Apple Music is shuffled from what is shown on Wikipedia.

I know that this is an important and influential album and should definitely be included on this list; everyone should endure the experience at least once (like the album Free Jazz or The Shape of Jazz to Come). It's a creative and artistic expression, but just not one I like in the least. Its so fucking long and unless I knew the history that apparently these were extremely practiced songs, it sounds like someone gave instruments to complete novices, told them to play, and pressed record.

I appreciate hearing these albums and being exposed to a different sound than I'm used to. Overall though, I struggle to see myself registering to albums that are in a foreign language over again, and struggle to connect with them in a way that I don't for English language or even instrumental focused albums.

Really lovely soundscape

I guess it was interesting? Definitely feels like “world music” so sure, I’m happy I heard it before I died.

Overall there is just something I like about Lou Reed, even if it's depressing he has a sense of humor in his music. I would have given this 4 stars, but the song "The Kids" loses a star for the sounds of children crying. It takes something with depressing subject matter, and makes it basically unlistenable, which kind of ruins the album on relisten. Still, "Berlin", "Lady Day", "How do you think it feels", and "Caroline Says II" are all great Lou Reed songs.

Definitely glad I listened. It's interesting, I really like the overall sound and definitely want to listen again.

A lot of classics, but kind of overstuffed.

I really like Nick Cave, but this was the first time I’ve listened to The Birthday Party. It was pretty fun, but had a few weak spots.

It's an all right listen, but not my favorite Costello album. It definitely has some interesting sounds and ideas, but overall didn't really ever "wow" me

It's mostly lighthearted fun, obviously "Dancing Queen" is an absolute banger. But definitely weird in modern times with the song "When I kissed the teacher"

Its interesting as a cultural artifact of the early 1980s and early synth pop.

One of my favorites from my teenage years, I have so many memories tied to this album.

It’s kind of goofy sounding now, but overall impressive from a “one man in the studio” perspective and pretty enjoyable throughout

It has some stunningly beautiful moments and a great vibe throughout.

I was a little distracted and its a little long, but overall a lot of the ideas are bonkers or fun in a good way. At times it sounds like how I wish Captain Beefheart sounded.

The production is great and overall the flow works well - however some of the lyrics and themes have aged poorly.

It seems like this is the definitive example of a specific genre/type of music, so definitely agree on its inclusion on this list. It's pretty great, but such a specific vibe and mood.

woof - what a time to review a Kanye West album. Trying to keep current events out of my revaluation of this album, so bear with me. I loved this album when it was released. I loved his previously album, My Beautiful Dark Twisted Fantasy, and this was the polar opposite. For a few months after its release, I would regularly blare this as soon as I woke up (sorry neighbors) while getting ready for work. Lyrically it's a fascinating dissection of racism in society and specifically the fashion industry/business world, deeply problematic in its misogyny, and utterly hilarious at times. There is a great podcast series (Dissect) that covers each track, the musical and lyrical content in depth, but some quick thoughts on each track as I re-listen. On Sight - Instantly establishes the worldview of this album. The sample cut-in is perfect, letting you know immediately what could have been, but clearly defining that this ISN'T what you are going to get. Black Skinhead - (so ironic in light of recent events) This is an absolute hype song. I have this on about 10 different running playlists. I am a God - "HURRY UP WITH MY DAMN CROISSANTS". TBH the screaming does get a little old. New Slaves - The ending of this song gets me every time. The sample is so epic and triumphant. Probably the most interesting song lyrically, commenting on the racism in the fashion industry. Hold My Liquor - Start of a series of tracks with really problematic misogynistic lyrics, but the focus is more on the Yeezy character's issues with alcohol (as the title implies). The production is still so interesting, with the woozy beats and scattered vocal samples, breaking midway through with Justin Vernon's part and some amazing sounding guitar lines. I'm in it - Honestly this song innovates in how misogynistic and grotesque some of the lines are "put my fist in her like a civil rights sign", and the sweet and sour sauce line. It's kind of funny for how extreme. Blood on the Leaves - I know the use of Nina Simone's sample is controversial, but the production is absolutely top notch. The lyrical content, beating a dead horse, is extreme and misogynistic. It paints a portrait of men having affairs without any judgement or critical thought of the man's role in the affair. Guilt Trip - In the context of this album, this song is almost a ballad. Some surprisingly vulnerable lyrics. Send it up - Some people might find the backing track annoying, but like a lot of the sonic choices on the album, I love it. It's like a demented air-raid siren. I find a lot of Kanye's lyrics hilarious, such as "She said can you get my friends in the club? I said can you get my Benz in the club? if not treat your friends like my Benz park they ass outside until the evening' ends" Bound 2 - Absolute banger. My wife doesn't like a lot of this album, but loves this song. Another example of absolutely hilarious Kanye lines "when a real ***** holds you down you supposed to drown" "one good girl is worth a thousand bitches" think about it! "I wanna fuck you hard on the sink, after that give you something to drink" When the second chorus kicks in, it takes everything to a higher level.

This is one of my favorite albums - I went through a period where I mildly obsessed with David Bowie's Berlin Trilogy, which this album is a precursor. China Girl is absolutely fucking epic. I knew Nightclubbing from the Trainspotting soundtrack, but only grew to love it more when I got into this album. I can't be objective in my assessment since I have loved this album for years, but I hope you enjoy it as much as I do.

Surprisingly not my cup of tea. I just felt like the loose feel created a vibe of being at a drug dealers house, smoking joint and then having to suffer through him playing you his songs.

This was a weird one due to Apple Music missing tracks on this album. No real way to find them within the service. So the album I listened to was only 22 minutes. As most live albums, it was filled with annoying crowd noise.

One of the few live albums I enjoy. Cash's interplay with the crowd and songs are just fun, and it seems like he cares about the men he is playing to.

The music is fine enough, but goddamn this is a long album and on a personal level Eric Clapton fucking sucks.

Really torn on my rating for this one. I liked it, it was kind of a kaleidoscope of sounds and influences from the 2000's and 2010's. I heard a lot of touches of Wilco, TV on the Radio, Beach House, and even older influences like Kraftwerk and Can. But I was stumped by the seeming lack of cultural impact - there is no wikipedia page for the album, I can't find a broad ranges of reviews, and can't find it on lists of best albums of the year. How did it end up in the 1001 albums to hear before you die?

Definitely an essential listen for the cultural impact and classic jams. My complaints are only due to the culture of rap records at the time, skits really annoy me for the most part, and the album is overly long.

I respect what Kurt Cobain wanted to achieve with this album, and despite Steve Albini's comments after its release, I think they achieved it. Some absolute classic Nirvana tracks like Heart Shaped Box and All Apologies, the rougher/harder sound is captivating even if you haven't heard Nevermind.

This was a huge album for me in high school. It was great to re-listen as a part of this project, and the album holds up completely. The raw aggressive sound is still unique among rock albums, the guitar sounds are fascinating and Karen O's vocals are captivating. Maps is still a certified banger.

Wow, this album came up only a few weeks after The Idiot. I love both of these albums, I was really obsessed with this period in Iggy Pop and David Bowie's careers. I go back and forth between which album I love more, this one is definitely more "Rock" oriented. Lust for Life, Passenger, and Tonight are my top tracks.

I was surprised by this album. Beyond the singles, the other songs were either good to great without a lot of annoyance. “Moving in Stereo” and “All Mixed Up” stood out. Definitely going to listen again.

Sounds almost like a lost David Bowie album. Overall fine, I guess it was an important album historically because it had some hits in the UK?

This would be a 3.5 for me, but it is mostly one-note sonically. There are moments that really grabbed me, and it was mostly when the band slowed down, or quieted down from the mostly loud dynamic.

It kicks balls, but this is an album that could definitely benefit from remixing/remastering in a modern context. The several songs on the version available for streaming includes "stereo" mixing style from the 60's, which just pans some instruments hard left or right, which on headphones is one of the worst listening experiences.

So many classic songs. This formula worked so well that they re-recorded this album several more times.

A pretty solid album and indicative of the time period. You can draw a line of influence from Massive Attack, through this Red Snapper album, to a lot of subsequent great British electronic music.

This is a weird one. Serene music with a strange vocal styling, I think it would take repeated listens to judge if it was above a 3 star. While the music is beautifully played, I’m not sure that this is a unique or important work that needs to be on this list.

I had no idea there was a "twin" album to The Soft Bulletin. While there are a lot of similarities in the sonic textures, Mercury Rev create something original and interesting throughout the album. Really engaging material, definitely will re-listen

An impeccable pop album.

Overall I agree that this is an important cultural album, it launched Kanye into stardom and redefined hip-hop at the time of its release. Looking back, it has its faults: the album is overlong and includes annoying skits that balloon the run time. Absolute classic tracks though, and definitely deserves to be included on this list. It's hard to not let current news impact your listening to an album, Kanye's recent Nazi shit is unforgivable. But I still try to separate the art from the artist, and keep the time frame in mind when listening to these albums.

I mean it's Queen, so it's hard not to love. I think the only thing holding back 5 stars is the lack of their well known hits, it's definitely a deep cut collection. But its a lot of fun, with masterful musicianship and fun sonic experimentation.

Kind of one note on style, but sure, I'm glad I listened to it.

By the second song, I was ready to rate this as a 2 star album. I get that maybe it had some impact at the time, apparently it won the Grammy for Best contemporary folk album, but it seemed like a pretty average folk album and didn't do anything interesting.

Marvin Gaye died years before I was born, but goddamn if he didn't just make sweet sonic love to my ears.

Its a great introduction to The Rolling Stones, but due to the amount of covers it seems slight compared to the rest of their discography.

Pretty solid listen. I didn't realize the connection with the Bad Seeds at first, but overall an interesting sound.

What an innovative use of sound as torture! I get that this album might be important as an example or the pinnacle of a genre, but this genre is absolute trash.

Arguably their definitive album, although you could also say that Californication really distilled their style better. Its really long and kind of cringy, but has an undeniable vibe and appeal.

I've always had an affinity for this album. When it was released, I think Amnesiac was generally regarded as a lesser album than Kid A, but there is a warmness to these songs that I think is missing from Kid A. Maybe its the red album cover. I love Life in a Glass House, but so many of the songs rank in my top Radiohead tracks.

Don't get me wrong, I like the Black Keys. They have some killer singles but I just don't know that they have a single album that holds together as a "great" piece of work. It all ends up being kind of derivative and overlong in the end. I feel like sometime this list mistakes "you must listen to this ALBUM before you die" with "Hey this was popular during 20xx, or had a couple hits on it" with importance. Overall, yeah it's got some pretty good stuff, but would I tell someone they HAVE TO HEAR THIS IMPORTANT PIECE OF WORK? absolutely not. Its a specific genre and vibe, and The Black Keys do it well, but I think others have done it better.

Really great debut album. It's definitely less polished than Toxicity, but the band's unique sound is impressive. My only complaint is that I didn't realize this before, but the guitar riff from Spiders was reused on their next album.

It's fine - definitely a worthwhile listen for the impact it had, and its sad how the LA riots and race issues at the time are still relevant and a prevalent today. Some great tracks like "It was a good day" and "Check Yo Self". I liked the production, but just didn't feel a connection to it.

Another personal favorite. Tom Waits was able to create something unique and entertaining with this album, and it marked a new direction for his music that went on into weirder and wilder years.

Clearly an influential album - wasn't my favorite but I can see the merit. At least it was only 15 minutes!

I love Sade - this album sounds so fucking effortless and cool, like their natural state is pure vibes.

I always like Danger Mouse's production - even if it has a similar sonic quality regardless of the artist he is working with. It's like a director working with different actors, the films might share visual qualities but the performances are where the talent can craft something unique and interesting. I've never heard Michael Kiwanuka before, but this album is a fantastic introduction. The songwriting is exceptional, and paired with Danger Mouse's signature production the album shines.

Interesting listen, definitely a different sound than I've ever heard from Leonard Cohen. I'll probably give it a re-listen at some point, there are a lot of details, like the background singes, that I really like.

Led Zeppelin is one of those rare legacy bands that really had a run of perfect albums. With a greater emphasis on "acoustic" songs, III is a fantastic sonic exploration.

Overall a great album and really a pinnacle of 80's pop/rock. I remember when the 2006 releases came out, I was in a Sam Goody and saw the album - I had heard of Depeche Mode but never given them a listen. I was struck by the album artwork and listened to a few tracks on the demo station. I don't think I ended up buying the album, and it's probably for the best. I don't think I would have appreciated it at that point. But now, in my mid-30s I really enjoy that sound and vibe. While I prefer New Order, there are some really great tracks on this album and its definitely worth the listen.

It's fine, I guess the Police just don't really do it for me. Obviously an important cultural album, but I won't be revisiting anytime soon.

I prefer Remain in Light, but will probably give this another listen.

This is a weird one. Obviously it was a big album at the time, and Destiny’s Child benefits in hindsight from Beyoncé’s place in culture, but there is some really really cringey early 2000s culture on this album. From the opening, the soundtrack tie in to Charlie’s Angels with name drops for the actresses, it seems like this is the definition of commercialized nonsense. I was kind of shocked by Nasty Girl, which weirdly embodies the early 2000s puritanical/slut-shaming culture of America and is absolute cringe, especially coming after Independent Women, Survivor, AND Bootylicious. It’s a really weird dichotomy of culture. Overall it's just incoherent as an album. There's no overarching theme or message. It bounces back and forth between female empowerment, slut-shaming/pick-me attitudes, lusting after a man ("Spotted me my baby's father" lol), and back to female independence - and that's barely even halfway through the album! I guess its an important listen for the cultural context and place in Beyonce's history, but woof, other than some catchy singles I did not like it.

Starts with an absolute banger, I was convinced if they could keep it up I would give this album 5 stars. That quickly dissipated as soon as the bizarre, extreme panning kicked in on the second track. Really disorienting on headphones. I could barely focus on the song due to how uncomfortable it made my ears feel. Overall it's a fine listen, some decent singles that are indicative of the period. I feel like there are plenty of examples of the "sound" of this time period on this list though.

This is another nostalgia album for me. This is practically a perfect album (along with Pet Sounds) to listen to while on psychedelic drugs. And even if you haven't taken any drugs, it really holds up! The production and experimentation is top level, but still so accessible.

It's got a great vibe to it, but it lacked something as compelling as Strawberry Letter 23.

I'm a little torn on this ranking. I definitely this its worthwhile to include a Lana Del Rey album on this list, but I'm not sure if this one is the best selection, and I think more than one is probably overkill. It would be between this and "Norman Fucking Rockwell" (no idea if that is also included on this list). Overall pretty good, if low-key, album. White Dress is a really good song, and is emblematic of one of several Lana Del Rey vocal style that does a good job setting up the album.

Starts off promising, but by the end I was a bit fatigued due to the sameness of a lot of the tracks. I liked the sound overall, just got a little tired/bored by the end.

I love The Beatles and it's amazing how even their early straightforward albums were still so good. This album includes some of their early songwriting breakthroughs, like "All My Loving" and "All I've Got to Do", and even George Harrison's first original contribution "Don't Bother Me". It's a fantastic album, but the current version available is a terrible headphone listen. The "stereo" mixing on these albums was literally just "its push the vocals to the right channel, and the instruments to the left". I did find that use the "Spatialize Stereo" feature with my AirPods made it much more listenable. I really hope they do a proper full remix of this album like they've done with Abbey Road, Sgt. Pepper's, and Revolver. I would recommend listening to this on speakers, or find the mono version if possible.

I agree with the assessment that this is probably the best post-Beatles solo album from the group (although I personally love McCartney by Paul McCartney). The only real downside is the length, which can be tiring if you aren't in a good spot to settle in for the full album. For the first two discs there isn't a single skip, every song is beautifully recorded and a joy to listen to (I guess you could argue against including 2 versions of "Isn't it a Pity"). I'm torn on disc 3. It was included as a "free" disc with the rest of the album, and is just a collection of loose jams - albeit jams with some absolutely amazing musicians. The real miss is "It's Johnny's Birthday", although it's just a brief interlude. Overall, I don't think it takes away from the album as a whole.

Another one of my personal favorites. I love the different era's of David Bowie, but on some of his early album there are a few tracks that don't really hang together - that isn't the case here. While the whole album has a "sound", each track is remarkably different and fun. Key tracks are "Changes" and "Life on Mars?", but I also love "Oh! You pretty things" and "Andy Warhol".

Started off pretty compelling with "The Concept" but didn't really hold my attention. It seemed to encapsulate an early indie sound, I was surprised it was released in 1991. Can definitely hear the influence on subsequent bands (according to Wikipedia Death Cab for Cutie was heavily influenced by it, and yeah, that tracks). Overall happy I listened to it before I die.

This is one of my favorite albums of all time. I got really into this album in college, it has such a consistent tightly wound sound, and overflowing with energy. The Attractions go hard throughout the entire affair, but maybe the best exemplified on “Lipstick Vogue”. Costello’s lyrics are visceral and biting.

It's a good album, and definitely feels like the Stones coming into their own. It doesn't have the same level of impact as The Beatles or Beach Boys albums at the time, and lacks as many distinct hits as either band had. But overall enjoyable, and The Rolling Stones are clearly an important band.

God this album sucks. Its arguable that its an important album since KISS is technically a hugely popular band, so it gets 2 stars (my rating for things I don't like a but am open to argument for inclusion). I don't have any reason to hate KISS, which would push this more towards 1 star, but honestly it's just kind of silly and embarrassing. By track 3, I was already tired of listening to it.

Definitely not a garbage album! Really solid production, and a lot of the sounds are familiar in the sense of the influence that this album had.

This was really enjoyable. It definitely speaks to a specific time period of popular music from the 60's, when "psychedelic experimentation" was all the rage. Definitely some quality songs, and I think that I would definitely pick this album to include over some other selections I've already listened to.

Really compelling concept album/EP - some of it can seem light-hearted and silly ("Put it down"), but great production and writing throughout. It seems like a more complete and thoughtful piece of art than a lot of other albums on this list, and considering ititss technically an EP it doesn't overstay its welcome or stretch out unnecessarily. I really loved some of the production, notable cuts like "Lost One" and "The Other Side".

It starts off as typical brit-pop but has some nice experimentation, especially later in the album. The majority of the songs sound a lot like Oasis, but to The Charlatans credit, its like if Oasis stopped writing the same few songs over and over and actually tried something different.

Nick Drake has that rare quality of making something unique seem familiar. I loved this album in college, so it has a special place in my musical heart. But I think the appeal is undeniable, there are so many delightful songs on this album ("At the Chime of a City Clock", "One of These Things First")

I really liked this one - I guess I generally like Krautrock? Will definitely re-listen soon. While some songs are repetitive (a key factor of the style), I was really taken with the sounds on some tracks, like "Jennifer" and "Giggy Smile".

Not bad for a country album - some really nice instrumentation and the lyrics were fairly interesting/clever.

There are some really strong songs and great highs on this album. I think the main thing holding back a 5 star review is a few weaker songs in the back half, but some really interesting and delightful sounds throughout. "Fuzzy" and "The Shining Hour" are key tracks for me.

Eh, I guess it's fine if this floats your boat. The entire time I just felt like I've heard all of these songs before, performed better by better bands. Even "She Talks to Angels" just came off as a "Wild Horses" tribute. It all comes off like these guys put on the costume of "Blues Rock Band", kind of like an early Greta Van Fleet.

There is something really intriguing about the moment in time, the disaffection captured in the sound of The Specials. When I put on the album and pulled up the Wikipedia page about the album, I expected to hate it since The Specials are described as a "British ska revival band", and my only reference point for ska music is the mid-90s era, which I think is mostly trash. However, I was taken in by the sound, loved the bass lines and entire vibe.

I FEEL LIKE I TOOK ACID AT A RAVE AND WOKE IP NAKED ON THE NEIGHBORS LAWN. BUT LIKE, IN A GOOD WAY.

It's a brilliant example of symphonic pop, and there isn't really much that comes close to the exuberant highs on the album; but there is always a part of me (and so many fans) that wonders what could have been if this album was completed in 1967. The music itself is really beautiful, but there is a certain sadness listening to it. I think its best summed up by the different versions of "Good Vibrations" - while this version is fine and sounds so close to the original, the noticeable differences just make it feel off. I also listened to The Smile Sessions, which was released after this and is compiled from the original recordings but uses this album as a template. I think there are trade offs between the two, but think I prefer the original recordings.

This was pretty gnarly it a great way. Super out there, but really engaging.

It must be my lucky week, back to back Kate Bush albums. I really liked "The Dreaming" and the weird, left-field experimentation. Overall fantastic album - even without the recent exposure from Stranger Things, this whole album is back to back bangers with two exceptions. The only real weak points were "Waking the Witch" and "Hello Earth", the latter being just a little weird and spacey while the former was just a bit abrasive to consider amongst the rest of the album.

While this is a well-regarded Beatles album, it doesn't rate as highly for me as their other late-period albums (Rubber Soul through Let It Be). There are so many great songs, yet the album's overall feel is a bit of a miss-mash and has some definite skips. I think basically all of the Beatles albums deserve to be on this list (they had such a huge cultural impact that it seems shortsighted to skip any of their records), but I'm much more likely to reach for Abbey Road or Sgt. Pepper's Lonely Hearts Club Band.

Definite relisten potential. Smooth grooves that are great to put on, let your mind drift off or focus on a particular task. Prior to listening to the album, I think my only exposure to Röyksopp was "Remind Me", which is a killer down-tempo track. I really liked "She's So" and "So Easy" but honestly the whole album is a treat.

What a whimsical enjoyable listen. The only real misfire was "Pigtail", but still, when considered as a whole piece, the album is great.

Pretty sweet rave tunes

This is the beginning of The Rolling Stones "classic" period (Beggar's Banquet, Let It Bleed, Sticky Fingers, Exile), while these are classic albums with some of their best known songs, I feel like they don't all reach the 5 star mark. Outside of the hits the songs are still good, but do they really come together for something exceptional?

Good to listen to historically. Weird note, I couldn't actually find this album on Apple Music. I put together a playlist based on the full Imperial recordings compilation, with a few tracks coming from other compilations/albums. A little weird that it lacks wide availability but is considered an essential listen!

Definitely deserves inclusion - it seems like an excellent example of afrobeat. I think what elevates it for me is the energy that is pervasive throughout the recording. Long jams over excellent grooves - I plan on putting this on frequently just to zone out and work.

There are some silly sounding moments where put on accents almost sound like parody, but overall a solid album. It's interesting that Mick Jagger apparently thought this album better captured the classic blues/rock and roll sound than Sticky Fingers. Key tracks "Yesterday's Numbers" and "Whiskey Woman"

I really enjoyed it and will definitely put this on regular rotation. While there are some additional sound effects, I really love the simple instrumental setup (guitar, bass, drums) throughout, and The Slits make the most of it. Great blend of punk aesthetic and reggae sonics.

I always kind of dread R&B albums from the 90s through late 00s, it seems like every single one is padded out and stretched to over an hour. Just a personal complaint. Overall this album is fine, it's not really my cup of tea and I didn't feel like there were any significant standouts. It makes sense to include it on this list since it won the Mercury Prize, but now that I can say I've heard this before I die, I don't think I'll return to listen again.

Definitely something different from what I'm used to. Great exposure to an enjoyable album.

I generally like Nick Cave a lot, and this project is a great way to get exposure to some of his albums that I've overlooked. This is no exception, and I really like the sound of this record - like the soundtrack to a western musical about murderous cowboys.

"We're Not Supposed To" is a little obnoxious, but otherwise this is a strong, punky album.

Pretty fascinating but pretty dark. It's kind of an intense listen and a commitment to go from front to back. It's not my favorite, and I can't really imagine going back for another listen, but it was still captivating and was overall impessive.

A good example for folk/bluegrass - the loose quality of the pre-take conversations really gives you an idea of how these traditional songs can be played with a relatively unpracticed group.

The overall sound of this album seems like a nice mix of Daft Punk's "Homework" and "Discovery". Its a genuinely interesting, solid listen and I'll definitely revisit it.

I really liked this one. I previously heard "This is the day" on a tv show and liked it, but didn't realize it was on this album. Its a really fantastic track. Overall a solid synth/80s album, with some surprising textures and sounds, but overall pretty catchy.

I'm not sure if Amy Winehouse's second album is included on this list, but I'm assuming it is because it was a bigger record. I don't know that both of her records deserve to be on this list - and this one didn't seem as impressive as Back to Black.

I generally like The Doors. This album has some great tracks, and I think it's good exposure. But were The Doors all that important in the history of rock music? I'm not so sure, there was a lot of cultural notoriety that came from Jim Morrison's personality (and shitty behaviour). Probably decent to include at least one Doors album on this list, but I'm not sure if this is the one I would pick.

Starts out really strong. "Wheels of Confusion" almost seems a little slow and rudimentary as it begins, but really gets you into the groove and by the coda at the end, is straight up kicking balls. Overall my main criticism of the album is that the music is kind of basic. The piano part on "Changes" and the guitar/music for "Tomorrow's Dream" sound almost embarrassingly basic. I don't think it really detracts from the impact of the album, but it makes me question if this is really an "essential" album outside of Black Sabbath's cultural notoriety. I liked this album despite its simplicity. It was a fun listen and had some really solid moments.

I find Morrissey unbearable to listen to. "Everyday is like Sunday" is a redeeming song, but I prefer almost anyone else singing it. It doesn't help that he has proven himself to be a fatuous twat.

Great album. The one-two punch on "Don't stop 'til you get enough" and "Rock with You" are hard to top, and I think during the back half of the album the energy dips/the songs don't meet the same highs. But overall, its a great listen all the way through, and the production is incredible.

This album epitomizes my criticism of this list. Just because an album had a few hits and was popular for a moment, does that make it an essential listen? What broader impact did Kings of Leon have on music, did they have any real impact at all? Overall an extremely forgettable album of boring pop-rock. Beyond that, the lyrics are cringe-inducing and awful. The entire song "17" written in 2008 should be a big enough red flag, but there are so many painfully unsexy attempts are risque lyrics. I end the review with one of those "Home-boy's so proud, He finally got the video proof The night vision shows, She was only ducking the truth It's heavy, I know The black cat with the gift down below A choke and a gag, She spit up an' came back for more, oh ahh ahh" ugh, gross. No one should come back to this album for more.

Fine I guess? I still struggle with albums that aren't in English. I wish the Wikipedia article included more context or information about why this was an important record other than just "it is usually referred to as their masterpiece and was included on the 1,001 albums to listen to before you die"

Overall liked this album. The sound reminds me of Kyuss or early Queens of the Stone Age - which is a sound I really vibe with. Definite re-listen.

A real vibe. The fact the this is a soundtrack is crazy, as it doesn’t feel like it requires context to another medium (a film). Super tight production and A+ grooves.

Overall overblown and overstuffed concept album, but an interesting listen (I didn't really follow the story that well, but read the summary on Wikipedia...it's a lot). The music is pretty tight and varied, but there is just so much of it on this double album.

I don't know if I've ever heard Congolese music before, so it was interesting to get exposure to. I'm taking this lists assessment that this is one of the "essential" examples of the genre, and overall its a nice vibe.

Pretty stellar album, and being one of the best-selling albums of all time, I think it definitely deserves inclusion on this list. There are some dated sounds/lyrics, which might be keeping me from giving this 5 stars (For real "I want Your Sex, Pt 1 & 2" is a ridiculous song, with some borderline cringe lyrics, but somehow it hangs together and ends in a joyous fashion) Still really strong album.

Definitely lo-fi and even somewhat abrasive sound. I feel like Guided by Voices sounds like 50 other bands that I like, and I'm a sucker for lo-fi rock records. There is something charming about it. It's all at once familiar but unique, I feel like like this was a blueprint for the entire Elephant 6 collective.

Especially in Kanye West's case, it's hard to separate the art from the artist. This album is a testament to why it's so hard for people to accept Kanye's (most) recent fall from grace. It showcases a stunning ability to curate sounds to serve a conceptually deep work, touching on a wide range of personal (and personality) and cultural issues. It is a gargantuan achievement that stands the test of time.

In all honesty, I zoned out while listening to this. Nice instrumental grooves; I'm assuming this is included on the list for either 1) being one of the first successful examples of this style 2) holding an influential status in the music community. It tends to drag a little bit near the end, but a pretty solid listen.

I generally like Deerhunter - this album was pretty solid. I'm not sure if it belongs on this list though, I feel like they are a band that hugely benefitted from the music-blog cultural influence of the 2000's and 2010's I know this was praised as one of the best albums of 2010, but one of my main criticisms of this list is that maybe some years just don't produce amazing, must listen albums.

It definitely has the sound of Club Classics. The sound is a little dated, but overall pretty enjoyable jams.

Elliott Smith manages to make a unique sound. Overall it's a somewhat quiet album, but enjoyable.

Overall it’s not “bad” but I really didn’t vibe with this. Honestly I couldn’t wait for it to be over halfway through, and was bored by most of the songs.

Overall it’s not “bad” but I really didn’t vibe with this. Honestly I couldn’t wait for it to be over halfway through, and was bored by most of the songs.

Seems to encapsulate the mid-90s Big Beat style. Overall enjoyable and inventive. I liked the opening song a lot, but some of the rest was kind of mid, like “The Weekend Starts Here” which just seems like an extended radio promo.

It definitely has a singular vibe - I can see that this would get old to some people, but I really like it. I'm a big fan of Danger Mouse's production (I wonder how many albums he has produced on this list), and more than anything I think it's an interesting album from his body of work.

I really dig the sound of this album, and it carries throughout the whole record. Not every song hits or works, but more often than not I enjoyed listening and will probably revisit. "Barmy" and "L.A." are highlights.

Woof - this is a real "statement" album. Without reading Wikipedia or understanding that this is a critique of Southern culture, one might mistake the lyrics for something else. I'm not sure what to think about the use of the n-word in a modern context, while it's used as criticism of racism, it's still just awkward to have a white singer use it somewhat flippantly.

A nice pop album with some interesting textures. There are some cringey, pulled from a teen diary lyrics, but overall it works. Not something I'll probably revisit, but a fair inclusion in this list.

I like Tom Waits generally, and this has his undeniable weirdo charm. It's not my favorite of his extensive catalog - I think the faux-live jazz club setting is an interesting conceit but hurts its relistenability. Overall, I think Tom Waits is an important figure in music history, and this album is a good example of his early period for anyone interested in cultural edification.

I usually tended towards Pennywise and Rancid in high school, but this is still a good (potentially one of the best) example of early-mid 90s SoCal Punk that became popular. The singles from this album are still great, and it really captures the sound of the time (that soundtracked so so so so many teen movies).

A decent live album - I tried to only listen to the original track listing so I'm not sure if all of the included banter was on the original record (they mention they will play songs that don't come up). I guess its fine to include, but I still think there are too many live albums included on this list.

Uh, yeah it's something. The album reminds me of Captain Beefheart in some ways, but it's a fairly unique listen in its own right.

Not really sure why this album is included. I'm not super familiar with Tim Buckley's catalog, but this was pretty mid. The lyrics are pretty horned up and a little awkward at times. The music is fine and serviceable but nothing on this record really grabbed me.

This is another personal all-time favorite. The raw energy on this album, recorded "live in studio", is almost unmatched in rock history. "Dirt" is probably my favorite track on this album, although all fo the tracks are killer.

Interesting piece - it definitely captures the defining sounds of the mid-80s, Phil Collins-esque pop-rock. It was enjoyable even though it didn't give me much to motivate a re-listen in the future, and I think it makes sense to include on this list as an example of a time and genre.

I still don't like live albums, but this was a decent listen. I don't really know anything about the MC5 but it seems like they put on a killer show. In terms of this being an essential listen - I don't have any objection to hearing it once, but that was probably enough for me.

It totally makes sense as an essential listen. I think that "California Dreamin'" especially, but the entire album, helped create a distinctive sound for pop music during the 1960s and soundtracked the cultural shift of the hippie era.

This completely makes sense to include, as it was an influential indie record in the early 90s that went on to significantly shape the sound of other bands/records of the decade.

I enjoyed this album - I have a soft spot for this type of sound, so I think it will definitely get a few more listens at the very least.

The album starts with a weird juxtaposition with the bare, minimal opening track, followed by the upbeat and overstuffed Play in the Sunshine, but the final few passages of the latter demonstrate some really interesting and lovely shifts in tone. Housequake was a little jarring, with Prince’s alter ego “Camille” being introduced for the first time. This was one of the few tracks I was iffy on. "If I Was Your Girlfriend" is absolutely fascinating. There are some dated sounds on the track, but Prince uses his pitch-shifted vocals to amazing effect. The track kind of goes off the rails at the end. From there onwards, it's all a little overwhelming with SO many ideas here, most of which work really well. I think there is so much material it almost demands additional listens to really appreciate.

Honestly, reading the quotes about each song on this record from the band, why even bother? It seems like they have a grudge against their audience and fans. I was mostly fine with this record until the last song, which I'm torn about. The groove is nice, but the incessant wailing is annoying and just reminds you that this band seems to really hate you.

Some genuinely exciting music and grooves - I really liked the grooves of the tracks (especially "Pitche Mi"). The instrumentation is great, and Youssou N'Dour has an emotive yearning in his vocal tone.

Wow, this came as a huge surprise. From the opening track, I was hooked. This sounds like a great example of early 80s music, and the grooves, horns, and vocals are really fun. Surprising that the original group really only recorded one album together, and that it was included on this list. I generally skip any bonus tracks and try to just listen to the original album, but for this, I was thrilled to get some extra content to keep the party going. "Nobody's Fool (12' Version)" and "October is Orange (Day 1 & 2)" truly are bonuses in every sense of the word.

Holy fucking shit, this album kicks balls. I was originally going to give it 5 stars, but I’m torn because “Sentimental Journey” was the only low point that I thought didn’t come together. Everything else about the sound of the album is fantastic.

Solid listen - I’m not sure if it belongs on this list but it was an enjoyable album and I think I’ll give it a few more listens at the very least. The cover of “Comfortably Numb” was maybe the only miss, but other than that I like the throwback, Elton John-like vibes.

This is a personal favorite, but even outside of that I think it deserves 5 stars. The music is beautifully textured, the lyrics are a detailed rendering of late 90s existential angst.

A good example of a genre, and a pioneering album that is important in the development of that genre. Didn’t really do much for me beyond that.

Miles Davis wouldn’t give a fuck what you think about his album. Dense and abrasive, this is a monumental album in the development of jazz and modern music. I love this album, the extended jams are given space to evolve throughout each track - as a miracle of studio editing I can’t really tell where the cuts are. It takes you on an adventure!

It’s a solid album, and has plenty of excellent tracks. But I think Paul McCartney is graded on a curve against his entire output, and this isn’t as singularly impressive as any Beatles album, or doesn’t have the unique consistency and Lo-fi experimentation of his first solo album (which I found to be an absolute delight as a document of an amazingly talented artist fucking around).

I remember this being a massively popular record, and the Wikipedia page confirms this (diamond status). Do I agree it should be on this list? Sure, but beyond the two more popular tracks ("Come away with me" and "Don't know why") there isn't much on this album that I would come back to - I think it is too singular of a vibe/tempo throughout to keep me interested, and it doesn't speak to me personally.

The xx bring you into their world - mostly quiet and whispered thoughts and desires. Somewhat unique at the time, they allowed space and silence into their songs instead of overstuffing the production. Especially in the late 2000s, it's impressive that they created such a unique sound, really unlike anything else before it or at the time.

Impressive debut. Psycho Killer is a stone-cold classic, but I think their subsequent albums (and the film Stop Making Sense) are more important and had a significant impact on culture. Some early tracks are more forgettable, but the back half of the album really brings the album to a satisfying conclusion.

It's immediately compelling. Overall enjoyable, it has a 60’s grooviness to several tracks, and lush instrumentation throughout. I personally enjoyed it, and it seems like this album and/or Scott Walker was influential to subsequent artists (Radiohead, Nick Cave), so I guess it has a important cultural relevance/context.

Interesting example of 60s studio experimentation with electronics.

5D (Fifth Dimension) is a strong start to the album. I really liked the vocal melody and the guitar solo on the outro. The next few tracks were fine enough, and had a pretty chill vibe. I really liked “I see You” and “What’s Happening”, two examples of the songwriting talent that David Crosby would go on to develop in subsequent years. The only weak points on the album were the cover songs, and the ending track due to the annoying plane noises.

The production is excellent, and overall, it's an incredibly cohesive album. I really hate sketches on rap albums, but these are brief enough to overlook. For me, it just lacks a personal appeal to relisten or become a regular listen.

I guess this was influential to some artists that are more recognizable, but honestly this was just a depressing listen. Written during a 6 month stay at a mental institution following a violent mental breakdown, these recordings were intended by the artist to be demos, but ended up getting released. I guess it offers some insight and history, but I feel the impact was solely on its influence of others, rather than it being something tangible; honestly I just struggle to accept that this is somehow an essential listen.

Thundercat is a ridiculously talented musician, I’m not sure if his songwriting instincts are always there, but he never stays on one idea too long, and does really explore different sounds and styles. Overall its a fun, if silly, record.

Some interesting ideas, but a little repetitive and too abrasive to be worth revisiting.

I think out of the three main songwriters of The Beatles, I enjoy John Lennon's solo material the least. He was still a talented songwriter at this point in his career, and there are some classic songs on this album. However, it is extremely self-pitying and self-obsessed.

It’s a pretty interesting solid record. I prefer the cover versions of “Plateau” and “Lake of Fire” by Nirvana, but the rest of the album was surprisingly enjoyable.

This was a great listen. It’s dark and distinct, really benefits from the raw production. Even the cover of “Highway 61” was great, I usually balk when covers are included on albums but PJ really pulled it off.

I had never heard this album before, which is surprising because apparently several songs were features on shows that I watched in college. It’s almost specifically targeted at my tastes, I’m definitely going to relisten and wouldn’t be surprised if this made it into my most listened to albums of 2024 (its too late to make it to 2023). Originally I was thinking a 4 star rating, but as the album went on I found myself digging every song.

No offense to Devendra Barnhart, but I didn’t find anything particularly revelatory on this album. Don’t get me wrong, its fine and has some enjoyable moments, and I might be unfair in evaluating albums from 2000 onwards more harshly, but I don’t think this is an essential listen before you die.

It’s a good album, and I think Missy Elliot deserves inclusion on this list. My only complaint, is that 80% of the songs start with “THIS IS A MISSY ELLIOT EXCLUSIVE”, I don’t get it.

Solid record, enjoyed listening to it and will probably relisten. That is a plus considering it’s influential place in music history.

Sure.

I have a real affinity for pasty white Brit-pop bands, and this is one of the all time great Brit-pop albums of the 90s. This album is overflowing with great material, “Girls and boys”, “End of a Century”, “Parklife”, “London Loves”, “Clover Over Dover”, and the true gem “This is a low”.

Generally I prefer New Orders singles. This album still has some great tracks, and excels at a “vibe”. I think I’ll revisit, but my top 5 star New Order album is just a playlist of their best singles.

Pretty enjoyable considering I don't speak the language.

In the future, I’ll tell my children that this is the reason Bin Laden attacked America. This is a strange document of pre-9/11 American zeitgeist, and is a key piece of Gen X history. Honestly the music isn't terrible, it doesn't age well considering Fred Durst is one of the most annoying vocals in popular music history (like if a snotty skateboarder in a 90s movie was given a microphone). But somehow, Limp Bizkit straddled the intersection of Rock and HIp-Hop culture, and embodied the late 90s/early 2000s excess in American culture. I had a lot of weird thought listening to this, trying to reconcile its popularity at the time. I was only in 6th grade at the time, I remember this having a ton of hits, Limp Bizkit were all over MTV, Fred Durst was considered a tastemaker and could bless an album and have it become a massive hit (Staind, Puddle of Mudd, etc.). Is this album good? No. But I think the basis for inclusion on this list has to consider history and cultural impact, and this album (I think one is enough to get the idea of Limp Bizkit) deserves a spot.

I'm torn on my ranking for this album; while I really enjoyed it, it is pretty fucking long. I like that the original album was broken up thematically by side; it means that the vibe consistently changes up and doesn't feel stale. And the overwhelming amount of material, and good material at that, is pretty mindblowing. Overall it's a real groovy scene, man. I can put this album on any old Saturday and just vibe out. Straight through or shuffled I think it would be a great time. Fuck it, five stars.

Pretty decent all around. I think I prefer Sly & the Family Stone for this genre, but overall a good listen

It's a decent listen - there are catchy, heartfelt tracks throughout. I think I prefer Spiritualized for this genre/sound but to each their own. I think it's a little curious/lazy to have two songs back to back with almost the same line (you come in on your own, you leave on your own).

This was a huge album in my middle-high school years, so it carries some nostalgia points. I think the fact that Mr. Brightside has been in the UK charts consistently since it was released almost 20 years ago (fuck) makes it worthy of inclusion, and the fact that this is just a strong debut album that really captures the early 2000s era only strengthens the case. Seriously, the first 5 tracks are an amazing run of catchy, fun songs. And the back half of the album still has some A+ bangers, “Andy, You’re a Star”, “On Top”, and “Change your mind”. I think there is an argument that the last 3 songs on the album don’t match the quality, and are even just a lesser retread of the ground covered earlier on the album. I think The Killers still pull it off though, and it leaves you with a really solid debut album, with one of the biggest songs of the 2000s.

It is interesting as an example of hip-hop coming from outside the US, and the sound and style are similar to US 90s rappers being assimilated in other countries. I guess I'm happy I now have exposure to this, but not understanding any of the lyrics limits its impact and personal importance. I can't fault the album for my own limitation in language though, and the beats are tight.

Based on Wikipedia, I was ready for a dour album full of ballads and a slog to get through, but that's anything but the case. It displays an impressive range of songwriting from George Michael, and I don't think there is really a bad song on the album. There are some surprising sounds and textures, with some jazzier numbers popping up. It is definitely less fun than Faith, but still contains one of the best 90s club tracks in "Freedom '90"

I (like a lot of mid-Millenials) got into Nick Drake in high school/college, so I have some real nostalgia for this album. Overall, it's still a great listen. The orchestration brings some really nice textures to the songs, and Nick Drake's mellow, melancholy vocals go down easy.

Straight up masterpiece. I didn't get into this album until a few years after its release, but it is an achievement of a singular creative vision. The production is raw but brilliant, there is something to be said about limiting your tools to push creativity. The backstory about recording it in 2 weeks, not using any computers or recording equipment from before 1963, is intriguing and doesn't negatively impact the results in any way, but probably enhanced the output. It doesn't sound dated. Obviously "Seven Nation Army" is the standout cut from the album, but every song is fantastic and is a showcase of songwriting talent.

I generally give the benefit of the doubt to this list for pioneering albums ahead of their time. I guess this was one of the pioneering "Industrial" albums, but Jesus Christ, it is hard to get through. It is experimental in the most aggravating sense.

There are some quality jams. "Oye Como Va" was the only song I was really familiar with prior to listening. The overall flow of the album was good, but nothing really stuck out to make me want to come back to frequently. Nice grooves though.

This might just be an Apple Music issue, but I find it infuriating that a supposedly "essential" album isn't available to listen to. Apparently this was never released properly in the US, until maybe 1997 on a CD reissue that featured different songs? I was able to piece this together (I think, who fucking knows) from two other releases. It's good, there are some classic singles, and overall I think Dusty Springfield is an important piece of music history.

This is a solid album. I'm not sure how many Arcade Fire albums should be included on a list of essential listens though; I think you get the idea from their debut (which definitely deserve inclusion on the list) and their third album (which won the Grammy for Album of the Year in 2011). With that in mind, is Neon Bible really adding that much to someone's experience? Personally, I like this album more than The Suburbs, so I would recommend it over that album, but for historical context, I think listening to the Album of the Year from 2011 is more edifying. Anyway, still a solid listen and a great album from one of the biggest bands of the 2000-2010s. I try to separate the art from the artist, so I haven't tried to reflect on the allegations of sexual misconduct by Win Butler. Based on the fact that Arcade Fire is still a festival headliner, I think most people haven't considered it either.

Elvis is definitely an essential listen, and this is a pretty solid album. Really enjoyed "Fever".

I probably would have found this more appealing in High School when I was into heavy metal bands of the time (mid-2000s). It’s definitely an important album from the genre, but I’m at a point in my life and music tastes where it doesn’t really do anything for me.

Rufus Wainwright is clearly a talented songwriter, and tends to be somewhat of a chameleon troubadour, aping different styles as he sees fit. I particularly like the Radiohead, OK Computer era “Go or Go Ahead”. It is a solid listen, if overlong.

It’s silly polished horned up rock n roll. Aerosmith is interesting in how long their popularity stretched, and they refined and reformed their sound several times. This album, at the height of the glam metal era, is a great example of the genre while avoiding being annoying. I find a lot of other bands of that era (Motely Cru, Poison, etc.) more cringey and annoying, but Aerosmith doesn’t ever get on my nerves. There are some fun instrumental excursions between songs, and overall the album doesn’t take itself too seriously.

Whenever I want a stereotypical “Blues” album, I now know to just put this on. Completely kicks balls.

Pretty excellent. Overall distinct sound, and really seemed like this defined (although maybe defied some conventions) of the mid-90s R&B sound. Overall enjoyed listening, will probably revisit, but I don’t know that this will make it into regular rotation/personal favorite territory.

It has some catchy sounds, and it’s definitely emblematic of the late 60s psychedelic genre. Nothing really hit me that hard though, so its one of the many “nice to have listened to, not not returning” albums on this list.

Oasis (at least on their first two albums) really had something special. My only real criticism of this album (and Oasis in general), is that the songs kind of all blend together and are a bit too similar. Overall its a great album, and helps explain Oasis’s relevance in music history, but their follow up (you know the one) is an overall better album and more important.

As the first “Live Blues Album” as Wikipedia mentions, I guess it’s important. It’s a solid performance with a lot of energy, and apparently influential in its “electric blues” sound to have a notable impact on Led Zeppelin and Jimmy Hendrix. I just don’t like most live albums, but overall this was a decent listen and didn’t have too much annoying crowd noise.

A surprising “meh” overall. “Tiny Dancer” is the obvious standout, and that song alone should be heard in your lifetime. But the rest of the album doesn’t really pay off. Apparently this was the third album that Elton John released in 1971, and maybe the well was just running dry by that point.

Yes, this album isn't for everyone, but it is for me. The opening (and title) track is an adventure, with some beautiful textures and vocal harmonies in part 3. The two other songs aren't as impressive from a structural view, but are often just as exciting. Overall a great prog-rock album, with a lot of value to unearth on repeated listens.

It is a very distinct genre and style, but definitely an important album in the context of music history. I prefer Daft Punk’s output from the late 90s, but this has some absolute jams.

Really interesting production, I definitely get the “atmospheric” vibe that Wikipedia mentioned. It’s a really good Bob Dylan album, I’m not sure it’s an essential Bob Dylan album (he has like, 10 other albums that are probably more important to music history). I really love the sound of the record though, and will probably give it a few more listens (even though it’s way too fucking long).

I also note that I generally don’t like live albums that much, but this one at least justifies itself as an interesting experience and a different take on Metallica’s catalogue. Overall I think it’s a decent inclusion on this list, but goddamn it is a full on undertaking, clocking in at over 2 hours. While bit can get exhausting and a little repetitious, there are enough exciting moments with the pummeling songs and orchestration that I think makes it worth a listen. This album came at a point in their career where they were fully out of thrash metal, but a weakness is the over reliance on Metallica’s recent (at the time) albums, which were probably a low point for them - 7 out of 21 tracks come from Load and Reload, while only 6 tracks come from their first 4 albums that are considered “prime” Metallica (there are actually no songs from their first album, which is a shame). I would have appreciated a few more tracks from their early period.

I couldn’t really find any information from Wikipedia on why this was important, and it didn’t seem like the contemporary reviews were anything above average. The beats are fine, it seems indicative of a mid-90s style of rap/hip-hop with some early fusion with rock (which, let’s face it, didn’t really end well). There were some weird stylistic shifts that just didn’t gel with the rest of the record “We have all the time in the world”, its a solid and sweet track, but just really doesn’t fit with the rest of the record. Overall just kind of confused on why this was included on the list, even if I didn’t hate it. There are decent moments, but nothing exceptional.

It’s a bit long, but I found myself enjoying most of the tracks. I think there is enough material here to revisit at least a few times. It definitely exemplifies late 90s electronic music and provides some good historical context.

Another weird one that wasn't available on Apple Music. I was able to find a Youtube playlist uploaded by a random user with all of the songs on the album, but this is a frustrating situation for an "essential" listen. Interesting for the time period, and apparently influential. There are some weird sounds but catchy moments as well.

Reading the Wikipedia article about this album and Fela Kuti was a trip. It is crazy to think that this album inspired the government to raid Fela Kuti's commune and beat the shit out of him (and kill his mother). Also crazy, that he married 27 women a year after. But its easy to get distracted by these details, this is an important album from a musician that essentially create their own genre. Definitely important in musical history, it's also got some great grooves. I generally only review the original album tracks and skip any CD/reissue bonus material - it's funny in cases where the album consists of only two tracks. These are some jams though, so settle in. Some people might find the repetitive and extended grooves boring, but there is so much going on, and the rhythms draw you in its almost impossible not to move your body.

Mind blowing that this came out in '93 - while it doesn't sound "modern", it sounds like at the earliest, it would have been mid-2000s. The use of the "studio-as-an-instrument" throughout this album is breathtaking. There are so many seemingly disparate sounds and styles, unrestrained noise rock elements that are joyously melded together with solid songwriting. I was a little skeptical that this would be anything but a 3 star "sure, I guess it is a good listen and some people probably love it, but I won't revisit". That quickly changed with "Upon 9th and Fairchild", the noisy feedback heavy guitar, paired with the reggae/dub drum and basslines really grabbed my attention. From that point the rest of the album maintained it through a really great combination of sonic textures.

I don't know how to rate this one, honestly, it's kind of bizarre. Definitely worth reading the Wikipedia page, although I think it gives a false expectation, I didn't find it "shambling wreck of an album" or "the slow, sinking sound of a band falling apart" according to some critics. But is it unfinished - is it the vision the band had originally? There is some really compelling material, and the overall sound of the record sounds more modern (alt-roc from the 90s-2000s) than the early 70s. The first few songs are pretty solid rock tracks and the cover of "Femme Fatale" is decent. But I think "Holocaust" is a great example of why this record is important, the music is sparse but has so many subtle details that are genuinely beautiful - it reminds me of a great Radiohead song and I'm really surprised it was recorded in the 70s. It's not all winners, "Kanga Roo" is a little too messy and all over the place (The cowbell that comes in near the end of the song is a little overpowering), and is an example of what I think the weak point of the album is - some tracks just sound like loose recordings and unfinished ideas. But I think there is enough compelling material to include on the list (again, it's just kind of fascinating even as an unpolished product), and there is something that I connected with that makes me want to revisit it at some point.

Interesting enough. Bjork shines through as a real start even early in her career. Really annoying vocals from the male singer start to drag on the project - but overall, I think it's a fine inclusion on this list. "Birthday" is a great track.

Definitely ambitious. I don't think there is anything particularly bad, or that the band doesn't pull off, but personally there were a few songs that were just "fine". There were some definite highlights, especially "Presidential Suite" and "It's Not the End of the World?" that make me think I'll give this album a few more listens, some of the material that didn't hit me the first time might just be growers.

A surprisingly challenging album - only because the vibe is so consistent from song to song. It is a document of a man working through complex feelings on divorce, so it's kind of like someone running a conversation in their head over and over and over and over and over... you get the idea. The music and beats are fairly compelling, even though, as mentioned, they are very similar throughout. There are definitely some good songs here that I enjoyed, but again, it all kind of blends together. Maybe it's just the subject matter, but I can't see myself coming back to this album in the future (unless I get divorced, but hoping that doesn't happen).

Joni Mitchell is a brilliant songwriter, and these deeply personal songs about her relationships might not translate to everyone, the album is an amazing product. Also, “A Case of You” is a top ten all time great songs.

Solid inclusion on the list. It has a distinct vibe throughout that I think several indie rock bands of the era would end up exploring, but overall enjoyed it.

Solid production and was an innovative/influencial album of the time period. Great inclusion for this list, but nothing really stuck out to me to make me want to revisit.

I had one previous Tim Buckley album, which was from his late-sex funk(?) period, and was underwhelmned. I was hopeful coming into this, but overall it doesn't sound all that different from the many, many, many, late 60s albums that I've listened to on this list. At the end of the day, I guess I don't fully understand or agree that Tim Buckley was an important artist - I feel like his reappraisal comes from the fact that his son had a much more important career (reverse nepotism in a way).

Some interesting ideas and exploration into world music by a British guy. There were some stellar moments, but probably won't return to it (especially difficult since this album wasn't available on Apple Music).

I never really got into U2 in highschool (mid-2000s) - I think by that time Bono's reputation as kind of a blowhard "activist" was farely cemented. And there was the infamous Vertigo line translating to "one, two, three, fourteen!" but I digress. I don't know if I ever listened to this album, although I was familiar with it as one of their major records. Reading through the Wikipedia, I noted 1) this shit wasn't actually recorded in Joshua Tree, or in America at all 2) this was a dissection of the "myth" of American, by an Irish band. Well, they did a great fucking job. What a fantastic first three track run - and although the rest of the album doesn't reach the same heights, they coast down smoothly and maintain a high quality bar. I get why this is considered one of the best rock albums of all time.

A decent listen (unfortunately I had a busy day when I tried to listen, and wasn't able to full focus). "The Killing Moon" is the obvious standout track, but I am biased because I really liked Donnie Darko in highschool. The rest of the album was solid, with some catchy tracks and an interesting sound. I think I will revisit, so 4 stars.

Well I've listened to this album a bunch, it is a 5 star personal favorite. Even with personal favorite albums, I still relisten when they come up in this project and try to reflect on why they are meaningful to me. Most of the time, these are albums that were important to me in Highschool or College, which I expect is the case for most people. With Daft Punk, though, I didn't fully get into their music until Random Access Memories came out, which was after I graduated college and moved several states away to start my first full-time job. My friend (who was already a Daft Punk fan) and I would hang out on his porch in the summer, drinking and listening to their whole catalog, but this album and Alive '97 stick out in my memory. There is something raw and exciting in the tracks, which are minimalistic and primitive in comparison to the electronic music that was popular at the time (2013-2014). It's also bittersweet revisiting this album, and realizing that it was a decade ago instead of just a few years. Time comes for us all, and with most 5-star nostalgic albums, it's about the feelings.

The album that Bob Dylan blew up. Absolutely essential listen to understanding music history, specifically in the 1960s and the continued evolution of folk music and it's popularity with hippies. Three absolutely essential tracks (you know the ones), but I'm also partial to "Girl from the North Country", both this version and the version on Nashville Skyline. I think it's a great album, and I'll listen to it from time to time, but I think it doesn't quite reach 5 stars for me.

A good listen to get exposure to a genre I'm really not familiar with (tango). Nothing objectionable, but it doesn't really light a fire in my heart or feet.

I usually hate live albums, but for bands like The Allman Brothers Band, it really is the best representation of what they have to offer musically. While this is a fantastic live album, I totally get why it wouldn't be for everyone. Even in its original format, it is looooong, and with only 7 tracks, that gives you an idea on some of the extended jams. But it shows off the bands skills, and is a rip roaring good time. I enjoy it a lot, but I definitely have to be in the right mood.

I have respect for Ornette Coleman for innovating in jazz, even if Free Jazz as a style isn't really for me. But an album of covers, done in a "hardcore" or "trash core" or whatever style, is absolutely revolting. John Zorn and his accomplices certainly prove that they can play fast, and play all of the notes (FUCKING ALL OF THE NOTES DON'T TEST ME, could be an alternate title). But for an album that blazes through so many notes, it is shocking one-note in effect. You are left with the impression that you just got aurally gang banged, and not in a fun way. 27 minutes in—please, dear God, make it stop. What have I done to deserve such a punishment? In a sick way, this has made me appreciate Youtube ads. What used to be minor annoyances are now sweet relief from a seemingly unending assault. I hate music now.

It's definitely an important album. Its influence and place in history earn it at least 3 stars. Overall, even though the music is "simple" (intentionally), it has an infectious energy and movement. There are some great tracks to revisit.

Above all, the music slaps and you get treated to extended jams of tight grooves. One of the highlights is the composition of the band and the added orchestral touches, it is a consistent sound throughout the album, and is perfectly balanced for the music. “Walk on by” (apparently a cover?) is a stunner. 12 minutes fly by. The extended jam has some great interplay between all of the musicians. “Hyperbolicsyllabicssesquedalymistic” - what a mouthful. It’s a bit of a sonic shift when the track opens, but is still solid despite the silliness of the title. Toward the middle/end of the track, the band settles into another delightful extended jam that really brings it home in its final crescendos. “One Woman” slows things down for, at first, what seems like a heartfelt love song, but is actually about a man torn over his infidelity. I can’t really connect, but the music is sweet and the backing vocals are on point. “By the time I Get to Phoenix” let the man speak - he needs 8:45 to set up the song he wants to sing, which is going to be another 10 minutes of a fucking sick cover song. I get that it might be divisive or controversial to have such a long intro/setup, but overall the song comes together beautifully.

Still hate Morrissey. There are a few tracks that rise above the rest, but overall just a bitchy album.

I remember this time period pretty well, this album came out in my Freshman year of college, and really blew up my Sophomore year. I'm usually hesitant on more recent albums that are included on this list, but I think MGMT's Oracular Spectacular 1) explains the music and vibe of the era, a good example of the "indie sleaze" 2) has three really big singles from the time and 3) the rest of the album is pretty solid, and has some really fun adventurous moments. While it wasn't a huge album for me personally, I really like the songs at the time, and it harkens back to a formative time in my youth.

An interesting album - I've wanted to listen to this album, and get more exposure to Frank Zappa's catalogue for awhile. Enjoyable and I'll revisit, there were some moments though that strained my enjoyment (mostly parts of "Gumbo Variations".

Dolly is a great song-writer, and “Coat of Many Colors” might be one of the best examples of her song-writing abilities. The album is enjoyable, and is a good example of country music of the era. It isn’t really my favorite style, but makes sense to include on this list and was a great opportunity for exposure to something I probably wouldn’t have come across on my own.

This was a pretty interesting album - I can understand where the comparisons to Kate Bush come from, but I think Tori Amos carves out enough of an original sound to make this a unique artistic statement. I’m giving this 4 stars because I liked it and want to revisit at some point. But I should note it was raining today, and my cat died yesterday, so I might have been more susceptible to this kind of emotional dramatic music.

Solid for a musical history lesson.

I was between 3 and 4 starts for this. Definitely an important album, and I think "California Uber Alles" and "Holiday in Cambodia" are what pushes it past 3 stars for me.

"Jane Says" is a pretty solid track, but I didn't find the rest of the music very compelling, mostly due to the fact I find Perry Farrell's voice pretty annoying. But they were an influential band, so getting some exposure to them through this list is fine.

“Street Life” is a solid opening track and sets the vibe, but overall the eat of the album just kind of went by without much of an impression. Decent listen.

Pretty charming album, the opening track really sold me. I feel like I want to come back to this one, and it seems like it had a clear influence on a bunch of subsequent artists.

Not too bad for the genre (just not personally my favorite) and there are some surprising and intriguing moments. Definitely makes sense to include on the list at least from a historical perspective.

Maybe I was just in the right mood, or I'm a sucker for early 2000s indie records. There was something really charming about this album, and I want to remember to revisit it down the line.

¯\_(ツ)_/¯ It's reggae

Pretty solid for proto-metal, was a fun listen.

Solid bops, there were a few tracks that I was iffy on but overall solid listen for this project

I was a little skeptical going into it, but ended up enjoying this way more than I would have thought. Really fun album, good/funny lyrics, and a strong vibe throughout. Also, shoutout for a strong pro-union message.

This was some sweet prime 80s synth pop. Overall I enjoyed a lot of the tracks, and "Take On Me" is a classic.

I really like Brian Eno’s solo material, but never really listened to Roxy Music. I remember seeing the album cover and thinking it looked a little trashy ¯\_(ツ)_/¯ Anyways, man can these freaks really rock. Loved it, the vibes were A+

Some immediate thoughts while listening: Female Frank Ocean Perfectly sums up mid-2010 millennial dating/hook-up/Tinder vibes For any hot mess "in their feelings" As a mid-30 year old man, this is just old enough for me to have some nostalgia for the era, where I too was in my feelings.

Seemed like a generic 80s album. I guess it was a big seller at the time, but I don’t think I recognized a single song.

Interesting enough from a cultural edification perspective. It has some exciting moments, but my first listen it didn't really pull me in fully.

Second Steely Dan album I've had come up on this list (which has been chronological so far), I have to admit that I really dig Steely Dan. While I don't think there is anything as immediate as "Do it again" or "Dirty Work" from their debut album, this is a really solid, groovy album that continues to maintain their jazzy, lounge rock vibe.

Super solid beats. Can definitely trace the influences. Its pretty long but overall a good listen, will revisit in the future.

I guess this is what early 90s college radio would sound like.

Really solid with some fantastic tracks. Definitely shows the roadmap to Pet Sounds. Only real criticism is the last “interview” track.

Some decent and fun sonic moments, but nothing really jumped out beyond the mid-90s grunge/alt-rock tunes.

Definitely an essential listen. I (like many millennials) listened to this album way too much as a kid. However, I don't have a particular nostalgia or soft spot for this record. Eminem is a cultural touchstone, so the inclusion of this album makes sense. Honestly, while the lyrics haven't agred well, they weren't as bad as I remember. Sure, there is some fucked up shit, but that was kind of the point.

I listened to a podcast (Cautionary Tales) about this album and how circumstances almost conspired to prevent it from happening. But despite somewhat dire conditions, Keith Jarrett overcame these to give an astounding performance, and the recording went on to become one of the best-selling Jazz records of all time, so I think this definitely deserves at least the 3-star, makes sense on this list rating. I think this gets elevated though considering the circumstances, which make this a singular, fascinating document of a performance. While I mostly don't like live albums, there really wouldn't have been any other way that this could have gone, since the performance was improvised, and the artist was reacting in real time to the specific conditions of the night. This is one important album that really shines once you have the additional context.

Some interesting ideas incorporating african influences and hip-hop on... an early 80s British album? Interesting from a historical perspective, it didn't wow me or offend me.

Solid tunes played exceptionally well. Lots of great grooves, and some interesting folky moments.

Frank Sinatra clearly belongs on this list, and this album was a solid listen. It’s a distinct vibe, but generally captures what I think of when I think “Frank Sinatra”.

I find this kind of music (maybe its just early 90s "alternative") pretty bland. The clear highlight here is the cover of "Nothing Compares 2 U", which is a fine cover of a great Prince track (I kind of prefer the original, but this is a case where I like both versions of the track). Does that make the entire album an essential listen? Debatable, but I don't find anything here particularly objectionable.

If I had been more into rap music in Highschool, this could have been a major nostalgia album for me. This is the first time I listened to this, and overall it was just fine. It's a good example of mid-2000s rap, but overall I find that period a kind of awkward transition period in the genre, from still trying to make "albums" vs. making singles and/or mixtapes. This definitely fits with the Kanye West/Kid Cudi influence of the time period, and shares in the excesses of the period (a super long "Intro" song, and an even longer (12 minutes!) "Outro" song that rehashes the idea of shouting out all of your friends and influences, that I feel like I've heard from a bunch of other artists. It really hinders the prospect of listening to this album multiple times.

If you are a neo-liberal, capitalist shill, you better be ready to have your titties slapped and balls kicked by the righteous rage and fury. This is an iconic album. You might not agree with the politics, but there is truth in the message that was undeniable at the time, and has (unfortunately) continued to have impact through today.

Did not expect to like this album as much as I did. I guess this is termed as "psycho-billy" instead of Rockabilly, and honestly I don't know that you need to listen to any other examples of the genre. This is it. They nailed it, and the album is a consistent sound that kicks balls.

Some pretty major songs from R.E.M's catalogue ("Orange Crush", "Stand"), and honestly it fucking rules. They have a distinct sound of late-80s college/Alt rock (maybe the most distinct), and just have some great songs throughout the album. It has a real vibe that you have to be in the right mood for, but I think I can count myself an R.E.M fan.

A great continuation of the sound and vibe from their debut. I have a soft spot for 80's British ska/reggae, and this hits the mark.

This album (and Frances the Mute) were huge for me in high school, so it’s a 5 star nostalgia trip. I started listening to The Mars Volta again last year because they went on tour, so this was already in recent rotation. But I think, beyond even nostalgia, this is an excellent piece of music that showcases an interesting point of view and unique creativity. It’s progressive in the best ways, offering interesting exploration while maintaining surprisingly catchy songs. Other people might be turned off by the excess, but I find it fascinating.

Parachutes and A Rush Of Blood To The Head are the albums that really made Coldplay important, even if they eventually devolved into parodies of themselves. This album is made up of great songs, with several classic singles. Even with the "Radiohead ripoff" criticisms, they proved that they had the chops to be considered one of the great early 2000s bands with this record. One note while listening, it's impressive how much effect they wring out of a relatively simple setup with seemingly minimal overdubs. This might make me sound old, but it was nice listening to an album by a band that sounds like a band.

I guess this was influential, which is the only reason I can see it being included on this list. Nothing really jumped out at me as interesting, but when it was first released there might not have been anything else like it. Fine for one listen, but nothing to return for.

Pretty good production and beats, but the weird samples of porn dialogue detract from relistening to this on any occasion, and honestly it’s a little long and the vibe is a little monotonous. Again, the porn dialogue interstitials, especially "A Visit to the Gynecologyst", I feel like this doesn't add anything to the album.

Listen, I like a lot of Jack White’s music, and this album is pretty decent. But I have serious questions of why this was included on a list of albums you NEED to listen to. My 2 star ratings are reserved for albums like this, where I don’t agree that it crosses the hurdle for inclusion. I think this list has a problem with its periodic revisions. There seems to be a need to include X amount of music from the past few years every time they revise it. Does this album help anyone understand the history of music or music culture generally? Does anyone look back, just over a decade, and think, “Yeah, that first Jack White solo album was MAJOR?” Nah.

Reminded me a lot of Echo & the Bunnymen, and lo-and-behold, they originally had members from that band in their lineup. Overall I dig this era and sound coming out of Britain/Liverpool.

The Clash kick balls and slap titties with the best of them. This is an iconic album that definitely deserves inclusion on this list.

I was in college when this album came out, and I really love the song "Two Weeks", which is the song most people will know from the album. But I think the better mission statement for the album is "Southern Point", the opening track that really captures the excitement and adventure of the music on this album. This is a rare recent (oh shit nevermind, 15 year old) album that I think makes sense on this list. It captures the peak of indie/blog bands (while the music is fantastic, Pitchfork probably deserves a lot of credit for its success and reach) in the late 2000s-early 2010s. But getting back to what matters, the music on this album is fantastic. It's detailed and lush, and while it has a consistent vibe, each song carves a unique space. To quote the Pitchfork review "it is compositionally and sonically airtight, every moment sounding tweaked, labored over." I think what I like most is the sense of adventure and exploration in each song, there is always a surprising shift that ends up elevating each track, taking you somewhere away from where you started.

I was surprised to see this album on the list, I vaguely remember this being kind of a flop at the time. The only notable track was "She Wants to Move", which didn't blow up the charts, so I wasn't sure what to expect. Overall I'm left a little confused as to the inclusion. The music is, fine, but the lyrics are a particular weak spot. There is a creepy tone to the singing and lyrics of "Backseat Love", and the line "Her ass is a spaceship I want to ride" on "She Wants to Move" was cringe at the time, and has only worsened with age. Overall it comes off as an album from some talented producers who made an album out of boredom without anything interesting to say.

This is exactly the type of album that belongs on this list. It's influential and experimental, and a good listen for contextual reasons. There are a few songs that I would return to, but overall this album is more of an "interesting experiment" than repeated listen.

It's hard to imagine in 2024, but when this was released it was something new an different than "mainstream" jazz at the time. Its a great jazz record, even if its not my favorite style of jazz, or my favorite Miles Davis album. It has a lot of great material to come back to.

Some pretty interesting ideas and production, it has moments that reminded me of 80s Bowie.

Totally fine as an example of the genre. Personally, didn’t spark an overwhelming reaction.

Solid listen, really strong songs. Giving this 4 stars since I plan to revisit. I’m a little torn on the inclusion since the Wikipedia page said it was a flop when released, so much so that the record company deleted it from the catalogue shortly after release. So why was this an important album? Just because some indie folk hipsters rediscovered this in 2009? Understand that this is a confusing review, but I try to factor in the historical or cultural importance to ratings, but my overall enjoyment of the album overrides that.

This is by no means a bad album, the music is good and the production is great - there are some interesting and fun turns within the songs and album. But I fail to see why this was included in the list of essential albums to hear before you die. The album lacks any of ABBA’s big hits, and in that context it’s just a collection of fine songs, but nothing exceptional. Apparently it was one of the first albums to be digitally recorded and mixed, while that is an interesting historical anecdote, it doesn’t really help to elevate the material here. Nothing against ABBA, I just question the inclusion.

I torn on this rating. I usually give 4 stars for albums that I like and want to revisit, but I usually give 2 stars to albums that I don't think merit inclusion on this list. The music is good, and reminds me of earlier efforts from Hot Chip and other mid-to-late 2000s bands, but is it ground breaking? Does it say anything particularly interesting? Did it end up inspiring other bands? What impact has this minor indie album from 2012, which was nominated but did not win the Mercury Prize, had on music broadly? Maybe I'm just harsher on albums from the past 10-20 years that get included on this list, but I don't see this as being particularly exceptional even if I liked the music.

Some wacky shit, but I dig it. I feel like I can hear a lot of ideas that influenced bands that I love.

Definitely makes for an interesting listen, and the additional context from Wikipedia (the artists final album, the final mix approved a few months before his death), is helpful to understand the importance of being included on this list. As with most foreign language albums, I struggle to connect with this beyond the overall vibe and feeling. But regardless, it was a good listen.

Definite classic, and important in musical history as an early concept album, driving forward the idea of the album as a cohesive, singular work.

Really interesting sounds and vibes. Apparently influential, pre-new wave but solidly post-punk.

Torn between a 3 and 4 star, I feel like there was just something missing from the album to really make me want to return. Overall great listen, I've found that I really like Steely Dan's first two records (which Donald Fagen was a part of), and this definitely has that Steely vibe. The opener is super catchy and sets a great mood.

I was trying to come into this album with an open mind, I really didn't like the previous Kings of Leon album I was served from this list, but there has to be something redeemable about the band, maybe from their early years (and especially their debut album). Overall though, I think my criticism of this album can be summed up by my reaction to the singers voice. It sounds like he is constantly putting on an accent, or vocal style, and trying to imitate something, but also rarely ever fully committing to the bit. It sounds self-conscious a lot of the time. The band has moments where they are convincing sprinkled throughout the album, but the overall impression is a thin imitation of better classic rock bands.

I really like QOTSA and this album is a fantastic introduction to the band. However, after reviewing Wikipedia, apparently this is their only album that is included on this list - it makes me wonder if I agree with the inclusion of this album over others (arguably more impactful) in their catalog. But that is a quibble with the author of the list, and this album is undeniably good.

I couldn't give this album less than 5 stars, it was huge for me in my highschool/college (and still today) years so I have too many memories tied to it to come at it objectively. Even so, its a monumental record, and definitely important from a music history/culture stand point. Radiohead were that big, and have had that big of an influence on so many of their records, and this was a huge left turn that reverberated through culture. The music is phenomenal and detailed, and heart-wrenching at times.

I think its an important album from a music/cultural history perspective. It definitely characterizes the bloated album run-time of the early to mid-2000s (77 minutes!).

Pretty solid, distinctly 80s sound. It kind of washed over me and was a little in distinct. I could pick up notes of Roxy Music, overall enjoyable listen but didn’t leave me with much to return to.

Extremely solid - definitely deserves inclusion on this list for the impact on music history, but this is also just a solid collection of early 70s singer-songwriter/Laurel Canyon vibes. Besides the classic “It’s Too Late” there are a bunch of great tracks throughout the album. Definitely worth a revisit, adding to the Sonos library for frequent spins.

I started really digging this album from the jump, and already by the third track I’m expecting to give it 4-stars. It has a little bit of a goofy vibe, which is the reason I’m hesistatant to give it 5 stars, but overall it's really charming. Love the instrumentation and sound. Some of the vocals and vibe remind me a lot of Brian Eno’s solo work, which I love.

Sigur Rós is such an interesting band to have had such immense international success - the music sounds like a photograph of Icelandic landscapes. I’ve only listened to () in college, and haven’t listened to the band (outside of their inclusion in movies/tv shows) in a long time, so this was a great album to reintroduce them. Maybe they are using cheap tricks to come to it, but the album has such a great, consistent, vibe throughout its 71 minutes. Even though its a long album, and it can sometimes pass into the background of whatever you are doing, its beautifully orchestrated and performed.

Some elements, like the third track “Butter the Soul” remind me a bit of the Gorillaz debut album. Mixing some heavy, late 90s style beats and other sounds/samples, it has some interesting grooves. Overall though, it’s a little scattershot, going back and forth between sample heavy, groove based tracks (“What is Happening?”), and more Brit-pop adjacent tracks. I guess it had a hit song, and a few tracks were used in commercials, but outside of historical context, I didn’t find much here that grabbed me.

A really solid, cohesive album. The background available on Wikipedia is really interesting in understanding the importance of this album, outside of its massive commercial success. It was a turning point for Madonna, who is historical and cultural contexts, is an essential figure in music. Obviously "Like a Prayer" is a standout, but there are plenty of great tracks here (I really liked the production and sound of "Till Death Do Us Part", even though the subject matter, and actual history from Madonna's life, is pretty heavy).

While nothing really grabbed me, it has some important historical value as a listen and definite influential in context to other groups that came after The Modern Lovers.

I generally don’t go for “country” style albums, but this had a surprising number of tracks that I vibed with due to the strong song-writing. “I Can’t Dance”, “Brass Buttons”, and “$1,000 Wedding” are a great three track run, and even the fake “live” recording aspect of “Cash On the Barrelhead/Hickory Wind” didn’t really get on my nerves.

Surprising that this was Aretha Franklin’s first breakout hit, and her 10th album. “Respect” is the obvious highlight, as well as the title track, but overall it’s probably as close to a perfect album as anything else on this list. It has a cohesive feel throughout, and the songs/performances are perfectly matched.

Known as on of the greatest live albums of all time… it didn’t change my feeling about live albums in general; which is I would rather be listening to the studio albums. Overall this is fine, it’s a collection of good Van Morrison tracks and some solid covers, but it’s still limited in appeal.

It's pretty middling in terms of an album you have to hear before you die. Overall, I felt like the ideas here were explored in more interesting ways or pulled off better by other bands. Maybe Japan were early in the New Wave movement, but I can't really tell why this is considered essential listening.

This is a fine Elvis Costello album. I think Costello is an important artist, and while I’m sure several of his albums deserve inclusion on this list (Definitely This Year’s Model), I’m not so sure about this one. Billed as a reunion of The Attractions (only partially true), it’s a decent collection of songs. It has a fairly cohesive sound, but there doesn’t seem to be as much of a consistent through-line, and it goes on for a little too long. I’ll give it the benefit of the doubt and rate it 3 stars, but I’m sure it could be argued that there are better Elvis Costello albums that should have been included on this list, or just better albums by other bands (since apparently Costello has 6 albums included on this list).

Kind of mid. I’ve had a few other Tim Buckley albums so far and haven’t found much to like.

Not bad! Beyond “Lovefool”, there were some solid catchy songs, and the overall sound is something comparable to Belle and Sebastians mid-2000s work, so somewhat innovative for the mid-90s!

I dug it. I don't listen to a lot of rap music, but Grime has always been an interesting genre, and I think the UK perspective is interesting. Don't know if I'll give it a relisten, but it was a fun learning experience.

Decent southern rock, a good example of the genre.

Some classic beats and hits - clearly an influencial album for the genre. Not really my style, and I don't think there is anything that made me want to revisit this record in particular. "Dumb Girl" is an unfortunate relic of the time, but overall its good for historical context.

Some cool songs, and noteworthy for being one of the first "rock operas". It's undermined by some god awful mixing, which isn't the fault of the band for what is currently available on streaming services. It would be great to get a decent remix/remaster.

Listen, it can be a little theatric, bordering on silly at times, but the music is so overwhelmingly good that I'm definitely going to revisit. The opener has a sweet little guitar line that sticks with you, "I know what I like (in your wardrobe)" has a fantastic chorus, the exploratory "jam" section of "Firth of Fifth", it all adds up to a banging album.

It's fine - a live record from a talented artist - but doesn't change my feelings about live albums in general.

Almost instantly thought this would be a 4 start album, but as it progressed it definitely crossed over to 5 stars. It impeccably captures a post-punk 80s vibe, and has some phenomenal guitar work. ”Spellbound” is a phenomenal opener and summarizes the highlights of the album, but there are so many great tracks to revisit.

One hundred percent. Absolutely deserves to be on this list and is an essential album.

A little tough to embrace a prime example of “chanson”, which according to Wikipedia are lyric driven songs, when you don’t speak the language. So for me, it was just listening to some decent music with a Frenchman ranting over it. I can't penalize the album just because I didn't understand the words.

Solid vibes - will relisten. Also, loved the album artwork.

Neil Young is a major figure in music history, and this album, even though its quiet and folky at times, kicks balls and slaps It perfectly captures the late 60s, Laurel/Topanga Canyon music scene and culture. I first heard this in college and have always loved the opening tracks, but the record is strong from front to back. And it includes the ball kicking classic "Southern Man". Even if you don’t like Neil Young’s voice, its an important album, from an important figure, from an important time in history.

I couldn’t really tell from the Wikipedia page why this was an essential listen, other than it was one of the group’s more successful releases.it seems like it was potentially early uses of electronic music and effects, which is guess is good for exposure to music history? Not worth a revisit, but interesting enough I guess.

Pretty solid beats, and a historically significant album. Just not really my jam.

Overall pretty interesting, especially since there is a connection to "The Exorcist". The music is pretty adventurous, and another note, I've seen interviews with Matthew Berry where he talks about how influential this album was on him. I probably won't relisten because both tracks have parts that I didn't really mesh with. Near the end of part 1, the introduction to each instrument was a little hokey, and on part 2, I just found the "Caveman" vocals to be annoying after awhile.

Interesting entry - an essential album that is a soundtrack to a movie I haven't (and probably won't) see. The "Title Music" track really grabbed me, it seemed like a really great start, but the rest of the album seemed to be closely tied to the movie (which again, haven't seen). Overall an interesting listening experience from an accomplished film composer, but nothing more.

I've always been tepid on Bruce Springsteen. I totally get his place in music history, and I really like some of his songs/albums. But with any major artist, the obsessive fandom really turns me off. This is a collection of decent demos.

Marilyn Manson is an interesting figure in music history, and more broadly in public life in the mid-90s. Often blamed for moral degeneration among the youth, and for school-shootings/murders/etc. you would hope the music is more interesting than it ends up being. There are some catchy and interesting songs on this album, but they are packed in between so many mid-tier, repetitive ideas, and it goes on for so so so so so so so so so so so so so so so so so so long. An important listen in context of history, and "Beautiful People" was a bright spot, but I can't imagine wanting to put this album on in the future.

In 2014 Taylor Swift was already a hugely popular musician, with prior crossover hits ("I knew you were trouble"), but this album launched her into the stratosphere. It was inescapable at the time, proven out by the 6 huge singles released from the album (almost 50% of the standard edition). This was the album that really solidified T Swift as a pop culture icon (for better or worse). Personally, I like several of the tracks, but my opinion of Taylor Swift has soured in recent years so I'm unlikely to revisit this album outside of a project like this. For reference, listened to the original, standard version of the album instead of "Taylor's version"

Listen, I know U2 is an Irish band, but this album is the sound of pre-9/11 America. The opening tracks have such a naive “rock music can save the world feel” to them. It takes you back to a time where U2 could say, with a straight face, that they are “re-applying for the job ... of best band in the world.” To that end it is probably the perfect last gasp for Gen-X to feel relevant again. It sounds exactly like the album a couple of rich, popular musicians that fell off on their last few albums would make trying to recapture the magic of their youth. A lot of this came off as trying to hard. I listened to The Joshua Tree earlier in this project, and can admit that album slaps and deserved inclusion on the list. To me personally, some of these songs are fine when I’m in the right mood. But for some reason, this just sounded so forced as an attempt to reclaim former glory that it was kind of sad. And even sadder, it worked at the time, and U2 regained relevance, subjecting us to another decade plus of them being a part of the culture (and subjected eveeryone to getting a “free” album delivered to their iPhone that they didn’t ask for, IYKYK)

I loved getting high in Highschool and listening to this album. It was a mainstay for me during that time period when I was getting into 60s folk and psychedelia. So subjectively, it is a 5 for me.

I was first introduced to this album during a Jazz Appreciation class in college (god I miss college). It’s a jazz classic, and honestly just a good time through and through.

A part of the incredible string of solo albums from the Wu Tang Clan following their debut. The RZA was locked in with amazing production, and it exists within the shared universe of Wu Tang.

I really dig the vibe - it has a raw “live in studio” feel to it that few bands can really pull off. Definite revisit

The KLF seems more like an art project than an important musical act. So much of its importance is wrapped up in its actions outside of its music. The music on this record isn't bad, and arguably served as a good example of aci-dhouse in the late 80s/early 90s. I enjoyed most of it, but on the fence whether or not I'll revisit.

Bruce “The Boss” Springsteen, what can be said that hasn’t already? An important figure in music history (and still a big act), this is one of the his defining albums and definitely deserves inclusion on this list. Personally Springsteen is hit or miss. I didn’t really care for Nebraska (came up a few weeks ago in this project), but Bron to Run has an energy and vibe to it that is undeniable. The title track is the best song on the album, but “Thunder Road” and “Tenth Avenue Freeze-Out” really kick things off and set the stage for a great listen. I’ll probably revisit, so this earns a 4 star rating.

Decent listen. A lot of the sounds here remind me of David Bowie's Berlin trilogy, and there were some fun moments. It was a little repetitive, both in soundscapes and musical motifs, but "Cars" is a classic.