Queen Bee sounds fine but too many of the songs are fillerish. When she hits she absolutely KNOCKS IT OUT OF THE PARK. For me though it’s an inconsistent listen. There’s a lesson in there that Beyoncé learned in later releases with far better flow and function.

What in the blue hell is this? Literally fucking terrible. This was the downturn in quality for Kanye and for me I don’t think he’s ever recovered. Ten years later and he and his music are still on some bullshit.

Fitting 14 songs into 16 adrenaline fueled minutes Keith Morris and the boys make a punk classic still being emulated to this day. If you’ve never heard the origins of punk and hardcore the Jerks are a great introduction…as much as Morris’ former band is.

I an not a fan of Reggae I just am not. This however is so SO good. It features iconic rhythms and tunes and really puts you in a fantastic headspace. Excellent album.

Turn of the century pop classic this has one of the best three song starts of any pop album. Obviously the trio of ladies are fantastic singers belting out iconic track after iconic track.

It’s 55 minutes and only has 8 songs. This I like. The obvious 8.5 minute title track is the highlight. This is thrash done right.

8 tracks…again. The title track is iconic and you can hear the influence and samples stolen from it. Solid soul/r&b album. A great precursor to hip hop

Loved this one. Start to finish. A great blend of ‘90s Brit-Pop and Garage.

Shoegazey and straight up mania.

Kinda boring. Prefer their earlier work.

It’s ska. You take it or you leave it. This one though, this one I’ll take. Gladly.

I did not like this. It lacked the energy of the Stones best works.

Wu-Tang is truly nothin’ to fuck with.

It’s alright. Where’s its at is not bad. Devils Haircut is probably the best song on this.

An absolute classic. So many bops here

I did not like this. Dance music ain’t for me!

Outside of the single it’s an interesting album. Very good. Shines and light on what Clapton does well.

Turner takes from each of the previous decades to craft a post-Disco comeback brimming with sheen and attitude.

Doesn’t impress enough to stick with me past the runtime of the album. Interesting beats and lyrics but the two never coalesce.

I an not a fan of Reggae I just am not. This however is so SO good. It features iconic rhythms and tunes and really puts you in a fantastic headspace. Excellent album.

Björk is always weird. This is her being weird and in love. Fillerish songs make way for the epic repose of the scattered three or four single worthy exceptions. Still. It’s an interesting and musically dense piece of art pop.

This is much better by The Kinks. Picture Book goes hard but it’s the rest of the album that’s only okay. Springy ‘60s Brit-pop that’s well made.

Quietly composed and wrapped in tiny moments throughout. There are times in this album when I really just wanted to go back to the previous track but the next one was just as good. Stellar!

Not as great as Exodus lacking the hits and full of a bit too much filler for my taste.

I literally can’t stand U2. Meh

You can see where later acts like The Distillers caught inspiration. Courtney Love is wailing her way through all 50 mins and frankly it sounds really good. This is some solid ‘90s alt.

It’s dance music. I don’t like ‘90s music. NEXT!

Jangly guitars make way for Americana music. Petty is going and sounds it. He’s got so much to say and SAYS IT.

It’s not wonder these guys are considered all-time greats. The record sounds dated but that works as both a positive and deterrent. I personally love it!

Held together by its absolute classic of a single in the middle half of the record it’s a great record over a decade into his career. Good stuff!

A little shoegazey VERY ‘90s indie. This is a good not great entry into that genre. No real “single” hurts this a bit.

It’s a fine funk/soul album. Not Maxwells finest moment.

Part new wave and parts power pop this really didn’t hit me in any particular way I cared for enough to sink more time into the band.

The title is apropos. It is The Blueprint for where Hov went next in his career. Some great singles and highlights mixed with underrated b-sides. A few fillers along the way.

I’m not much for mambo and the adjacent genres. It was alright. Though most songs had to similar a tone, feel and lyric.

So much great stuff here. The title track is a perfect opener. It loses a little steam 3/4ths of the way in but easily a stellar release from Paul. Even without the others.

It’s shoegazey. But of course it is. It’s also a return to form. One that I didn’t think I’d be into. What I got was something that explores the sonic in such a way that I’d hadn’t though before.

FULL DISCLOSURE! I love The Doors. While this isn’t their best effort Morrison is undeniably the man and the rest of his merry band sound extra crisp thanks to great production.

I didn’t care for it. Not My tempo surely. Best I can tell you is if you dig ‘70s funk/pop this’ll hit for you…I don’t though.

Suuuuper 80s synth pop. Perhaps not the best from the “Boys”. Still it’s decent. Features a ton of meaty and danceable synth grooves even if the subject matters are shallow.

Baez is such a lovely and talented writer and musician her folksy soprano perfect placed within subtle guitar. Lyrically she’s tearing my heart out “All My Trials” is a STANDOUT.

I liked this far more then the other album I was given by MBV. An ambient symphony of noise and slight depression. Good stuff.

An anthemic and bombastic tale woven with George Michaels signature charm. An 80s pop monolith that stands as one of the decades finest pop music collections.

For me it’s a one song album and that happens right off the bat. Everything else on this is simply okay to meh.

Really a mediocre experience. I dozed off mid day twice. There’s no sizzle even if the songwriting is okay.

Smooth rhymes and soulful lyrics wax in life and love in a way that makes you want to slither. Slither ever so slightly through the songs in this. A really well produced r&b record.

It’s sounds like Arctic Monkeys. If you like Arctic Monkeys you’ll like this. Twas alright.

It’s a good album who’s title accurately describes the sound. Being as old as the record is it felt fresh to me as a first time listen.

I LOVE folk music and folk sensibilities. This has that in spades. Dylan’s crafts catchy tunes and is unflinching in his ability to discuss his topics and message while make it enjoyable to audiences.

I LOVED this listen. Equal parts loud and brash as it is contemplative and experimental. Janes Addiction are doing some amazing work here!

This is an excellent example of ‘60s rock. Culminates with one of the decades finest songs and perhaps it’s best closing track.

I HATED this. Three songs in 38 minutes. Talk about a meandering mess. Not for me.

It is very country. And very bluegrass and definitely not my normal listen. If you like these genres there’s plenty here to like as there’s 2 hours of music to listen to.

When you open your album with “Immigrant Song” it is really hard to follow that. Zeppelin needed 9 more tracks to fill the void but they do it here. If not for IV’s more solid lineup this would’ve been Zeppelins best album.

This isn’t a album you listen to. It’s one you feel. Love, hate, passion all central to the themes of what Nina wants you to feel.

You know those albums where you don’t skip ONE. SINGLE. SONG. Yeah this is one of those. It’s a classic for a reason. Nirvana rule. Period.

Solid score and soundtrack to a great film. Love the atmosphere of this one!

Another GREAT album by Janes Addiction! This one predates the whole grunge movement. There’s no grunge influences here. Certainly some psychedelic and flamenco ones though. “Mountain Song” is a straight up rock banger!

Leonard Cohens voice is a unique one. That said it’s his lyrics that spoke more to me. Sadly though the album doesn’t offer enough dynamism.

It’s a totally fine modern indie record. Definitely relies on its super catchy single.

It’s easy to see where Kate Bush set standards in pop music for the ‘80s. On her fifth album no less. The single is an absolute pop classic.

I mean if you like grumbly meandering lyrics akin to a drunk dude screaming at you Ton Waits has you covered. It was alright.

This is pre-80s Talking Heads and you can hear the difference in their later tracks. For what it is however I quite enjoyed it!

I don’t care much for southern rock. I care even less for jam bands. This is the best and worst of both genres. Ew.

You can tell in this record that they were a ‘60s boy band. Designed to make catchy “Beatles-esque” tunes. There’s a couple on here.

It’s totally fine. I probably wouldn’t reposted to it. This album peaks early and sputters to its finish. Though it isn’t terrible throughout.

Goddamn I miss when rock and roll had some emotion to it. There’s equal parts emotion and power to everything happening. Cornell’s voice is next level and the production makes this an absolute favorite.

This album surprised me. I’ve never been the biggest Stones fan. It starts off with one of their most iconic songs but I don’t even think it’s the third best track here. A FANTASTIC listen.

Look up post punk in the dictionary. This is the album you’ll find. Ian Curtis and crew craft doom punk and goth rock that is equal parts dark and foreboding as it is springy and catchy. An all-time classic without doubt.

This would not normally be my cup of tea. Man did I like this though. This is some excellent Europop alternative. Enough real instruments here to work with the dance beats. The production is stellar and I loved the levels here.

Grace is such a perfect title for this. We are essentially hearing Jeff Buckleys thoughts, wishes and ambitions spilled out onto the record. His beautiful Hallelujah dead center on the album is a wonderful choice. What a breathtaking production. A heart on sleeve masterwork.

Iffy Pop will probably always be cool. From the baritone croons in the opener to the very last note of the closer he exudes cool. There’s a couple of standouts here as is standard for Mr. Pop.

I’d never really listened to Steely Dan. I gotta say this was pretty good. There are some really catchy jazz infused rock pieces here. There’s probably more Steely Dan albums on here and frankly I look forward to listening

Dude. I really didn’t care for this. It’s not that it’s in French but for sure that doesn’t help. The main problem is that I despised the vocals. I found the instrumentation annoying and tedious. Just. Really didn’t like it.

I do, have and always will love this band. This album features some absolute bangers. IF you’ve never listened to it in full. It is high time you do! A masterwork of early 21st century rock. One that basically lifted garage rock to the forefront.

I did not expect this album to have no skips. It absolutely has no skips. This album is pop writing done incredibly well. Fantastically written and Adele’s voice is insane. This goes beyond the singles and is a solid album.

I mean this is the blueprint of the singer songwriter that would become more prevalent in the decades that followed. It’s also a great love letter to the indie and folk musicians from before it. Absolutely excellent album from an artist taken far too soon.

A solid, but not spectacular piece of ‘80s alternative. Enjoyable, manic and overall a worthwhile endeavor for fans looking to dig into all that the ‘80s can offer from a rock perspective.

Too many filler tracks surround the meat and potatoes of this. When the album shines it shines brightly. Sadly there aren’t enough of those moments.

I do not like to bongos. No I very much do not.

I really didn’t like this. More elevator music then the pop category it’s placed under. This was a boring piece. Cannot recommend. The second star is for solid musicianship

This British singer/songwriter has been an influence for so many of my favorite artists and it’s easy to see why. Beautiful instrumentation coupled with an almost whisper of a vocal style.

Alex Turner and the boys set out to give the world a memorable debut…they gave the world a few memorable tracks in an overall album full of too much filler. The hits in this are bangers though.

A fine piece of 80’s new wave pop. Not the strongest entry by a very good band. Still worth a listen.

Did I like this? Absolutely not! Was it the worst thing…close. It’s clear Steve Earle is a decent musician it’s also clear that his brand of country on this record isn’t for me.

You can hear the precursor to what The Clash would later perfect. Jam is the operative word as these dudes are jamming and making excellent late-70s rock n roll. Punk infused but lacking the authentic attitude.

Willie tells the tale of a murderous preacher who gets revenge in a cheating woman and her lover. Delicately arranged with few instruments and Willie’s signature yodel-esque vocal tone. It’s very solid.

Raekwon definitely goes for the throat of the entire New York scene here. Ghostface features on this and his touches are well paced and perfectly placed.

An alright introduction. They get better throughout their career this is just okay. I honestly was expecting more.

What a debut! Gorillas bring everything into this. A decade defining single, catchy choruses everywhere and solid production. Damon Albarn has always had talent but being able to mask himself behind Jamie Hewletts animation elevated him, obviously!

It’s fine. It sounds like ‘60s rock but isn’t really all that interesting enough to catch my attention for longer then a few moments.

This is an incredibly produced album. Most of that was done by the group itself. I never understood why they were called Fugees until you listen to the theme of the album.

An appropriate title. Hits like the titular Bat Out of Hell. Meatloaf is vocally destroying it! 7 songs 47 mins. EPIC!

It’s Brit-pop but doesn’t have enough catchiness to it. Some good songs mostly drowned out by filler after filler bit.

It tinges with hair metal production and punk music. It sadly doesn’t do either of these things very well. To quote NOFX “I don’t think Hanoi Rocks.”

Kanye sets the stage for the albums that’s are to follow while also showing he’s more than just a producer. Great features permeate throughout.

Taylor relies on singer-songwriter tropes but doesn’t have the clout to pull it off. Luckily there’s some well-written material amongst the cacophony of easily digestible whiny diatribes.

Wilcos brand of Americana is one that will always satisfy. Clean production gives way to fantastic storytelling even if some of the songs are far from perfect.

Cool, calm, collected chaos is the best way to describe this. I’d never heard of this band before but walked away a fan. Loved the entire vibe of this one.

Kashmir aside this record has all the Zeppelin fixin’. The iconic single is not only the best song here but one of the bands better track full stop. A great listen even if a little too long overall.

Equal parts rock and blues Chris Robinson and crew put a great foot forward. Too many of the songs blend together. In the standout moments though this album delivers. Whenever there is one.

It’s The Beatles. There’s a certain level of quality there. Too many filler songs hurts a record that has some all time great tracks.

I don’t know what I was expecting…it’s alright. Not my favorite piece of ‘60s rock. There’s a bit too much country style to this for me to enjoy it fully.

This is a record that grows on you. At first you don’t care much for it but as you listen the bands unique…’90s almost emo sound wins you over.

Showgazed tempo and early millennium indie sensibilities coalesce here to craft something easy to listen to but difficult to truly enjoy.

It’s an okay hip-hop album. It only features one song that doesn’t feel fillerish. Overall though it’s a decent listen.

You know…it was totally okay. People love Radiohead. I’ve always been very meh on them. I found this moved the needle for me positively. It ain’t the greatest thing ever.

Americana feels hit you right in the patriotism. It’s a decent effort from The Boss. I found it an easy quick listen. Probably won’t go back to it.

Outside of the opening track there isn’t much to like here. I will say Summertime Blues is a pretty spectacular track.

Turn of the century pop classic this has one of the best three song starts of any pop album. Obviously the trio of ladies are fantastic singers belting out iconic track after iconic track.

This is such a great mix of what Ray Charles does best. There’s also hints of big band and standards coupled in that give the album a unique spin in Rays discography.

Sade’s music is so damn cool. So damn sexy and so damn well made. I enjoyed this album from back to front. Excellent listen!

An excellent bridge between the ‘90s and ‘00s alternative. Harvey’s voice is so eloquent but really quite excellent. Strong songwriting and storytelling makes this a great surprise!

Sort of boring and monotonous when Stills takes a chance it goes far better then when he doesn’t. This was all very meh.

It’s totally fine. It’s early electronica that’s well done. It’s not really my cup of tea. I will say for fans of electronic music they’ll find the origins of everything the genre brings.

A masterpiece of pop country. Kaceys voice is on a whole nother level here. The albums closer is stunning and brilliant. Top to bottom there’s no skips to be had. Absolutely incredible album. Listen to this one!

79’s grit and a mix of punk and funk all come together to form an aggressive and well written piece. Iggy is as charismatic as ever here. It’s cool it’s cocky it’s bad ass.

It’s SHAFT baybay! The title track is obviously an ICONIC song. One that complements Richard Roundtrees badass detective. Isaac Hayes for all his personal faults has a silky smooth delivery throughout and each note is funkier then the last.

This is definitely a one song album. That song, “Cars” is a banger but nonetheless it suffers because almost every other song is super-fillery. It’s an okay record.

This is simple. Frank Ocean writes some of hip-hop/ R&B’s sexiest stuff. Two standout all-timers inhabit a total package that brilliant and really quite lovely.

A little bit of punk, a little pop and all somehow alien to the music scene of the late ‘70s. Headlined by a good single and featuring good tracks throughout.

A really boring movie score. That’s what this equates to. I did not like this. I do not like electronica music.

This is a good Neil Young album. Which is to say it’s got some really great songs and some really monotonous ones. I’m certain he has other films on the list. Will they be better?

Yeah this wasn’t for me. There was just not much to take from this outside the strangeness of the instrumentation and the puzzling nature of why people dig this.

This was the breakout album and for good reason. It maintained the dirty bluesy sound they’d been playing while featuring enough catchy choruses to satisfy the mainstream.

What an absolutely fantastic jazz album. Scats and hollers. Howls and jams in all the best ways. Prima is at his prime for sure. Such a great musical piece.

As SUBPOP as SUBPOP will get. There’s a clear sense of the Seattle sound that wasn’t quite grunge. I liked it but I didn’t love it.

KISS is a totally fine rock band. This is there best display in my opinion. They’re always more of a singles band rather then having consistently good albums.

Violent, brutal and glaringly honest. These are the words we can use to describe Ems first effort. Anthemic bangers are galore. Excellence.

An understandable classic. From the opening of Highway Star to the last note of Space Truckin’ this is only 38 minutes and it’s fantastic.

It’s Prince. Being iconic af. A GREAT album full of excellent songs. This is just a great album…PERIOD.

New wave boos are up and down this album. It does suffer from sounding too similar throughout. Enjoyable even if you aren’t the biggest fan of that ‘80s style.

I fucking love Sufjan Stevens. Subtle vocals, subtle guitar. It all comes together in such a wonderfully done package. It’s 90 mins that flies by.

I love The Beach Boys. We share a home town. I didn’t like this all that much. They lost a little magic post ‘60s.

A strong entry from the Fab Four but not their brightest moments. This one has a couple of memorable songs but lacks a truly iconic one in the bunch.

This is a record slightly ahead of it’s time. Feeling like Sub Pop Seattle circa 1992 except five years early. This album also has my favorite R.E.M. track on it. A simply excellent display from a hall of fame band.

A very good live production. King sounds so clear and excellent. The Jan’s are obviously here. This is good stuff. Not my typical choice. Nonetheless enjoyable.

Part ‘90s alternative part turn of the shoegaze there’s some real interesting stuff going on here. It’s struggles with being interesting enough throughout the run time.

Sort of a one track album. Sadly that track is the first one. The iconic Humpty Dance BRINGS IT. The rest of the album doesn’t quite live up to that.

A seminal piece of ‘70s rock this is The Stones crowning moment. Mixing their blues rock with that undeniable swag. It is a too to bottom great piece and one even casual fans can enjoy.

I miss when Coldplay were this good. I love this album from top to bottom. It’s not the bands best moment…they’re past it at this point, but it’s still stellar top to bottom.

One of this decades early seminal pieces. Speaking of pieces Apple gives us slices of her throughout this. One to listen to in the early part of this decade.

Joni Mitchell just always has to most beautiful of timbre to every one of her songs. A wonderful album from top to bottom. Can certainly recommend this one.

Richard Hawley brings a beautiful raw performance to this quietly calm piece of pop-indie. His voice at points is touching and feels honesty with the intentions he’s bringing

A lot of it sounds too similar from one track to the next. The title track is inarguably iconic. Outside of this everything else is…fine.

It’s a totally fine Springsteen album. Iconic thanks to a gross misunderstanding of the title track and a Courtney Cox cameo. It’s uneven at times.

Not Simons best work but an admirable singer-songwriter blend. 80s Simon is always divisive. I think this album furthers that divide.

Starting with arguably one of the 1980s greatest rock tracks…and subsequently one of its best riffs. It’s unevenness is what leads the album as a whole into okay territory rather then true greatness.

I honestly enjoyed the blues infused rock that Costello puts forth here. It’s great storytelling by a great storyteller. Decent guitar here too.

The best song is almost ten minutes. The other twenty minutes are pretty good but lack the killer tracks The Temptations are known for. Overall it’s just…okay.

No bangers in sight on this one. A mediocre dance album for someone like me that doesn’t love dance music was never going to work well. Don’t really recommend.

Electronic music is just really not for me. I didn’t care for this. It’s essentially ambient noise. That’s never really going to be my thing. I like lyrics. I like singing. This does not have that sans the occasional feature. Also all the songs sound far too similar and meld into an hour long noise trip.

Raw Power is the perfect title for this aggressive, bullish and frankly excellent piece of glam rock meets punk. Loud, brash and on the verge of some sort of breakdown.

No Bruce Dickinson means this isn’t a definitive Maiden album. There’s hints of ‘70s punk but not enough for me and the songs that are here aren’t as strong as what’s to come.

Totally fine. Doesn’t have much in the way of iconic tracks but shows the electricity Brown brings to the live setting.

There’s so much fantastic Irish Pop Punk. “Fairytale of New York” is an incredible song. Overall there’s some good stuff here. It all sort of melds into a great album from start to finish.

It’s a fine piece of ‘60s folk. Like, it’s been done better…even by Morrison himself. Nonetheless it’s fine.

It’s RADIOHEAD. I don’t really care for them normally. I will say that a lot of the songs are far more accessible then the norm for this band.

It’s still really really boring. It lacks the interested to keep me engaged for the length of its runtime. For this experiment The Kinks are 0 for 2.

Outside of the single there’s still some really well written, and well crafted songs on this mid-90s Beastie joint. That single is a Goliath in their catalogue though!

This is actually one of my favorite hip hop albums of its era. From front to back De La Soul show their lyrical prowess and penchant for fireball sampling.

Quintessential 2000s indie. Held together nicely on the strength of its two enormous singles. As an album everything seems to move to seamlessly from one song to the other bringing a different feeling to listening from start to finish.

Once again I love R.E.M. THIS album however doesn’t have near the iconic tracks throughout and instead relies on two to three absolute bangers to sift through the filler.

With a strangely hypnotic sound and odd narrative to the album as a whole this is one that works best as a whole listen rather then in parts.

One of my favorite garage albums of that movement. An essential piece of 2000’s rock. I love this album. Gritty yet flashy. Simple and straightforward. Exactly what rock n roll should be.

Emo-tinged in a ‘90s way the songs here all combine to form an aesthetic for the band one they perfectly fit in to and incapsulate. This is one you feel and hear.

Primordial punk at its infantile finest. Without this album and this band the shift from skiffle infused Beatles rock, and psychedelia doesn’t happen.

Such an easy listen. This really is an album experience from Moz and the boys. Girlfriend in a Coma is a highlight. Loved this one.

This is an absolute classic for a reason. Front to back bangers so unique for a double album. Features some of the decades most iconic and replayable tracks.

It’s early Elvis. So there’s a swagger about it. But a lot of these song are simply fine. Like a lot of “The Kings” discography. Blue Suede Shoes is fine. Tutti Frutti is better from Little Richard.

Moz is at his croony best. Every song feels like a desperate attempt to redeem something the poor bastard is longing for. It’s missing that Johnny Mar touch he had with The Smiths.

A completely fine piece of ‘60s folk rock. When it works it’s exceptional and it does that more often then not. Why hasn’t Wes Anderson used this on a soundtrack yet? It’d be perfect.

This is quintessential music from The Smiths. Moz and the boys are running in all cylinders here. A great example of new wave rock and an all-time great album.

Marvin Gaye is smooth as hell and cool as the other side of the pillow on this one. Funk inspiration is rampant here. Such a good vibes album.

Outside of the title track this album suffers from being a little corny. There are a few gems throughout this but otherwise it just doesn’t work that well.

Masterful guitar work. It doesn’t make up for a so-so production that despite Rod Stewart’s best effort in a cameo don’t hold attention enough throughout.

I didn’t like this. An odd mix of psychedelic Brazilian and spoken word weirdness. I think I’m not hippie enough to enjoy this.

There’s a reason many consider this one of hip hops greatest albums. There are absolutely classics strewn throughout.

An absolutely excellent sophomore outing and a rare one that follows an iconic debut. This album is a whole mood. Brooding and goth in all the right places. I loved it.

Exactly the type of indie album you’d have featured in a mid-2000’s romantic comedy probably released by Fox Searchlight. Beautiful, melancholic with just the right amount of jaded optimism. Lovely.

The blueprint for indie prog rock. Weird in a sort of cool way. It drags a little bit but is overall a fine experience. Especially to my fresh ears having NEVER really listened to Eno previously.

A totally worthwhile hip-hop release. Sounding very late-80s rather than early 90’s. The sad part is the themes still reign far too true.

It’s a fine jazz influenced album. Featuring a lovely bit from Ole Blue Eyes. I can’t say I love it all that much but it works.

I don’t like disco. This is okay disco making it worth a few points in that regard. Otherwise this is the most face value of albums I’ve heard all year. Meh.

Damn I Nick Drake. You can feel his life, ambition, dread et al in every single track. The obvious highlight here is the titular opener a somber lament in the arriving lunar phenomenon. Beautiful overall album.

Doesn’t hold up to contemporary listens but DOES work as a time capsule to the Summer of Love. I liked this even if I was left somewhat unimpressed overall.

Opening with one of Sir Elton’s best tracks this is prime ‘70s Elton John. Great song writing coupled with fast action pop choruses makes everything feel bigger and better.

There’s a reason this album is considered a classic and it’s because every song absolutely rips from the six minute epic right in the middle to the all time classic single Chrissie Hynde and crew are so damned good!

Totally fine. Listen. I’m not a Dire Straits fan but I respect their musicianship. That said there’s some ICONIC stuff on here bogged down by way too much filler.

I had NO idea what to expect having never listen to any of Thompsons discography. What I got was pretty well done folk rock that I am more than certain fueled many a singer-songwriter in the ‘80s. The Dylan inspiration is clear.

This is literally the most western country album ever made. Chock full of ballads of sadness and lonely. Of the western cowboy and his numerous problems. Still holds up better than a lot of country albums especially for that time. Probably thanks to the Fallout games.

What in the blue hell is this? Literally fucking terrible. This was the downturn in quality for Kanye and for me I don’t think he’s ever recovered. Ten years later and he and his music are still on some bullshit.

The piano in this is a nice touch but overall I was really bored listening to it. It all feels very much of its time and lacks the transcendence of some of the other works here.

Outside of having an all-timer of a single this is very fillerish. The charm of Harrison’s fab five days isn’t there. The new direction of this doesn’t hit quite as well as it should. Overall a very meh entry in the post-Beatles catalogue of one of its members.

Beautiful, ethereal and filled to the brim with some of the bands finest pieces of dream pop goodness. A worthy piece that’s easy to get through from start to finish.

A decade-defining major debut from the Seattle legends. Top to bottom filled to the brim with all-time classics. The only real question is whether this is grunges finest moment or not?

This doesn’t sound like anything that came out in that time period. Because of this it holds up incredibly well. Song after song of protest, anger and societies apocalypse are coupled with the funkiest bass lines and a guitar screaming so loud you’ll swear it were being stabbed to death.

You can feel this albums influence on modern singer-songwriters. There’s a lovely sensibility to this that makes it hold up a little better than similar release. Likewise it gave Gabriel a blueprint for subsequent (even better) work.

Not as good as the previous album and not nearly the catastrophe theyd become. A solid piece of ‘70s funk rock and hits just as hard now as it did back then. Enjoyable even if none of the songs stick with you past the runtime.

What a fantastic debut. Chock full of what would become the bands calling cards this is one of punks finest early hours. It’s loud, aggressive and seething with energy.

Inconceivably odd choice by the frontman here. I thought this was a perfectly okay indie rock album from the early nineties. It doesn’t quite have the gusto of some of the decades better examples…but this is fine.

It’s “London Calling” a top to bottom punk master stroke from “the only band that matters”. A rare album that has an iconic opener and closer. All-time great album art.

Harvey writes a modern protest album without sacrificing who she is as an artist. Loud, unique and bold in a lot of places it’s standard non-conforming time signatures coupled with an interesting choices of autoharps as the main backing.

So I’ll have to preface this by saying that jazz really isn’t my forte. I gave this a chance and didn’t find much enjoyment in it. Has an elevator quality to it. I found myself wandering off with it. Not in a great way though.

Quintessential ‘90s. This is what you hope for out of a pop rock album. Unbelievably solid tracks from top to bottom catchy without losing their teeth and an overall sense of artistic style that works and holds even now!

Sort of a one trick album. It features some okay ‘80s tracks that are all overshadowed by the Goliath opener.

There’s early punk vibes and strong garage roots here in this utterly fantastic debut. Everything seems to coalesce together to make sure you’re actually having a great time while listening. High production considering the circumstances of this albums creation.

So ‘90s but sadly a one song album. That song though is one of the best pop hits of that decade and an ear worm forever. They deserve credit for at least that.

Dude Mark Knopfler somehow makes guitar songs into elevator music. Why is this so damned boring. A lack of personality hurts this one tremendously.

A perfect folk record in every way. Charming, subtle and full of life while contemplating the value of it. A record sure to continue standing the test of time and one modern acts surely use as influence.

John Cale always tends to bring his own sort of flare to all his projects his solo stuff being the obvious biggest recipient of that flare. Here he’s got with him a group of good songs, though they never reach true greatness on this release.

An essential for anyone who wants to get into hardcore. Not only is the energy unmatchable but the classic tracks just keep on coming. Honestly one of my favorite albums. I keep returning to it.

Sufficient ‘70s rock that does what it needs to do. Most of the songs meld together but I will say that meld sounds fantastic. Great guitar and smooth horns all coalesce wonderfully well but don’t standout.

I really love Joni Mitchell. She always has this sense of wonder with her vocal. Like we’re listening to her deepest thoughts over subtle guitar. Wonderfully put together.

It’s part spoken word genius part excellent improv jazz. This works for me more often than it misses. It’s an odd, but satisfying journey through the mind of a mad man. One that works well as a live album.

Cube unpacks a lot here. All of it delivered with equal parts vitriol and sarcasm. Some unforgettable bars are brought to the forefront really displaying Cubes penmanship.

This is some fantastic funk. A good piece that’ll hav you dancing from top to bottom. Overall good stuff that I could see myself enjoying again even if it doesn’t fit my typical fair

JLL sounds absolutely incredible here. The production of this live album is great. His song choice is amazing and from top to bottom this thing hits.

Some of the covers on here are in a word, better, than the original versions. Otis has a voice that is unmatched and I serious felt every single solidarity emotion coming from that man. What a legend, what a voice, what a recording.

It’s not really my thing. But I loved the chances taken and FKA has a great, sultry vocal throughout. I get the appeal. I get why people like her. Perhaps her subsequent releases will hit me a little different.

This is a totally fine ‘60s rock record. There’s nothing overtly memorable about any of the tracks here. Nothing standout so I think it helps the overall record. I did find myself jammin a few times

Fitting 14 songs into 16 adrenaline fueled minutes Keith Morris and the boys make a punk classic still being emulated to this day. If you’ve never heard the origins of punk and hardcore the Jerks are a great introduction…as much as Morris’ former band is.

I didn’t really care for the, quite frankly boring production quality. That’s not to say there weren’t good songs here some were pretty good. Others however just didn’t do it for me.

Fogerty and crew craft a fantastic album. One where each song flows well into the next. All while sounding like the band, and like unique experiences all their own.

This album is for the Byrds man. Standard, boring ‘60s rock. Not interesting…but pretty chill. That chill attitude really brings the whole album together even if nothing sort of stands out.

This album could literally be a Greatest Hits compilation. Every song on this is an absolute banger. A TON of CCRs classic can be found in this. HIGHLY recommend.

The nineties are often pointed at as the peak of alternative rock. I think The Pixies got the party started two years early with this absolute masterpiece. The best song is whatever one you have on. It works from top to bottom. Absolutely excellent.

It’s got some undeniable hits including the title track, an 8-minute long epic that’ll live forever. Outside of one other song here everything else is…fine. McLean is clearly an icon…mainly from this album but for me it doesn’t carry enough.

I don’t like this jam band style. All of the songs seem aimless within the overall message of the album. They’re just…songs. Songs that are often too long and often meander too much. Now I know why I avoided this band.

The musicianship is absolutely fantastic for what this band and this music is. What it is however isn’t for me. That’s not to take away from the utter beautiful found within this albums songs…I was just bored at some points.

One of hip hops greatest complete albums. From top to bottom for me this is absolutely excellent. I’m Cool Like That and so is this record a must listen!

What is there to say? This is the peak of Post Punk, the precursor for new wave and a brilliant album top to bottom. I adore the songwriting and the instrumentals. Ian Curtis is untouchable as a frontman. Just an excellent piece.

An early example of British punk outside of the “oi” genre more Clash than Pistols. From top to bottom this is the type of album your favorite punk band had on repeat.

I mean. What is there to say about one of the greatest cinematic soundtracks of all time? Sexy, sultry and just too cool. Prince compiles a wonderful collection of tunes here. An obvious recommendation.

Elvis Costello is pretty cool most of the time. Here he’s pretty darn good. His backing band bringing a swagger to the tunes that lets the audience in on what’s going on and the story he’s telling.

Ideas the size of boulders with music to match its to band the writing is only paper thin. Stretching this to a double album made it an even longer experience than it needed to be.

Such a fantastic sophomore effort. It’s clear Eric Clapton has always been a virtuoso guitar player. There are some riffs on here, outside the obvious one, that should be iconic. Great overall album. A height for ‘60s rock.

Joan Armatrading works as an equally as talented 1970’s bridge between Joni Mitchell and Tracy Chapman. Matching both in vocal tonality and songwriting prowess.

It’s a whatever album. Not something that I’ll want to relisten to. I don’t know what it was about this album that just didn’t work but I was mostly bored throughout.

Not Cubes strongest release. Still he’s full vitriol here and that’s really what we want from Cube. That said it hits hard at times and has several great features. Sadly it isn’t enough to really grab me like his two follow ups do.

It’s not as great as what this band will become. Too psychedelic for my tastes and lacking some of the strong musicianship of later Floyd releases. Overall an entertaining if someone lifeless affair.

A perfect sophomore effort following up those excellent debut. TSP is part of why the 1990’s had such an excellent alternative scene. Here we get dreamy guitars and fuzzy feedback laden riffs coupled with jazz bass and drums straight from a mushroom dream. Excellent!

A completely fine piece of ‘80s music. The single is the obvious standout on this release. A very good, underrated band from this decade. Worth a first look if you enjoy that decade.

A premiere example of what they would later evolve into. They also evolved the genre here and found success from doing so. As a stand-alone album is great. In hindsight it’s even more important.

One of my personal favorite albums of the rock genre in this decade. There’s an indescribable energy from top to bottom with this band that I’m certain translated beautifully to the live setting. A definite recommend.

An obvious classic. From start to finish this is an album that has earned its status as an all-timer. Great production quality and even better songwriting strays sometimes a bit too much into the psychedelic for my tastes.

Forgery and the boys DO NOT MISS. A great album front to back. The late sixties and early seventies were dominated by CCR’s riverboat rock. An incredible band.

I very much dislike Christmas music and I don’t care who produces it. It grates my ears and my head hurts at the thought. That said this was well produced even if the songs gave me a migraine.

I’m not much for Jazz. And this jazz fusion with Afro Cuban sensibilities while totally fine was in fact so damned cool. I’d probably grade this up a notch because of the cool factor. The coalescence of the horns and percussion all give way to some joyful noise that’s hard to predict.

There are some absolute bops on here. Some of which I consider all time classics. A lot to like. Most of this stems from Nilsson’s unique charisma.

It’s Led fucking Zeppelin. Top to bottom the musicianship and songwriting are great. Everything sounds incredible because the production while not top notch is mixed excellently. An album that stands out in a year full of stand outs.

I wasn’t a huge fan of this. All the songs sort of run together. Moments in here shine. Those moments grabbed me by my ear and lead the way for me. Otherwise fairly forgettable.

This is fine. It seems a lot of these album of ‘60s and ‘70s rock and this band The Band are a great example of it done right. Top to bottom it’s sufficiently made and has nice production quality to it.

Not Costellos best effort but a good one nonetheless. There’s a lot of same sounding songs but when Elvis shines here is in the micro moments. The ones that see past the bombast of the overall project.

It’s thrash alright. Mustaine and the boys bring it. So much energy and just enough bitterness to make any thrash fan very happy. Premiere ‘80s thrash reminiscent of Mustaines former band

Part new wave part post pop this might be the Brit bands best effort. No bad songs and a helluva single all sort of come together to form what 1980’s British pop can sound like. At its best.

Do I like southern rock? I think I might. This album is freaking fantastic. Top to bottom, even if Free Bird is bloated as hell…what a song! And to me it isn’t even the best thing in this. Never really thought about Skynyrd outside their most famous track…now I’m a believer.

There’s a reason this album is here. It is the quintessential gangsta rap album from the ‘90s. Iconic beats and bars from start to finish. Dre shows off his producer hat as well as still breathing some fire with his incredible features as well. Back to front a classic.

Subtle but forward in a way his previous work just wasn’t. Smith uses far more sound and madness to cut through his messages. Lacking the acoustic twee of other efforts but still so poignant and in the exact right place the listener wants to be. That being the place Smith means them to be.

This is a wonderful little country album chock full of life. Wonderful storytelling is what I can best encapsulate this album. Enjoyable. That is another great word.

Sort of exist as a way to funnel Freedom ‘90 outside of that track not too much of this comes out as relevant. Still George Michael’s voice is so damn good.

With Buzzcocks beautiful blend of posi punk and British wit we get a truly fantastic debut. Creating a sound they'd later perfect and a brand that would last for over 4 decades. Their roots are here and those roots are checker boarded and ready to take the dance floor. As much a pop band as punk would get to that point.

A very good effort from these absolute legends. Features all the hallmarks we’ve become accustomed to. Sharp, simple writing. Enjoyable but flawed. Not this bands best effort but really really good.

This is the second time they’ve tried to make Supergrass happen. It’s not working. This is once again fine. Not a record I’ll spin again anytime soon.

The production values here are so high. It’s so slick. It slithers through you and is lead by one of Bowies most iconic tracks. A masterpiece from a true musical genius. If you’ve never heard it you need to.

An absolute banger of a debut by the Swedish indie rockers. Featuring the manic almost insane energy that would become a signature. This is also a glaring example of the early aught indie rock vibes hitting the international scene. So much fun!

If you’ve heard the Beach Boys before you know precisely what you’re getting into. Smooth vocals by Love and Wilson, great songwriting and the feeling that summer might never end and the only thing that could stop it are the gray clouds in your mind,

Simon mixes in various other elements not seen in his music previously. He also writes one of his strongest, and frankly best singles. At the core though it’s still his signature folk with that positive spirit.

There are many MANY bands that don’t get to a sixth album let alone their sixth in only six years as a band. British speed metal gods show why they are still relevant y making a timeless metal album that sounds good still to this day.

There’s a very fine reason this is considered the fab fours finest moment. Top to bottom there’s amazing songs. Whether it starts with the fantastically titled “Come Together” or the perfectly named “The End”. Banger after banger can be heard here.

Beck does his usual schtick, to a fairly consist affect here. His lower tones sound good but he isn’t really doing anything out of this world here. Easy consistent indie pop…put out by a master of this sort of thing.

It does the hair metal thing at the highest possible level musically. While not as catchy at every corner as some of the genres other singles the album as a whole is solidly made and so well produced it stands as a shining example.

There are some absolute bangers on this record. King is seen as one of the best songwriters around and that’s for a very specific reason. One highlighted here. Song after classic song.

This is a great Stones release. Even the filler songs aren’t really filler. As a whole it just takes you in a journey because it’s bookended by two classics. Great production values have this sounding like a million bucks, the remastered version is even better.

It’s a modern composition and one that will never not sound menacing and almost tribal. Those tubular bells certainly cause a helluva ruckus.

Nirvana fucking rules. Many love Nevermind more…it is more iconic but for me this is their best album. Top to bottom the filler doesn’t feel like filler here.

It’s sounds of it’s time and while that isn’t always a bad thing you can hear a better version of this style from the previous years Wu-Tang release. Still it plays up the decades New York sounds very well.

It’s an absolute rock classic and there’s a reason for that. From top to bottom every song has an adrenaline that is hard to emulate. A passion for music and writing that you can’t copy. Many have tried. A stellar debut from a legendary band.

Not for me but I can see the appeal of something like this. I’m not too into but for fans of this genre I can see why it’s on this list. I think in hindsight it’s a high mark even if it didn’t resonant with me

I found this to just be another new wave album in a sea of new wave albums. Its single is an iconic piece of ‘80s nostalgia. A song that’ll never wear out. Sadly the remaining songs don’t have that umpf to them. They instead fade into the background.

It is absolutely no wonder this is a ‘90s alternative staple. The angst, anger and unbridled emotion that Morissette dispels here is so raw and really lets the audience appreciate her writing.

With all honesty I can say I do not understand this album. Perhaps it’s because I’m past 30? Regardless this is not one I will highly recommend, though the production values are VERY high.

There are hints of the legendary band they’d become here. More the bricks being laid than the wall itself this is a truly interesting even if somewhat uneven venture from these ‘80s stalwarts.

The raw emotions Joplin brings us here are so ridiculously well put together. The writing sinks to the core of the message and Joplins voice is just AS raw. Beautiful record.

I’m not really into Raggae. I’ve tried to get into what Quaye is saying here and to a certain extent I loved that. Musically is interesting enough if not altogether somewhat samesy. A decent listen for sure.

An absolute fire starter from front to back. Starting off with the bands most iconic song and ending with a “Good Feeling” you never want to end. I loved this record. Seek it out, enjoy it, love it!

This is so yacht-core and silly. I just don’t like the album altogether. The single here is an all-time great to most extents. But otherwise I find the whole affair very…taxing. I will probably never put this through a relisten.

An interesting collection of tracks from a legendary band. There’s a lot and i mean ALOT of Pete Townsend just riffing. One track is 17 minutes long! It’s that lack of conciseness that I think hurts the overall album.

James Murphy makes electronic music for garage band kids. It’s totally sufficient but not my cup of tea. There’s glimpses here like the excellently dancey “North American Scum”. There’s a few too many bleeps and bloops for my liking. There’s SOME decent songwriting and production here but it’s let down by the music itself.

When it comes to Leonard Cohen you know what you’re getting. That said his silly dulcet tones hit nicely even if the album as a whole could use an inflection of energy at certain points.

Dude. I didn’t like this at all. Obscure German alt rock from the early ‘80s. Musically it’s a vat of noise cascading around the German lyrics which further a lack of musicality other languages nail.

This is a fantastic piece of hip-hop from top to bottom. Centered by two absolute bangers in the middle. It isn’t typical of the modern style but works nonetheless within the more lyrical stylings of the genre it’s in.

This album has everything you look for from this game-changing New York band. There’s absolutely no question that what was to come, new wave, is grossly inspired by this album. I’d even venture to guess Peter Gabriel was a fan.

It’s no wonder that Stevie Wonder is seen as a master songwriter. Every song here is catchy, well structured and instrumentally sound. There’s a tremendous flavor happening here. One worth your time. It’s a front to back type of album that you’ll want to keep spinning.

This is outlaw country. Not only is it one of that genres seminal works it is a perfectly crafted piece of live recording. Cash sounds full voiced and nothing is lost here. Even the banter between songs works to a great extent.

One thing is clear on this album. There are some incredibly good writing here by O’Connor. The tracks feel pop without much sacrifice. Even if the big hit wasn’t written by her, the album as a whole works too well. A nice early ‘90s piece of pop music that send a rather high standard for the decade.

Stretching electronic music to really cool places seems to be the bands entire MO. To take their genre places it rarely if ever goes. I’m not normally one for electronic music. But this…this wasn’t bad.

Talking Heads once again prove they were more than prepared for the impending decade as they craft one of the decades finest mashes of pop sensibility and new wave twee that brings both joy and a tad bit of introspection. Glorious stuff.

A mixture of early punk attitude and glam sonics this is an album that certainly BRINGS it when you look and listen to the entire picture. With a ten minute title track there’s a clear direction…not one most bands of similar ilk at the time were navigating.

What a debut. Sounding at one point like the ‘60s and also certainly sounding like it is setting the table for the next decade front to back this is a legendary piece of rock music and one that stands up now almost 50 years later

Such an original and interesting piece of alternative. Mixes ‘70s punk with hint of ‘80s electronic. It feels like a precursor to something like Le Tigre. I’d never heard of this but enjoyed it quite a bit.

Not nearly the classic its follow up is. Still. You can hear the grumblings of a change in sound as far as alternative music. Everything here is decent to good with a monster early track at the center as it’s single.

Do I enjoy Radioheads music? No. Is this a well made album? Yes. Did I enjoy? Sort of. When Thom Yorke isn’t wailing sadly over lushy produced tones it’s great. When he is…it sounds like bad shoegaze.

God I really dislike dance music. I just could not get into this. Irritating pulses and beats that are akin to a vasectomy permeate throughout this slog of a dance project. Not enjoyable to me at all.

This was The Cures goodbye to the 1980s and what a farewell it was! Lyrically this is Robert Smith crafting masterworks with a pen, even if musically it doesn’t stray too far from the familiar sounds. A masterpiece indeed.

There’s something familiar and unique about this album. Perhaps it’s Callaghan’s Leonard Cohenesque voice. Instrumentally in feels like an album from the 2000’s indie scene. This is a really surprising and enjoyable record for me.

Before she was Back in Black she introduced us to Frank. That seems to be the appropriate word…Frank. An uncompromising and classic sound seems at times throwback and others wholly what was missing for the time. A WONDERFUL record. The world could’ve used more Amy Winehouse.

It’s an interesting Jazz exploration. One I never would’ve taken myself. It’s an easy listen and a tight 30ish minutes through its 4 tracks. Decent stuff.

A lovely collection of some of Willies favorite songs growing up all covered by the man himself. His classic voice suits each choice well and if you didn’t know he didn’t write it you’d never know he never wrote it.

Country music is not designed for me. That said it’s fine. Nothing about it really sticks out lyrically or musically amongst the 100’s of other 1980’s country music albums. Yoakam has a really good is old hat sounding voice.

An impress list of all-timers throughout this album. Even the lesser known songs are so damned catchy and well-performed. This is an ascending rock band at the point where they’re going to takeoff. A true moment in 1980s rock n roll.

It’s a decent entry into the Morrissey's solo endeavors. No truly standout tracks but the collection as a whole is very much worth a listen.

This is a fantastically produced live experience. It sounds like the record and that’s for the better. Some of the improv riffing get a little long in the tooth but doesn’t spoil a very good live album.

What would rock n roll be without this release? Though it’s a little too samesy throughout and from then on with the Aussie giants there can be no denying that this album fucking rocks!

What they do with sounds is an interesting interplay. I’m familiar with the follow up to this but I’d never dived in on this album. What I found was a fine piece of experimental electronic music. One that mixes samples well and provides a unique listening experience.

Is this some of the weirdest shit I’ve ever heard? Yes. It’s indecipherable madness. It’s also an absolutely gorgeous piece of music from top to bottom. A lesson in mood and vibe all wrapped in some weird language none of us will ever be able to decode.

This album is for The Byrds. Country is not their strongest suit. You add Gran Parsons with this album and its subtraction by talented addition. It just doesn’t work all that well.

It might not be the actual birth of cool but it’s certainly the soundtrack to it. Complex patterns and gorgeous instrumentation keep the flow going while Davis shows he is a master.

Bowie is as the album would probably suggest in transition. Heading from one station to another. This sat between two of Bowies classics this is a short but loaded record that does exactly what it sets out to do…refresh us.

I can’t say much about the record musically because there’s not much here. It’s blues rock done in a seventies style. I was put off by the singing because I felt like it didn’t match the music underneath.

I had forgotten just how good the early 1960s were for the Beatles. This, the fab fours third album has enough good songs the elevate the great songs to legendary. Highlights galore on this one!

Goes for elevated sound and instead sounds like elevator…music. Very 70s easy-listening. I didn’t find it particularly easy to get through. If you’d like to take a nap…let this be the soundtrack.

This album is just chock full of hits. I’d never listened to the album as a whole but I’d heard the songs from it my whole life. I REALLY dug what Billy Joel put down here. A fantastic pop rock album for the late 1970s.

You know what! I’m not a Radiohead fan but this was fine. I think for me it’s just that I don’t like the singing because instrumentally this album is straight up brilliant. And in come the haters.

There’s much to be said here. Fantastic songwriting and catchy tunes are bracketed by unique instrumentation and fun vocals. Even if the subject matter doesn’t always match.

Common works here with Chi-towns other premier MC Ye and the influence is clear from the beats here. Common writes some solid lines that’ll have you backtracking to listen again. An overall solid hip-hop record for the time period.

Sparks always bring such a unique spin to pop and rock music. This is not different. Bringing massive amounts of subtle beauty into each track while still having a little cut to their edge. Cool and crisp just as you’d like. These guys don’t miss.

This is some great britpop. To the extent that it mixes all the good parts of what bands like Oasis and Blur we’re doing with the subtle cockiness the band got known for.

God I loved this. Fresh. And funky with just the right amount of latin flavor. Esta bien indeed. Listen to this on the best speaker possible. You’ll wanna catch all the little notes underneath.

This has such an attitude that no matter what you do with the album itself it stays with you. You wanna raise a feminist fist and say “fuck the patriarchy”. Every tune is punk in all the right places while possessing some straight banging riffs and biting lyrics.

It’s a west coast hip-hop classic for a reason. Snoop swaggers and sways through the 13 tracks here. Nailing every part of the gangsta rap attitude as you navigate through this your left feeling so much cooler than you started.

This is an absolute masterpiece from Ye. Song after song is filled with top notch lyrics and it’s musically perhaps his most ambitious endeavor. I hate giving the guy props but a great album is a great album.

Adele has absolute PIPES and they are on full display here. Song after song here are well-written and fantastically performed. The production values are really high. A top tier pop piece from a modern day diva.

A punk classic that has almost every classic track you can think of from DK. Jello and the boys are in full mayhem over fuzzy licks and well produced drums. There’s an odd catchiness to a ton of the tracks.

Coopers most well known track is the centerpiece and opener of this very front heavy album. Overall it’s a fine piece of ‘70s rock. That title track is an all-time bangers though.

I’m really not into electronic music. That said I am not the best person to speak on the merits of this album. That said this is a weird but unique listening experience even if I didn’t particularly care for it.

There’s some extraordinarily cool beats and music here. It’s not to my taste but I can genuinely say I understand why people would love it even if I didn’t.

All the bops. I don’t even really care for ABBA…but damn. This is ridiculously catchy. Every song is so sugary sweet. On the whole I didn’t feel like skipping…which is really a great thing because I’m impatient honestly.

It’s quite clear what sort of records were influenced by this one. The post punk sound is pretty refreshing and it all circles back to the writing which is well done. An overall interesting piece of ‘70s rock.

It’s evident they were ska influenced on this record. Message in a Bottle is simply a classic and the vibes of the record as a whole are very chill…that’s something to be proud of. Sting and the boys have crafted some decent rock n roll here.

It’s clear the punk influences formerly I no the band gave way to more pop and disco sensibilities. Nonetheless this album is a top to bottom classic. Debbie Harry still kept one thing from the punk days…the attitude.

This is simply a masterpiece. The first four songs are some of pops absolute catchiest and best. Elton John will always be a king amongst normal men when it comes to showmanship and musicianship. Marvelous stuff!

If you don’t know what punk music sounds like here’s your 101 course in exactly that. A lot of the same issues the Pistols address here are still issues. A lot of the themes here are still relevant which makes this punk rock masterpiece seem to never quite age.

This is a phenomenal pop album. Atmospheric and distinctive. Lord we voice is grainy and gutty and works well throughout the material. A modern masterclass in pop that’s anti-pop.

A simply addictive pop punk crossover from before that was a proper genre. Each guitar riff is catchy and the lyrics speak of being young, dumb and out of one’s mind. Perfect bass lines backbone this stud of an entry into the legendary bands canon.

This is my favorite Michael Jackson album. It doesn’t have the iconic status of his previous one, Thriller, but there are just SO MANY bops from top to bottom here. There’s a reason he’s known as the “King of Pop”. Flawless production and near flawless writing are all on full display.

Karen Carpenters pensive but strong vocals work against the accompaniment so damn well. There’s some ICONIC tracks on this release. Songs that still sound good over fifty years later.

A true modern hip-hop classic. Kendrick’s lyrics are street poems that show love to his neighborhood while starkly telling tales of what his experience and existence was and is. A top to bottom gem of contemporary hip-hop

A ridiculously catchy mix of post punk and new wave. Equal parts Clash and Duran Duran. Blaring horns mesh with lilted guitar to form a sound that’s uniquely ‘80s but holds up even still.

A really cool modern folk piece. Adam’s has such a unique voice and the messaging here hits really well in conjunction with the simple guitar melodies.

Legitimately one of hip-hops greatest albums. Nas brings the vitriol in ways that at its time has only been done a few times. His messages are on point and clear in delivery.

An album that really lives in the punk genre while also creating a small niche for itself within it. Dexters voice in particular presents itself well and is front and center on this. Bangers all around.

A generational mix of hip hop and R&B makes for an album that soothsays the upcoming century that was to be. Everything here is high quality. From production to lyrics to the actual foundation of the record itself.

How do I say this? It’s one of rock n rolls greatest releases…ever. 28 songs sprawled across two full albums. Nay a skippable track and classics at every turn. It’s a two hour epic worthy of praise. Seated for me at the throne of ‘90s alternative.

Another Nick Drake album another eloquent and beautiful dirge of an album. Laid bare for all of us to hear this was Drakes debut and it’s nothing less than stellar.

Seeping with britpop charm this is an album full of really good songs but only a few truly excellent ones. This album was more important for what it became than what it was at the time. It still sounds pretty good in the modern time as well.

Standard hipster rock fair for 2011. Nothing really stands out and it all sort of melds together. This is sometimes a good thing but here it’s a distraction and makes it all sound like ambient noise.

A jazzy classic for a reason the backbone of this has to be the iconic Take Five. I think everyone at some point in their lives has heard that track. If you haven’t then you should. It’s a peak example of 1950s jazz.

This is an absolutely iconic concept album. For good reason. Song after song tells of disillusionment, depression and hallucinations alongside many other topic that sadly make the album as relevant today as it was in 1979.

I think maybe electronic music is not for me. I was annoyed by this slightly less than normal which I suppose says quite a lot about the music itself. It’s all fine.

What a strange brew. Equal parts synth-pop and rock leaning. This is one of those albums that I had no idea what it was going to be. What I walked away with was an utter surprise. I really enjoyed this weird ass music.

Relevant, but not easily digestible this is the music of a revolution and the soundtrack to change in west Africa. A mix of Afro-beat and Jazz that as anthemic as it is intricate.

Oof. I don’t think I’m the target audience here. It’s fine. But I found it lacking any semblance of oomph. Perhaps I different Jennings album will hit me in a better place.

Morrissey really is at his best when he’s allowed to croon at full volume. This album features (arguably) his best solo track alongside a decent collection of other rather well-written and well-produced pieces of ‘80s pop.

Funky as hell. I loved the rhythms and beats of the record throughout. I was unprepared for how much I enjoyed this one.

What a phenomenal piece of 1970s r&b. Marvin Gaye’s voice is equal parts unreal and perfectly mixed. Each snare hit and slide whistle mixing wonderfully and the sonically perfect piece.

If you want to know what raw unfiltered GRUNGE sounds like you have this. An absolutely spectacular example of the emotion and feeling that can be portrayed in this rather new, at the time, genre.

I was pretty bored with this. It isn’t a wonder these guys are considered one hit wonders here in the United States. I was just mostly uninterested with it all here.

44 songs over two full-length albums tell you the Minutemen were far from their moniker. Chock full of punk rock revolutionism they deliver their message in style and in whatever way they fucking feel like it.

I don’t like this. It lacks the catchiness I want out of Genesis. That thing that makes Phil Collins tolerable. It’s musically speaking a phenomenal piece the whole band seems in stride and Collins’ drumming is in pocket throughout.

For me this band just doesn’t miss. This is another long, epic journey through the thoughts and mind of the Lizard King himself. Equal parts strange and transfixing. He’s almost putting you in a spell up until the very last note.

This might be one of the ‘90s best albums. Strong from top to bottom. Its britpops arguably finest hour. I didn’t for one moment consider skipping a single track on this absolutely excellent sophomore effort.

A perfect piece of ‘90s alternative rock and among the best that decade has to offer. Shirley Manson is full voiced and fierce and the band behind her more than up to the task of matching her kinetic energy.

An odd French pop album. Not something I thought I’d find myself enjoying but quite honestly in the end I found it both enjoyable and enlightening. A nice refresh even if I didn’t always feel like it hit whatever mark it was aiming for.

Sounding more late ‘70s Brit punk than ‘80s. Still there’s so much to digest here musically and though the composition is simple the lyrical content and messaging here weighs HEAVY. I’d never heard a lick from this band but I’m definitely going to be putting some of their tracks into rotation.

Starry eyed with intent and beautifully produced. There’s a certain feeling this record evokes. Whatever that is I loved it. It’s hard to describe but feels real good.

This was some groovy shit. I was in on it from the start. It sounds great. It made me feel everything and I enjoyed the hell out of it.

The rhymes feel like they’re battling the bears and that the group are meditating through their flow. This is a fantastic album. Featuring bar after bar of the type of storytelling often missing in the modern rap game.

This band does blues rock better than the Stones of the same era. If their front man had Jaggers swagger they’d probably be an all time famous band. Still their 50+ year career is nothing to sneeze at.

A strange trip and one that doesn’t last long enough for me. I loved this. They don’t sound like their contemporaries in the slightest and that’s the most intrigue and interesting thing about them.

This is a punk album disguised as a pop album. Behind Belinda Carlisle’s pitch perfect vocal performance lies a rhythm section that’d make The Damned jealous and ripping riffs are absolutely excellent. Let’s not even mention just HOW catchy everything is.

Psychedelic rock is probably at its best when spoken through the lips of Grace Slick. Iconic track after iconic track weaves us down the rabbit hole. Don’t trip on the way down!

Me and electronic music do no coexist well. I did not like this. Not even a little bit. I tried guys. I really did!

I don’t know why, maybe hindsight but I don’t really believe anything T is saying here and it hurts the overall record. He doesn’t feel gangster because I’ve seen the rest of the story. It’s well produced…but that’s about it.

One of the more unique records I’ve listened to in this experiment. This South African legend even gives us a fantastic cover to go with solid originals. Her voice is spectacular even if the music around it isn’t really something I’m too into.

Pillar to post this is a whole vibe. I wanted to get up and straight up boogie. Even when the message presented wasn’t a positive one the music still flowed through me. A wonderful piece of R&B/soul music.

The mix of funk/r&b/ and soul is straight up splendid. Kiwanukas voice is commanding but features all the right pitches from track to track. I’d listen to this one again. A simply excellent piece.

Early Stones. This shit rocks. Each and every track shows why the band has longevity in the business and is a testament to 1960s rock n roll.

Sounding like a cross between late eighties post punk and the impending alternative rock revolution that was just ahead. Teenage Fanclub are unique in their songwriting and actual riffs that it doesn’t sound like anyone else.

The songwriting here is solid. Absolute classics all across the board and honestly there’s a reason he’s a legend. His voice is so subtle and well mixed and there’s an odd mix of folksy sensibilities and pop writing melding together.

Is this one of new waves greatest releases? Yes. Yes it is. It’s short, only eight tracks long but the tracks that are there coalesce into something truly special, wholly 80s and completely catchy. A timeless piece.

There’s a sexy and cool “air” about this album. It’s easy listening done in the coolest way possible. I was never bored with this and unlike a lot of easy listening I was fully engaged. Within its genre this is clearly something special.

Laying somewhere between the first British Invasion of the ‘60s and the Brit-pop takeover in the nineties lies this album. A gem from a band that wouldn’t see their obvious influences take shape. A band who’s 30 year old record still sounds fresh and great now. A stunning piece of 1980s British rock.

I am not an electronica guy. All the beeps and boops are there but they don’t amount much to me. This just isn’t something I enjoyed sitting through.

A gem of a new wave feel. Boy George and crew craft some lovely almost island infused pop that sits in between a bunch of different genres. Never quite finding comfort or a home in any of them. It fizzles slightly in between track one and track ten.

Existing between perhaps the band two best albums this middle child certainly has its own personality but doesn’t offer the staying power of its older or younger brothers. It’s still a SOLID late 1980s alternative album. Pieced together by superb production and Michael Stipes manic performance.

What happens when you mix Bob Dylan folk and ‘70s punk? A chaotic collection of classics. Patti is in full voice. Everything has an attitude about it and you can see where genres like Riot Grrl came out of HER ashes.

There’s a dreamlike quality to the music on display here. It’s not a dream I enjoy but nonetheless there it is. The digitized noise of this sometimes lets loose some stunning vocal harmonies that get over shadowed by the production.

A sadly still quite relevant piece of jazz and blues. Gil is in full voice and the talent at every instrument is prevalent. While not really my cup of tea it is undeniably a fantastic piece expertly produced.

Caught between a rock (The Suburbs) and a hard place (Funeral) this album feels like one that doesn’t grasp its identity until it is almost over. Finally getting to it on tracks 10 and 11. Win Butler and his band don’t quite hit the levels they want to…but they get close.

What even is this? The vocals and lyrical content are far far too obscure. I don’t know who the intended audience for whatever this is is. It’s rare that is truly dislike an album…this is exactly what I never wanna hear again.

One of the 1980s most underrated alternative bands they border on punk and see fit to craft a whopping 20 songs. Each one like a tasty morsel of fast paced mania. Never overstays its welcome if with all those tracks. A expertly crafted and produced piece of ‘80s alt.

There something about 80s punk that just feels slightly unhinged while completely in control. Perhaps it’s the production or the naivety of the acts. Either way this is a prime example of this and a must listen to understand what would occur in the decade to follow.

A great catalyst for what would become a profitable genre…Lilith Faire singer songwriters. Pensive and emotional, telling stories of real women and there issues. Framed along the backdrop of the late Reagan era America this is a luscious sounding beautifully simple album.

GFK absolutely skewers on this. He’s always been an underrated members of Wu-Tang. With this one he says what he wants to say and through skits and spits sends a message that he ain’t done yet.

Not for me. Once again the dance music just doesn’t do anything for me. Perhaps I just don’t get it.

A lot of this has soundscapes that I find to be inspired. Layer upon layer of wonderful tonality is placed with a tremendous voice. Even if I can’t understand the lyrics I am grabbed by the singers sentiment. A beautiful piece.

Perhaps Industrial coming out moment. A SPECTACULAR sophomore effort and follow up from Pretty Hate Machine. Reznor is fueled by hate and disappointment it’s no wonder he offered the record label head an apology upon submitting it. Vitriolic, spiteful and sexy as hell. What a record.

Mixing rock n roll and r&b influences there are clear lines to bands of the 1970s who were listening, watching and emulating the tone and style. One of the easiest listens in a while as the runtime breezes by and the covers all feel fine in the Sonics style.

This has to be one of if not the best blues live album my ears have had the pleasure of guiding through. Muddy Waters not only sounds amazing but his guitar is simply fantastic. Lyrically there are two or three tracks that make up the engine here.

This album is a little nuts and I’m here for it. Some cool covers lay on top of really dope sounding punk originals. New York punk doesn’t exist without these crazy fellas. This album highlights the best part of them.

Simple blues with a beautiful orchestration. Billie Holliday sings it like no one else can. Saying things few can or are willing to. What a lovely, brooding piece.

A funky and beautiful piece of r&b. Kelela is full-voiced and sounds pitch perfect with every thumping track. Amazing production guides this one to a satisfying finish line.

Contemporary folk and Americana owe a lot to Will Oldham. There’s a ton to like here. Stellar songwriting, beautiful composition and crushing and somewhat sexy lyrics juxtapose so well with Oldhams somber acoustic guitar driven style.

I’d consider this one of if not the greatest live album ever recorded. It’s also probably the best Unplugged. Please debate below. Everything Kurt is doing here is genius. He doesn’t play many of the hits and instead relies on covers and deep cuts. A great piece.

This is quite an extraordinary record. If you could image WHAT the 1960s sounds like this is a really big hint. Astrud sounds amazing on thus and mixing English with her native Portuguese was something rarely seen in a record like this at this time.

I don’t know what you’d call Grahams sound. Well, besides fantastic. Mixing country, blues, bluegrass and folk with a little help from friend Emmylou Harris he crafts one of the 1970s first country releases. A simply produced expertly executed melange of sound and feeling. A true artist gone far too soon.

Often seen as Wonders magnum opus. This is a two album spanner with hits across its 21 tracks. Wonder waxes on Duke Ellington as well as a love song for his, at the time, infant daughter. Beautifully played and well produced…especially for the time.

This lives on the edge of 90s alternative and what would become contemporary post hardcore. It is in that that this album flourish with a macabre tone and downright dooming demeanor. An otherwise beautiful little secret of 1990s rock.

Normally I’m the first guy to bash electronic music…but there’s something about this I loved. Maybe it’s the stunning mix or interesting production decisions. Whatever it is or was I loved hearing the wholly unique sound of this.

Perhaps the best album ever conceived. Front to back bangers. Every member of FM shows us what they can do at their very best. Which is spectacular when you consider the very REAL personal demons face in its creation. A perfect album.

Nick Cave and his band of merry post punks bring the house down with this. It’s loud, brash and shows that Australia can BRING IT. What an aggressive and sexy piece.

Queen Bee sounds fine but too many of the songs are fillerish. When she hits she absolutely KNOCKS IT OUT OF THE PARK. For me though it’s an inconsistent listen. There’s a lesson in there that Beyoncé learned in later releases with far better flow and function.

Top to bottom a bratty punk mess and it’s all the better for it Poly Stryene was born to be a punk rocker! You can hear her influence all over the Riot Grrl scene. Snotty and bratty in all the best ways. A classic in its genre!

This might be The Damned best British punk album ever made. Damn near close to it. Perfect in what it does. Punk rock to its atomic structure. Cited, rightfully as one of the genres most excellent.

A cool modern almost funk infused follow up to the equally iconic Mothers Milk. Strong songwriting, including perhaps thee best ever track, and great production are what put this film on this list. An incredible listen front to back.

Smooth, silky and a little sultry Sullivan is certainly sure of what she wants and who she is. As she slithers through track by track we’re in a trance and wanna dance. Giving in to her as she tells us like it is and how it is inevitably going to be. Heartbreak, triumph…emotions are certainly there.

This is my preferred type of country. Folk based and sung with a passion not often seen in the genres modern equivalent. Jack might be rambling’ but it’s choice ramblin’. Simple guitar and vocal folk/country. Really easy to like.

Mixing 60s roots rock, folk and a little blues. It sort of gets itself lost without similar sounding bands of that time. It’s a solid album speaking on song quality, writing, and production. For me though to be one of the 1001 Albums You MUST Listen To…it isn’t quite that.

There can be no denying how tightly this album is put together. Each instrument flowing into the other like a conversation without words. I’m just not a huge Jazz guy. That said it made for quite an enjoyable listen.

I’m unsure what it was but I didn’t find anything particularly good in this. Throughout it all I wanted was for it to be over. Once it was I was relieved I’ll never have to do it again.

Easy to listen to, insofar as its genre goes. It’s a finely produced piece but being quite honest I didn’t find much in the way that you’d call memorable.

I don’t think this is for me. For some reason I found the entirety of this album an irritant. Mustaines voice is just never able to elevate the material for me. I find it more grating rather than great.

Frankie says Relax. You should do so because this is an album that’s going to put you through the ‘80s gauntlet. At parts frustrating to listen to and in other absolutely brilliant. There’s so much to like but also some much that comes unhinged mid song. It’s over produced and to that the producers hand was apparently VERY heavy. That obvious and it hurts.

A rippin and roarin bit of ‘70s rock that is as straight up as it gets. Great production values and fantastic mix really set the tempo for some damned fine rock n roll songwriting.

Weird indie rock that I sorta found too hipsterish and off putting for my taste. I think for the Pitchfork crowd this is like…a ten out of ten but I’ve never been much for that sort of thing. For me it’s more of a strong 5…outta 10

Grumbling and grunting his way through the nine tracks Waits is doing…something. Whatever that is is jazzy and bluesy and cool af. Like dinner music for the manic brained. This is a wholly fascinating record. Well produced and expertly performed.

Beep boop, bass repeat. I don’t like it. It’s another electronic record that I couldn’t connect with. Is it just me? It’s gotta be my fault. Right? I don’t know? I DO know I don’t care for this in the slightest.

From the first track it’s clear. This debut and likewise this band are about to do some big things. Heeding their advice and taking it easy wasn’t difficult as I maneuvered my way through this series of tracks. A stellar debut by one of rocks finest ensembles.

Such an interesting indie record for the early 1990s. This takes place pre-grunge but at the decline of hair metal. Great production quality and stellar songwriting all come together to form a 90s album I had no clue about previously.

This is such an interesting record. A sitar driven album that features a couple of dope covers and some REALLY cool songs native to Ananda’s native India. I certainly haven’t ever heard of something of like this before. Check this one out!

This was not something I found particularly engaging. Musically it's wonderfully played. For me though it sort of drones on and on and ends up going nowhere as a piece of music. Overall this is not a record I’ll be spinning again.

Being honest this is a tale of two halves. The first five songs are incredible before falling off of a cliff in the second five. Still Lennon sounds great and he’s a pop culture icon for a reason.

A brilliant piece of 1990s alternative. Catchy with noisy almost shoegazey riffs. This Northern Irish trio has something going for them and it is well worth your time.

A standard ‘80s dance record saved by an absolutely incredible single which also acts as the records swan song. Outside of this the songwriting is fine and instrumentally there’s not a whole lot going on outside of the ONE song.

Soft, beautifully written and featuring that certain something that singer-songwriter/folk just DOES. A GORGEOUS overall experience that satisfies throughout. Well-written and indeed excellent.

What his album is is standard 2000’s indie garage rock with a British, almost Brit-pop twist. Doesn’t reinvent the wheel even if the single in it is hands down a CLASSIC.

What is there to say about James Taylor. Lovely instrumental arrangements. Melding country, folk and rock. His voice…whispy but strong. An album that doesn’t really want to be skipped and shouldn’t. Each song is a new tale, told expertly by a storyteller of the most high. Well done Mr. Taylor!

Super bland folk. Nothing to write home about. Honestly I didn’t care for this and I generally find folk and folk adjacent music to be at the very least palatable. I didn’t feel that here.

It’s not for me. Every song melded into the other and I lost interest throughout parts of this. I’m sure there’s an audience for this brand of boring rock. Those people are probably going to love it!

Crafts an atmosphere. One it can’t maintain for the somewhat bloated runtime. Having said that the instrumentation, in particular the drums, are stunning. A nice mix of some western influences from the Senegalese legend.

This is Thatcher era discord. Punk and folk in equal parts it’s clear Bragg has a problem with how the United Kingdom was being run. With the help from some friends (Johnny Marr) he crafts a rebellious record filled to the brim with vitriol for The Iron Lady.

A SOLID piece of English rock. Sounding like a lot of what’s to come in the coming decade while decidedly being a great rock record. Every song sounds like it’s made by the same group of musicians but also features its own flare. A tough task.

This is one of the first examples of metal (particularly Death Metal) mixing with Punk. Loud, aggressive and unflinching. It is too to bottom an adrenaline rush. 22 songs in 33 mins tells you all you need to know.

A unique mix of hip hop, pop and r&b. This album really is a glorious time capsule of the time it came out. Every beat sounds like it’s from the 1980s…because it is. I really like a lot of this.

I hate electronic music, normally. This however I found to be a thrilling, fun and moody listen. It puts you right smack back in the mid-90s. It’s aged rather gracefully and feels just as energetic as it did 25 years ago.

Whatever you think a Flaming Lips album sounds like. This sounds exactly like that. Dreamy, catchy and memorable. This was the start of two straight fire album cycles for the Oklahoma legends.

Every beat and every rhyme here tell stories. That may seem like the standard but truly their amazing tales. Told by an expert teller. Heartbreak, love and the mistakes we make are all front and center and I for one was more than happy to be in the audience to experience it!

Hard as fuck. Brazils premier metal act have never been a band that decides to go easy on us. Here they drop into our cerebrum and decide to stay for the duration of these 9 tracks. Blasting right through them viciously.

It sounds like it should’ve come out in 1965 and not 1995. Fuzzy production and jangly guitar parts couple nicely but toothlessly with faux British delivery from the Dayton, Ohio legends. Far from their most engaging are interesting work.

You ever listen to something and it just sounds like it needs the dust knocked off of it? That is certainly this record. A relic of a bygone (and thankfully over) era. The brothers sound fine but lyrically it just isn’t doing it for me or frankly anyone. Bleh 🤷🏻‍♂️

Fresh and super fucking cool. You can see where they are taking their genre and where the bands that clearly influenced them got that influence. The opener of this is a straight banger. That mood keeps going throughout. What we get is a fantastic ska record, one I’m sure is an all timer in that genre.

I’m to understand this is a master stroke in indie rock but for me it’s simply another piece of the genre. There are some good songs here but nothing truly blew me away. It’s good indie rock just not revolutionary.

There’s a peaceful serenity to some of this record. It just gets too samesy for my and lacks true energy. I wanted something to get me going not an album to fall asleep to. Nonetheless for those that love instrumental music there’s some truly enlightening music being made here.

It lacks too authenticity but the talent on display is undeniable. Clapton in particular saw through each song on guitar with a calmed frenzy. He and Mayall are putting in work. It’s a shame the album itself is so damned bland and overall uninteresting.

Made in the generation that saw disco and yacht rock it’s clear that this record by no means hold up. It wears thinner and thinner as the whole thing develops and as a double album only having two memorable tracks just doesn’t work.

Now this is what I’m talkin about! A seminal pop punk release. Chock full of attitude and three chord brilliance. A master stroke from the Cali punks. Chances are if you like Green Day it might’ve started here.

Blisters with influences everywhere. Disco, pop, funk and latin all tinge throughout this solo debut. JT is bringing it even if the party seems uneven in stretches of this. You’ll definitely shake your whole ass when this spins.

It’s the Ramones. Punk rock in America was arguably changed forever with this release. Fast, simple and fantastically fun punk from start to finish. 14 tracks in 28 minutes. Flying through weird lyrics and whatever production values they could get they make one of American punks Rushmore releases.

A FANTASTIC mix of 90s alt and emo. The vibes are perfect. Brilliant songwriting and pitch perfect riffs throughout. This really hit on all cylinders. I loved it. I can see influences all over the place.

Dolly is such a fantastic storyteller. Everything coming from a purely sincere and authentically positive place. Weaving through what I can only assume are real life examples she’s in full voice and sounds simply wonderful throughout this. An EXCELLENT country record. One even the staunchest anti-country folks can enjoy.

Motörhead are loud. Motörhead are fast. It is that speed and that volume that are 100% why this love album experience works. The band sounds studio great here and that’s a high compliment since it was recorded over 5 different U.K. shows. Blisters and pops with sound and fury. A damn fine metal album.

The big man does it all very right here. Starting with an iconic track to get us started and getting us out of there fairly quickly. It does hold up THAT well but considering it’s relative age it is a much better album given the time that has past since release.

This is storytime with Nick Cave and it is as depraved and insane as one would imagine. It’s a twisted tale told through Caves crooning wail. This really isn’t to my particular taste. I prefer his work with The Birthday Party. This though will hit hard for the black made up audiences that’ll generally enjoy Caves current project.

What gets missed about this band and this record is where Punk as a whole was in the mid-90s. Following the ascension of grunge most up and coming bands were in the mold of Nirvana and Soundgarden and it’s clear RFTC was not that. What they were was a band that mixed punk and modern rock in a way that would both call to the past and influence the future.

Features hints of ska and punk this is quite a trek for a record that’s only 40 mins long. I liked this but didn’t love it. As a punk aficionado it’s surprising to me I’ve never heard this. What I got was some excellent female fronted punk.

This thing rips and roars and shows that queer, feminist punk can rock JUST as hard as whatever the boys are doing. With a phenomenal opening track the consistency of the songwriting is incredible. Kathleen Hanna is a mad woman and Le Tigre, here, come out of the gates SWINGING.

Nope. Just nope.

Yeah this was not something I enjoyed having to find. When I found it I didn’t enjoy listening to it. It was just noise noise noise. Cannot recommend. No thank you!

This sounds like a mix of late ‘90s indie and garage put together by an expert mix. Made by a band that clearly knew how to structure their tunes and write good music. An excellent and diverse listen. Brilliant.

A loud, live and raucous experience. It’s clear these Irish rockers sound equally as good live as they did on any of their studio efforts. There are so many iconic songs packed into this huge live album. Fantastic!

This was the true ascension of Taylor Swift into the next great American pop SUPERSTAR. Catchy, full of memorable moments and a record that also has some genuine brilliant section of writing, and some not so fantastic. An overall enjoyable listen and perhaps Taylor’s finest POP moment.

Holy shit! These Aussie punks are obviously something Rancid and Tim Armstrong have heard before. High energy and mixing punk with 70s rock. The exact type of album that’d have me pogo dancing in downtown Melbourne!

Sounds a bit dated but nonetheless it slaps pretty good. The rhyme patterns and lyrics don’t jump off the page like that of their contemporaries but this’ll keep the party going certainly.

Bleep bloop. Nope. Dont like this!

Very hit or miss. Some songs truly resonated others very much didn’t. Ute’s voice is stunning and unique but the songs just don’t hit consistently enough. I don’t think this is something everyone would enjoy.

It’s seem like there aren’t a ton of modern bands on this list and for SOAD to be on here you know it has to be something special. It is. Such unique songwriting and interesting instrumentation are what most certainly got this album on here.

Still sounds like the future four decades later. This Akron, Ohio band never fails to sound unlike anything else. Catchy synth riffs mixed with interesting instrumentation brings together the odd time signatures and overall wonderful mix that singer Mark Mothersbaugh would become known for.

Soul Sonic wish they sounded this fucking cool. Big Curtis nails that 1970s swag in this soundtrack to a blacksploitation classic. This has all the orchestral and jazzy funk fusion one would want from a 70s album.

I’m thinking that ‘70s prog rock just ain’t it for me. I’ve never really liked any of this. The musicianship is fine, yes even the weird flute interludes. For me this just does absolutely nothing. Put it in the shelf with Rush as older prog that I just don’t like.

Dark and ominous. This certainly isn’t New Orders final form but it is one that is well produced and right catchy! I cannot be mad at this one at all. The one, glaring, flaw is quite big and that is that most of the songs drone on just the same.

An odd sounding album. A little bit pop, mixed with new wave elements. It’s catchy in some songs in a way you’d expect from those genres. It loses a lot of its steam by the end though.

This was not for me. I tried to enjoy myself with it and just couldn’t. Musically speaking is expertly done. That’s not where the problems here lie. Those mostly stem from the lack of catch within the overall record. There’s nothing to grab on to.

So. I notoriously don’t like electronic music. Bro. This was pretty great. Pounding synthesizers. Pulsing 808s and odd samples make up a record that sound like Daft Punk throwing a straight rager!

A perfectly sufficient piece of rock n roll. This was not something I think offers much in the way of replay-ability. I believe that’s from the lack of memorable songs on here. Outside of the opener there ain’t much here.

What a sensational album. Going through every archetype of the decade that was and would be the 1970s. Before punk invaded the UK these guys were writing songs about gang bangs and soft shoe bananas. Sensational just about says it all frankly.

Front to back jazzy excellence. Count Basie and His Orchestra have put together some fine compositions here. This is a step outside of my comfort zone that gave me so much to work with.

Sounding like the perfect fit for a Wes Anderson film. THIS is the sound of the late sixties. As the “wall of sound” became a thing sometimes you just need simple, excellent songs expertly crafted. This is a hell of a release. Psychedelia fuzzily thrown into what’s essentially a pop album.

Man. What are really refreshing piece of hiphop. Pre-Gangsta rap this album give us a glimpse into black America pre-Clinton. The struggles of economic and socio-political despair that are now seen as the hallmark of the time. Phenomenally written even if it doesn’t always hold up to modern scrutiny.

Balances between genres beautifully. It’s a little blues, a little rock n roll, and an altogether tightly wound package. Much to much of the vocals are cringe but the instrumentation is without any doubt fantastic.

I like it quite a bit. It does sound like what you’d imagine a ‘90s alternative album would sound like. A mix of dissonant guitar chords and sharp pop production tricks. Excellent songwriting, which might be the least surprising thing about this album. VERY relistenable if a tad too long.

The one definite word you can use to describe this music is…obscure. A bit too avant-garde for me to truly appreciate it there’s certainly some odd shit in here. And that’s without considering that it’s a band full of man-sized human eyeballs.

Anyone who considers themselves a fan of alternative music sees the bones of it here. From Lou Reeds solemn, downbeat delivery to Nico’s Euroinfused voice the entire makeup of rock n roll was forever changed by one banana splattered debut.

This is not nearly as great an album as what this band would become but frankly it’s still a helluva debut. The amazing lyricism and song crafting have been there and that comes as a surprise to no one that that’d be the case. Even Michael Stipes voice sounds different here at times.

What an odd and inspiring album. It mixes a lot of the sounds of the 1960s with the modern, for its time, 1970s experimentation. If his voice were stronger this album probably propels into the stratosphere. As it stands it does a great job of connecting musically.

A reminder of my childhood. This is one of my dad’s favorite albums. Song by song I’m taken back to when I first heard it. For what it is though is a chill vibed, well-written piece of rock n roll. From the iconic opener to the subtle lowkey closer this is track for track one of the 1970s best and most complete albums!

This is the type of album that isn’t listened to but rather absorbed. It’s felt. You feel every moment of the journey Icelands finest pop star wants to take us on. From the snappy opener to the glistening closer this is a statement, made to the world of the ‘90s to say “I’m here and I’m staying”. She would do JUST that and more!

You ever wonder what a punk rock album made by hip hop artists would sound like? Well here you are. Fun fact Kurt Cobain called this one of his 50 favorite albums of all time. Chuck D and Flava Flav are fully throat telling you what they’re about and what they think of the world at large. Brilliant.

Insofar as jazz goes this is some good stuff. Stellar production and wonderful arrangements working in service of an album that is great when you’re “in the mood” for some jazz.

Rufus is known for his silky voice. This album makes excellent use of it. Coupled with fantastic writing and you get a great piece of singer songwriter rock! In moments both quiet and acoustic as well as wholly operatic it works out so well.

A true blind spot in my listening is electronic music. I mostly dislike it. Something here sorta worked for me big time. Pulsing beats and interesting composition lead the way for the best electronic album I’ve been suggested thus far.

Ethereal, dreamy and colorful. These are all words you’d normally not associate with Nick Cave but on this album he is exactly these things and so much more. There is an epicness to the quiet moments and subtle vocal inflections that brings an emotion and a feeling with it. Brilliant stuff here!

The problem with this record is that SO MANY bands of the time have aped this bands sound. Every song sounding more and more like the iconic lead single which happens to also be the albums opener. Still for what this is it is a solid entry into the “Sound of the ‘60s” catalog.

Just as much jazz as it is Afro-Pop, I can’t say I’ve heard anything like this before because frankly…I haven’t. Not something I’ll return to but overall it is musically well put together. Lavish instrumentation mixed with high level execution.

I don’t like U2. That said it isn’t because the music isn’t great. Starting this album with what would become a staple song in the repertoire was a wise idea. From there you get the sense that Bono and crew are not happy with the state their country or the world at large is in.

A unique voice for indie rock at the mid point of the 2000s. I don’t think this is his best output. It’s certainly good but not up to what he’d later create. Great vocal melody mix well with the production to form a fine little piece of indie rock.

It’s Rhythm Nation. What is there to say. It’s a fantastic exploration for Janet. As an artist, as a woman. She clearly found a little of herself with this album. It’s a full fledged pop masterwork. It might also be her crowning moment.

Heavy as a ton of bricks and with a sound that makes industrial sound doomed. I loved every minute of this sludgy kick ass piece of 90s rock. There’s something to this that leaves a mark long after it’s gone.

Eeee. Noise rock is the perfect descriptor for this total miss. Nothing here feels…coherent. It’s all a mess. While listening I really did try to focus on what was being done but in the end I just felt stupid for trying.

Well. Mariah is full voiced and absolutely bringing it here. Her tone is angelic and the songs themselves are catchy and mostly upbeat. The love ballads feel full and sincere and the features work to juxtapose Mariah superbly.

It’s sufficient ‘70s rock. I’ve never been the biggest fan of Rod Stewart. To me it all sorta sounds the same and that sound is not something my ears really tend to enjoy. Obviously his most iconic song is on this album but it overall just is all very meh.

A very fun pop record. A lot of these songs are gems and I’d venture to say forgotten ones because I’d previously never heard of this band or this album. It fits in with typical ‘80s pop while also bringing a few other elements that really do work well.

In a modern context there’s absolutely nothing wrong with what Liz is doing here. When looked at in context it is no wonder that many woman spun this as an act of sexual rebellion. Shes snarky, kinda mean and knows exactly what she does and doesn’t want. Great stuff.

Brooding and dark in all the best ways. What incredible songwriting from the Cincinnati band. There’s an eerie mix of post punk and early 21st century U2 here. This is an album that’s digested whole even though the parts themselves are still equally affecting.

Dancey with a bit of a naughty spin to it this is a HIGHLY catchy bit of pop with one HELL of a single. I can’t say the entire album hit for me. It’s an inconsistent journey but one with enough sass and personality to make the voyage at the very least fun!

Electronic music with a tango tinge…performed by French guys with a ton of Spanish influence. That odd mix of things all come together and form an album that I thought was super interesting if not really for me. That said fans of beeps and boops will dig this electric tango.

Without this post-hardcore doesn’t become what it becomes. At the Drive-In, Thursday and many others owe this album a huge debt. It’s ferocious, catchy and downright unthinkably good. There’s something to the pure and unchained madness of this album and the band that made it. I fully fuck with this!

It’s an almost perfect hip-hop album. The skits slow it down and in the current landscape of the world feel SUPER outta place. But fuckin’ a does every song absolutely bring it. Too many bad jokes miss but the actual general consensus of the album has to be that this is where Eminem transcended in the conversation of best rappers alive…at that time. Dre’s production is absolutely insane for the record.

Basic rock songs fill this album. Theres no real hook to anything. It’s good music and I like the sounds made so that’s a plus but I’m failing to see…hear…what makes this album a necessity to listen to.

Prog rock silliness. I just have never been into Yes. No matter how hard I try. It’s just overlong jam band shenanigans. I will say that they are fantastic musicians. I just personally don’t get it.

Who would’ve thought one of the best metal albums of the 1990s would be brought to us by the lovely country of Brazil! Sepultura mix indigenous tones into their headbanging and it melds so well quite honestly. They never lose steam while plowing through a rather long album that never FEELS as long as it is. Excellent record!

This is an exceptional example of what Common does so well. A modern poet and lyricist that truly can sew a tapestry of words together and make an overall quilt that tells the stories he intends them to. While it lacks some of the pop music polish of his later releases and the catchy quality to boot this speaks a different language to those entirely.

This album is simply STELLAR! Pun intended. Brandon Boyd and his boys write elegantly while incorporating pseudo-nu metal production into an overall alternative rock shell. What we get is hot after hit banger after banger. An unquestionably gorgeous album overall full of great records.

I can’t say this was for me. Musically it is clearly a phenomenally played and nicely produced piece but this isn’t something I’ll go back to. That said looking at the album in parts it comes down to Shankar just being a get composer. Clearly he is. Even if his composition don’t make me feel anything.

Instrumental. Check. Bands most iconic song, check. EPIC guitar solo. This is how this album starts in the first three tracks. I didn’t feel it let up after that. Overall a brilliant piece of ‘80s rock. Brilliant!

I can see and understand the appeal here. This album is their debut and they came out firing on all cylinders. Talk about iconic songwriting this album has it from top to bottom. I kinda loved this. I’ve never sat down and listened to Steely Dan. I’ll be sure to remedy that! Great album overall

Instrumentally it’s clear Jeff Hanneman and Kerry King can write a riff. It’s clear Tom Arayas vocals tear through ever song, goofy ass lyrics aside. I think that might be the one negative. The words come across as cringey, bad satanic/fantasy novel nonsense. Regardless their rips and shreds. I mean…it IS Slayer.

I can see why this is often considered Frampton best album and one of the best LIVE albums around. Not only is it a wonderful medley of what would become his most iconic tracks…it’s the best version of them. I didn’t even know I knew most of the songs on here. Good stuff

These dudes are pretty much “the British Strokes” but frankly I don’t find the songwriting as strong throughout this album. There are some solid hits including the lead single but overall it’s an okay garage rock piece from a band trying to fit the mold and not do their own thing. It’s far too safe.

Goth rock, post punk, whatever you wanna classify this album as it probably fits. It’s brooding and atmospheric and the biggest surprise is probably just how damn catchy it is. There are some absolute bangers on here. Strap on your Docs and best black outfit it’s sadboi hours with this one!

I really don’t know what to say about this album. Like it definitely isn’t for me. It’s far too obtuse and artsy for my liking. A lot of it just comes off as noise. Given the talent here I’m not even mad at the songs because they SOUND good I just don’t like HOW they sound if that makes sense?

There’s a certain vibe this album gives off. It’s fun. It’s super catchy and catches you off guard with some of the jazzier instrumentations. The pop sensibilities don’t come right out and instead work as a nice surprise. I’d relisten to a lot of this. Sadly in its time it lead to only one hit for the group behind it. An all-timer hit but only one nonetheless.

This was…okay. I found some of the moments in this record a little catchy but overall a lot of it just didn’t resonate with me in the slightest. I think I just prefer his previous work with The Byrds a bit more. I will say that from a lyrical standpoint he delivers even if instrumentally it lacks for me.

Why is this so goddamn boring. I love that they tried to do something completely different but it didn’t really work for me. Kevin Rowland is a really good songwriter but here I feel like no one told him no enough with this one. Bloated and far too pretentious for me.

What a turn of events ole Johnny Rotten here. I really like the avant garde turn here. It isn’t the best album I’ve ever heard but if you look at when it came out it’s such an odd change of pace. Perfectly fine music, even sometimes enjoyable.

This isn’t for me. I did not find much of anything redeeming here. Musically it is super interesting even if it lacks the pull and grab to keep my attention.

Ya ever hear an album and it has like every idea all going on at once and it never quite coalesces? That is precisely what’s going on her in spades. It’s progressive rock that’s progressing too fast. From one place to another with not even time to smell the roses.

Mixing soul, pop and folk in a massively impressive way. Laura Nyros voice is incredible. Her vocal range allows her to do so much and gives great amounts of diversity to the actual sound of the music itself. You can see why and where she became so iconic as a songwriter.

As straight forward as Post Hardcore can get. No frills, no thrills. Ian MacKaye and his band of Straight edge rockers form the bones of what the genre would later become. This in combination with their debut are the reason this genre exists.

Madonna is normally iconic because she was ahead of the times. This album screams of being behind the times. The main single is addictive in nature even if somewhat annoying. A big miss from the normally reliable Madonna.

This is standard 1980s fair. Nothing really exciting about it. Most of the songs just sort of fly by and make little to no impact on me. Very interchangeable in both sound and influence.

That was epic! A 17 plus minute B-side that might be one of psychedelic rocks best piece is at the forefront (read background) of what is by and large a really cool record. It’s clear that acid rock owes its sound and some of its existence to this monolith title track.

Dylan writes some of his most personal words and deepest similes here. He is and will remain one of musics best storytellers. There are moments of pure musical joy. This was my first listen through of the album and it felt like something I’d heard my whole life. Splendid!

Tom Waits is a weird dude. He’s also a terrific musician and unique artist. I find this to be his best album and his grumbling also drunken vocality sticks out in all the best ways. To say nothing of how absolutely fucking cool this album is.

It’s considered one of the greatest albums ever made. This is for good reason. At no point does it drag. There are no skips. What The Beach Boys have crafted is one of pop musics finest moments. One so good it shook music and changed production forever!

I don’t think it’s Pacs strongest release, which really speaks to his body of work. Nonetheless it’s here we get a glimpse into his upbringing. How the streets taught him but how his mothers MADE him. Sometimes beautiful and often times brutal it’s a fitting portrait of a man whos been placed and dealt with things.

Thai sounds like a 1990s video game soundtrack. That is both amazing and also bad. It ages this terribly. That said most of the songs are really fun and the overall vibes strike me in just such a way that I was jovial throughout.

90’s industrial is always a thing of beauty. Its electronic influences aging it like a fine wine. Manson and his barely strung together band formulate some of the genres best late decade output here. The first in a trilogy of oddities from the shock rocker. Riff that’s simply fuck and lyrics that signal someone’s doom coalesce into something strange and unusual.

Queen are one of the best bands to ever exist. This album features, from front to back amazing songs. Well written and even better performed tracks that really show off the greatest frontman in music history. It also features one of the greatest songs ever written which I name of itself adds quite a bit.

With her gruff but beautiful voice Lucinda takes us on a journey ten years in the making. It took tens years to make this follow up to her self titled album. In this we get to experience what the 1990’s brought to her in a way only she can present it to us.

Featuring an all-time classic single this is certainly an album chock full of wonderful licks. The punk and post punk influence flows heavy and each gets shine on this on the whole. A very good album that stand up to modern scrutiny.

I swear to you everytime I get an electronic album I really try. For its efforts though I will say this album is a rather funky affair. Even if it isn’t for me.

A bit of a surprise as this mixes traditional Malian influence with an almost alternative rock/blues sound. Such an interesting combination of sounds all coming together to formulate a record that I really did not know was going to be what it was.

If you’ve ever wondered what it would sound like if a 2000s garage band made 60s rock well here’s your chance! This is exactly what they’re making and they’re doing so in several different ways. Sometimes heavy and grungy, sometimes undeniably catchy.

I’m not sure I particularly liked this? It’s a strange piece of 60s rock. One I didn’t find all that thrilling. It’s certainly unique but…not great. I don’t think I’d recommend this to others. It’s a bit too obscure.

Emmylou Harris has the type of voice you can listen to endlessly. That said her instrument here makes all feel every single emotion. This is a gorgeous album from front to back. I am not really a country fan but Harris is exactly what I enjoy about the genre.

Funky as fuck! George Clinton and his crew absolutely bring the funk and honestly if this doesn’t get you shaking that moneymaker what the hell is wrong with you? One of the best thing to come out of the 1970s is funks explosion into the mainstream. This is a prime example of it at its best.

This is a perfectly Radiohead album. Which is to say it has some really nice instrumental work with Thom Yorke whining and wailing. That said I’m starting to understand this band even if I don’t pray at the altar like their fans do.

Ever heard rock n roll? Not until you’ve heard Zeppelin! This is one of my favorite rock albums ever made. It also features my favorite track from the iconic band. Banger after banger as we make our way up the Stairway to Heaven!

Super chill and all about the proper vibes. This Brazilian-American artist combines some solid Samba influences with Jazz and creates an overall pleasant album that, despite not being my cup of tea is merit-filled and easy to listen to.

This is strange and weird but like…I’ve never heard anything like it before. It’s an odd mix of jazz and hardcore. I think I sort of enjoyed it but it’s really hard to tell with something so obscure.

This is so CRAZY funky! Saturday Night is a BOP and the record as a whole is so much fun! A perfect blend of rock, funk and hip-hop. A WONDERFUL album overall.

Harvey makes music for a very specific crowd. I am not that crowd and yet I found myself drawn to this album, enjoying this album. It’s wonderfully written and structured. Every song feels like a chapter in a story. One told to us little by little. Unwrapping itself slowly and leaving us, the listener satisfied.

A nice piece of Jazz production. It sounds great and is great. It has all things you want instrumentally and does enough interesting stuff with the composition that it doesn’t get too repetitive. Overall enjoyable even if this type of Jazz isn’t my favorite thing.

At points soft and reflective and in other there’s a palpable anger, frustration to Copes lyrics. His voice never to gruff for the material but his words cut and carve a story of being pissed at the state of the world.

This is without a doubt one of the greatest debut albums of the 21st century thus far. Manic, pretty much insane and catchy as hell. It sounds like nothing from the New York scene of the time and better than most of it. Stellar production and ripping songs all mesh together with the bat out of hell that is Karen O.

A wail of a good time. From the opening instrumental. To the Beatles cover there’s so much to like here. Siouxsie Sioux is full voiced going off! A great intro to what lies around the corner in the decade to come!

This one is not nearly as catchy or memorable as some of their other releases. It has some good tracks, some great tracks and some tracks that simply don’t hang with the rest of the band’s discography. Overall this is fine.

Miles Davis mesmerizes and dazzles here. There’s something truly hypnotic about the production and composition of what many would say is Davis’ best release. A true modern Jazz standard that should be looked at and studied for how much creativity gets brought forth here.

The best of his solo work is prevalent here. Interesting compositions, sturdy and wild guitars, Jacks signature vocals and of course unique songwriting. This is an album the one and only Mr. White could craft. Strange and beautiful all at once.

Bowie doing Bowie things here. Not much one can say about this album that hasn’t already been said better. It’s a phenomenal album. Traipsing through a myriad of experiences and emotions this was a transformative time for the Thin White Duke.

This is simply a terrific album. This was a new one for me and is among the best I’ve heard since I started this project. This is an album I will be putting into my personal rotation. That is perhaps the highest compliment I can pay this album is that I want to hear it again.

This is a fun solo album but in the pantheon of post-Beatles solo work it’s somewhere in the middle. This, mostly instrumental album is beautifully played and produced. McCartney sounds fine and you can feel the fun he had making it.