This is another prime example of the stuff I enjoy seeing pop up on this project. I have never heard of OR heard this, and the story behind it is simply amazing. In a series of mistakes, Keith Jarrett was left with an incredibly subpar rehearsal piano to perform on for a sold out audience, versus a very specifically requested grand piano befitting a piano master. What resulted was an hour of pure piano improvisation; that's right, Jarrett switched everything up and composed and played on the fly, all in a way that would fit the rehearsal piano's limited capabilities and allow for the best possible output. All the while, Jarrett can be heard occasionally stomping and vocalizing along with the work; you can tell that he feels what he's playing. This album speaks to overcoming hurdles, being present in the moment, and being open to spontaneity; a variety of chaotic events led to this and it could have resulted in a cancellation or even a performance ruined by the limitations of a specific instrument. But instead, these events occurred, Jarrett agreed to play, and his musical genius flowed, allowing for this unique masterwork to happen, something that would not be readily replicated even if one tried. I feel like the genre label of "jazz" on this album is a bit misleading. While I definitely hear aspects of jazz, this also resonates with some very classical solo piano qualities. I don't want my rating to be misconstrued with the idea that I think classical music is the best thing I've heard on this project. While I do really enjoy classical piano music, I don't regularly seek it out, and it's by no means an absolute "favorite" or "preferred" genre. Rather, my rating comes from now knowing that this album is 100% improvisation on a shoddy instrument; it is a creative breakthrough birthed from chaos. This album very clearly communicates an undeniably masterful craftsmanship and an inspiring message of spontaneous human creativity. This really is something that people could benefit from hearing before they die, and I couldn't possibly rate it any lower.

It always baffles me to remember that this was Tori Amos' first solo album. It has such a confidence about it, a strong sense of self. This album would become the basis for her entire musical career, and is pretty much reflective of how she continues to conduct her musical style still today. First, Tori Amos was a surreal lyricist out the gate; all of the songs here have poetic wording and phrasing, but there are certain things said that cause you to raise an intrigued eyebrow. Much of the material is derived from her own personal life experiences, which she clearly has some extremely vibrant and bizarre reflections about. This is all presented with a beautiful voice that she often twists into wails and hollers. Second, Tori Amos was piano-forward out the gate. She took a natural passion and a talent and drove it directly into her music and allowed it to shine. What you get as a result is music that exists somewhere between singer-songwriter, bizarre cabaret, and alternative pop/rock. So rooted is her songwriting and her musicianship in her piano playing, that the sound of the piano is an extension of her voice, from discordant slams to quiet tickling of the keys. Throughout the album, Tori keeps things sounding fresh; she manages to take her concept and be consistent across the entire album, all while allowing each song to sound unique and individual when compared to the others. This is a beautifully done album that feels powerful from start to finish, but it is also an album that deliberately leaves a bit of uneasiness with the listener. Again, this album is somewhat autobiographical, and up to this point, Tori has not always had the easiest life, and on this album, that uneasiness masterfully weaves in and out of the forefront, much in the same way that life's difficulties come and go. This album is probably around a 4.5 for me, but I'm going to round up for the pure impact of this album, whether it's recognized or not. People across reviews have said things implying that Tori Amos is a wannabe Fiona Apple or Alanis Morissette, when in fact Tori was a groundbreaker that helped make room for artists like them to succeed.

This debut album from Missy Elliott is fine. Not great, but fine. The music is listenable, but this is definitely not where you will find Missy's most influential work. To me, this is an entry that could have been replaced with a more iconic Missy Elliott album, but this was instead chosen for its historical significance. Missy was part of a movement of validating and legitimizing the existence of female rappers in the mainstream, and this debut album represents that big push. That said, this album relies heavily on features and in my opinion, doesn't show off Missy's true prowess that she developed following this album. Missy's inclusion in this project is absolutely warranted. But I question the choice of this album. A weak 3.

This was an incredibly interesting album inclusion! I think for people to understand the significance of this, they'd have to understand a little bit more about Emmylou's musical style and the typical "expectations" around country music artists crossing over between genres. Emmylou's music has always kind of straddled a line between country and folk, this much is true. But many country music fans have a very specific expectation of their country music, and crossovers aren't always successful. Around this general time, other country artists were pushing the country-pop crossover successfully. But what Emmylou is pushing here is a crossover into more world-oriented folk music; this country-folk album is laden with many Eastern folk sounds if you listen closely. At the time, this was a virtually untapped crossover space (and potentially career suicide) for a country artist. And yet, Emmylou Harris absolutely shines in this crossover space. Always a talented artist, she somehow seems even more at home here; her vocals are more warbly, emotionally charged, and soulful, her guitar is more warm and gentle. Additionally, Emmylou had not historically written her albums, but this album, save for one song, is completely written by her. This is absolutely wild, as her lyrics are so poetic and well written that it makes this sound like she's been a lifelong songwriter. This isn't a typical Emmylou Harris album, but even though it's her nineteenth studio album, 30+ years into her career, it may reflect the purest form of Emmylou Harris. And while this type of crossover was not typical in the country space at the time, this has likely inspired country artists since, just as Emmylou was inspiring the work of country artists in the 1970s. This album was very peaceful and could have lulled me into hearing it as background noise, but between the beautiful vocals, lyrics, harmonies, and overall warmth of it all, it kept drawing me back in to listen to and appreciate its intricacies more actively. Even from the opening song, "The Pearl", I was feeling this gravitas. Pleasantly surprised by this album! To me, this album speaks of mid to later stage career shifts that can give way to beautiful and surprising results.

I see now why he is called RAMBLIN' Jack Elliott. He also drawls, howls, yodels, and warbles. Definitely not my thing. It was bearable for 30 minutes, but just barely. I would argue that I could have gone without hearing this one before I die.

I was REALLY into this album and band as a teenager. I think I wore myself out on AC/DC, as I have not really listened to them or this album much in the last decade or so. That said, this has reminded me that this album rocks from start to finish -- there isn't a single skip for me. I'm really excited to be listening to it again.

Another album that I was already pretty familiar with, though it had been a while since I had heard it front to back! Led Zeppelin II has has some of my all-time favorite Led Zep tracks, while others on the album are "sometimes foods". That said, this is an album that I do enjoy listening to as one whole piece. This album is truly a pioneer among a few other late 60s trailblazers, building a foundation for a musical sound that would define an entire genre.

I should preface this by saying I'm not an expert on funk music, but at least off of the top of my head, I'm not really aware of any other concept albums that play within the funk genre, but it seems like a perfect genre to play around with in this way. Further contributing to the idea that these guys don't take themselves TOO seriously, they centered their concept album around something that was already fairly corny during the 70s: space and sci-fi. That said, space-y synth lends itself so well to funk music, and these guys clearly understood that! I was surprised when "Give Up the Funk" started and I recognized the song -- so iconic! I love putting band names and track titles to iconic songs that are embedded in our cultures without us being completely aware, often due to their use in movies and television! My personal enjoyment of this album comes in at about 4/5, but the album's worthiness in this project is a definite 5/5.

I love 90s alternative and indie, but I have gone through life without too much knowledge on The Verve's discography, so I was excited to check this out. (Almost) everyone knows Bitter Sweet Symphony, and what a great album opener it is! It really sets the stage for the album and is a good representative of the rest of the album's similar quality offerings. The symphonic motif from Bitter Sweet Symphony cascades throughout all of the songs, calling back to it. The word "symphonic" reminds me of hymns, so I can't help but wonder if there's something at play here with their album title? There is a dreamy, psychedelic sound that is woven throughout this album, making it really easy to listen to. With the exception of one track, these songs are all at least 4 minutes long, many in the 5-7 minute range. There's an air of passion in this album where these guys seem to just be jamming and feeling the music with no regard for track length. For me, all of the above points help craft this album into a cohesive experience from start to finish, making this album's whole greater than the sum of its parts. Everything except Bitter Suite Symphony was new to me; my standouts on this album were Sonnet, Space and Time, Weeping Willow, Lucky Man, and Velvet Morning.

I thought the progressive aspects of this album as they pertain to hip-hop were definitely on display, making this album seem fresh in comparison to a lot of the hip-hop I've heard in the past decade or so. For hip-hop, his voice is incredibly smooth and the music was laid back. That said, this album and the tracks on it ultimately didn't resonate with me very much; it was easy to listen to, but for me, it was "just okay".

I know a tiny bit about gangsta rap, primarily from the late 90s and early 2000s, and almost all of those artists, if you dig in, were found by, launched by, or are somehow tied to Dr. Dre, an original NWA member. These guys are the definition of "O.G."; they are the reason (like it or not) that gangsta rap is so prolific in mainstream music today. Their rough life experiences in Compton are what birthed this music scene. I can see why this album is monumental, but the lyrics have not aged well. Gangsta rap is notorious for its very vivid (and sometimes over-exaggerated) descriptions of violent behaviors, but exaggeration or not, I really can't get behind the excessive misogyny and domestic violence. The "black community versus the cops" message from 1988 still feels relevant today, though.

SO many iconic Lynyrd Skynyrd songs on this album, but I had never listened to it front to back, so this was another exciting one for me. To that point, I never realized so many of their most beloved songs came from this first album! I'd rather listen to any of these Skynyrd hits than Sweet Home Alabama, so the fact that it's not on this album is, in itself, almost worth a bonus star in my rating. This album reflects a time when track order really seemed to be more of an intentional, precise art. I Ain't the One is a perfect opener, setting an exciting stage for many of the band's bigger mainstream hits, and arguably, some of the most well known jams in classic rock history. The second half of the album slumps a bit too far into swamp rock for me. Just when you think you might finally be getting bored, the album closes with its rising phoenix song, Free Bird, one song that is practically two separate tracks. The first "track" is a patient ballad, slowly building with some of the most recognized lyrics and guitar riffs in rock music history, before finally blooming into the second "track", an epic ~5 minute instrumental that stands among the best that rock music has ever witnessed.

I was not familiar with the band PJ Harvey, let alone the album, but I'm a sucker for 90s grunge women, as they typically come with sultry, gritty, smoky vocals. In that regard, this album did not disappoint. Each track is its own emotional rant wrapped in edgy guitar, raw lyrics, and powerful vocal roars. While a lot of grunge is influenced by blues, I found the bluesy tribute particularly prominent in this album. I was pleasantly surprised by a couple of tracks that even feature "cello rock", which is typically a fairly niche indie subgenre. This is another album for me where I felt like the entire album on its own was more significant than individual tracks. Overall, a fun discovery and listen for me.

I had admittedly never heard of The Mothers of Invention, but as soon as I saw the album cover, I saw and recognized Frank Zappa and knew I was in for...something. There is some interesting musical composition in this album, but god, that damn kazoo. The kazoo was enough to send me spiraling into madness. Every moment of kazoo was agonizing. Too much kazoo. I've probably said 'kazoo' more times in this brief review than I have in the past decade or more. I like weird and bizarre, but Frank Zappa lives in his own world that is within his own galaxy, and it's not a world or galaxy that I can personally handle for very long. It's a world of eldritch insanity that compels me to release myself from my mortal coil. This album was no exception. I never wondered and will never have to wonder again what doo-wop parody would sound like.

This was very easy to listen to; it was perfect for both background music and active listening! It reminds me of more upbeat elevator music, and I LOVED the latin flair. Now I am wondering, if someone is going to play "elevator music" in an actual elevator, why they would settle for anything less than this. I didn't feel like I needed to try to understand the occasional, minimal lyrics; they felt more atmospheric than anything and added a nice vibe. This album was a nice surprise!

One word I would use to describe Portishead's vocals, especially on this album, is "haunting". This album mixes a chamber music sound with what was, at the time, an electronic-forward, trip hop sound, with the occasional record scratch sound effect straddling the line between the two realms. It makes for a very interesting listen! Prior to hearing this album front to back, I was only familiar with the song "Glory Box" off of this album, and I still feel like this is the standout of this album. Ultimately, a very chill listen, and while it didn't stand out in any exceptional way to me, I enjoyed it.

The jazzy influences and the fact that this album came out squarely during the gangsta rap era probably made this album stand out at the time. It was a decent listen; there were some songs in here that I found particularly catchy. I think personal enjoyment for me would come in at around a 2.5.

This album was...distracting. There was a point where I literally had to pause this so I could concentrate on something I was trying to do. "Acid folk" is the perfect genre description for this, because this bunch was definitely taking lots of hits in order to develop this messy album. At its best, I would find some songs on this album tolerable, if only the vocals were not present. At worst, the album was a cacophony of dissonant, competing sounds among the instruments and vocals, and the cadence of the song. Honestly, they probably had to try really hard in order to make all of their music sound THIS noisy and THIS busy. I like folk music, and wanted to like this, but all of the dissonance honestly just ended up stressing me out. Overall, a big miss for me.

This was a new artist and album for me, and I was pleasantly surprised. Little Simz's rapping style had a very pleasing flow, and her vocals were interesting. This album felt very fresh, even compared to other recent hip hop albums. Sometimes on hip hop albums, I feel like all of the beats blend together and aren't distinguished enough, but that was not a problem here; each song stood well on its own and offered something to distinguish it from other songs on the album. I also found the album straight to the point as there were no interludes to be found on this album; in this case, I think that made the album stronger.

I am casually familiar with Nick Cave and his hauntingly sad vocals, but this album somehow seems even more matched for it than what I've previous heard from their discography. The song crafting on this album is undeniable; each song evokes a deep, emotional story. The ambient music techniques used on this album add to the haunting quality, but also make it a fairly peaceful listen. A very unique, moving album that almost feels as if it was intended to be religious. I admittedly wouldn't be able to listen to this often, but I'm glad for the opportunity to experience this.

I KNOW this album is iconic, but I had never heard it. In fact, my total knowledge of Simon's solo work is pretty well limited to just a handful of songs, most of which are on this album. I was eager to give it a full listen. The ways Simon and his team found to blend African and zydeco music with his more typical folk sound was not only revolutionary for its time, but nothing short of artful and masterful. In listening to this, I knew I was hearing something that was unique, and is probably still fairly unique in its execution, even today. The music and album craftsmanship at work here is undeniably top notch. On one hand, Simon did westerners a great favor by making them aware of the beauty of African music, but on the other hand, this could just as easily be interpreted as a white musician with a slumping career using an "unknown, exotic" sound to revive said career, building it on the backs of South Africans who more than likely did not get their fair share in pay and recognition in exchange for what Simon took from them. This really is an album that people should hear before they die, as there is nothing else quite like it. I really did enjoy it from an idealistic "one world" perspective, but that's not the world we live in, as much as I wish it was. Realistically, Simon knowingly did something great AND horrible in making this album.

At the time, this album was likely seen as a risk; Willie already had a very successful, very deep country career, and this project was truly a departure from all of that. Willie found a way to take every song on this album, make them his own, and make them work for him. He did this without compromising his status as an outlaw country icon and without dishonoring the sweet spirit of the original versions. Willie's voice is so easy to listen to, and in covering some of these classics, he proved the easy listening quality of his voice can stand among the best of them.

I actually had no idea that Janis fronted a band, let alone that "Piece of My Heart" and "Summertime" were recorded under said band; I always thought these were solo Janis songs! But, let's face it: even now, it's still a solo Janis song as far as I'm concerned; she is famous for it. I mistook this for a live album before reading that the live audience sounds were edited into the album. I am not really sure about the reasoning behind this decision, but I found it to be an interesting one. I am not typically a huge blues fan, but something about Janis has just always grabbed me. Her vocals always strike me as something that shouldn't work, but god, they just DO. The guitar on this album has a hazy, raw sound quality to it that just plays off of her vocals so well. The acid rock lean along with all that rasp and gravel take this album to an enjoyment level that would otherwise not be achieved for me, personally. Side A totally rocked for me, but Side B wasn't nearly as strong, save for "Ball and Chain".

A best friend (to protect her identity, we will omit her name) has been sending me Bollywood tracks for probably a decade and a half at this point, so I have developed a very subjective, certain taste and idea in my mind for what I consider "good Bollywood music". I am sad to say that this really wasn't it. However, considering this album is from the 1970s, it was fun to hear some influences from the height of funk and disco era on here. Lots of Spanish influence, too! Ultimately, this just wasn't for me.

This album definitely puts the "proto" in "proto-punk", as this really does feel like an unfinished, beginner's prototype for punk music, if that can be imagined. The spirit of punk is present though: they are making loud noise and they don't give a shit. This has very unpolished production, mediocre execution, and for my taste, is almost unlistenable. While I get that this is heralded for being the birth of punk music, I'd rather just listen to some "post-birth" punk music that has better production and execution. As stated, the spirit of punk is here in its proto state, but the majority of this album was just not very good.

As someone who grew up surrounded by desert but didn't appreciate the landscape until I grew up and moved away, I connect with U2's desire to build an album around their desert inspiration. The album builds up and opens with so much excitement and energy. That energy builds and is held throughout the entire album. This album marries unique rock instrumentation with Bono's soaring, ethereal voice to make every track something interesting, unique, and a little bit mysterious. Everything about Bono's voice seems deliberate; you can feel the emotion behind the way he sings, artistic and full of emotion, but in full command of his vocals. Bono's lyrics, inspired by political and world events, are also deliberate and done incredibly artfully, as if writing a poem. This album caught my attention and didn't let go until it was finished. Every song was strongly written, sung, and performed. This has definitely inspired me to dig further into U2's discography.

I really enjoyed the opening track for this album, but it fizzled out for me after that. Fuzzy and yet digital, retro and yet space age-y, upbeat and yet dreamy, this album merges some of the best of more modern electronic pop music with the psychedelic rock of yesteryear. Definitely not bad, but not particularly stand out, either. I would listen to this as background music, but that’s about it.

I've always appreciated The White Stripes' role in the revival of the garage rock band sound. Back in the early 2000s, they felt unique in that I can't recall anyone else doing what they were doing, at this time, quite like the them. They treaded lightly in their roots -- the blues rock space -- on this album, but never at the expense of the garage rock sound they were migrating towards. Dead Leaves and the Dirty Ground is a great Zeppelin-esque opener, which I am sure was the intention. The vocals are even modeled after several Robert Plant-isms. Jack White's voice and singing style in general have always intrigued me and make the band's music more fun than it would be without him. That said, while I recognize that this is the album that shaped their familiar sound and rocketed them into the mainstream, and while a few of their most signature songs are on this album, it's not the strongest of their discography. Still a decent album, though!

I still remember when this album came out, how much noise it made in the indie rock community, and the major stir it caused in the mainstream community by winning a Best Album Grammy. Back in 2010 when I listened to this, I didn't appreciate this album, nor understand the hype around it, so I was excited to listen again all these years later with ears that have expanded and developed their tastes. This time around, I enjoyed the album a lot more. This is yet another album that is best enjoyed as an album, and not as singles. It makes good use of storytelling and the songs have good ups and downs and mixed tempos to keep things from feeling stale. This time around, I'm happy to say this album resonated with me and is exactly what I have come to enjoy about indie rock.

While I understand the experimental aspect of this album, the album still felt unpolished or unfinished. I enjoyed the overall electronic additions found here. There were also several nods to Indian music, which was fun to hear. Otherwise, this was pretty forgettable for me.

Going into this album, I wasn't expecting to like it as much as I did. Is it a new fave? No. But would I listen again? Absolutely yes. This alternative rock album straddles a space between 80s new wave and 90s grunge, and I was able to pick up influences of both genres in these songs, which I greatly enjoyed. Some of the tracks, both musically and lyrically, are just a bit experimental and weird, but in the perfect amounts. This is another album where the whole thing is better than the individual pieces. In a world where albums now so often seem written for and around some singles, I always find albums that are clearly intended to be one continuous experience to be interesting.

Somewhere in the wordy prattling that is typical of blues lyrics, Dylan had moments of genius where he wrote some truly poetic lyrical phrases that have long stood the test of time. It's nice to hear some lyrics from this time period that give permission to be poetic while still rocking and rolling. It is sometimes to his detriment though; I sometimes find him to be rambling on lyrically at the expense of the music. Still, I find it difficult, personally, to be into Bob Dylan; his nasal-y drawl that he tends to sing with has always grated on me. This very quality is one that has drawn others to follow his 60+ year career. It's all personal preference. That said, I have no reservations about Bob Dylan's deserving place in this project, but I'm still just not that into him.

Who knew reggae music could come out of Scotland? I was surprised by how much I enjoyed this. The artist and album seem relatively unknown compared to others that have crossed this project. I am not super familiar with the reggae genre, but this album felt very light and was easy to listen to; it brightened up a cloudy, gloomy day, and I'm sure would make a sunny day feel even sunnier. For whatever reason, "Sunday Shining" was a big hit with me; I haven't stopped listening to it!

I'm not very knowledgable on the genre of "thrash metal" and many of the adjacent genres and bands, so I don't have much of a basis for comparison. That said, this album's sound is what I correlated with Pantera. It turns out, this album was more or less their first full venture into metal that was AS heavy as what is on display on this album. In the beginning of my listening experience, I felt that the vocals had more screaming than I tend to like, but then some damn amazing metal rhythms and riffs would come along to smack me with a vulgar display of power (see what I did there?). This pattern continued on many, if not most, of the tracks, progressively acclimating me. By the end of the album, I was really kind of digging the off-tempo screaming and ridiculously good metal rhythm duality. This was a fun listen, and I'm definitely interested in exploring more of Pantera's discography!

Having not heard this album front to back before, I didn't realize that the iconic song Jump essentially had an intro, thanks to the title track, 1984. This is a great synthy lead-in to Jump, and to the album as a whole. In addition, the title track made me pick up on just now synthy this album really is. I was already very familiar with Jump, Panama, and Hot for Teacher, and upon listening to the album, I feel like everything else pales a little bit in comparison to these three powerhouse classics. Still, there is some really rocking instrumentation and guitar work on this album.

This was my first exposure to Erykah Badhu's music. I love her voice and the way it seemed to just gracefully dance across the music. It was a smooth, easy listen, but ultimately there were no specific standout moments for me.

This album was good background music while I worked, but it all just kind of blended together into one low tempo, indie blob. It was okay, but again, another "not great" from this band. Hoping there isn't a third album of theirs in this project. With the many epic artists who I am sure did not get a spot in this project, were two Flaming Lips albums really necessary? I guess the creator and I can agree to disagree.

I liked how this album was divided in half between a "big band" jazz sound, and a more "stripped down" piano ballad sound. Between these two parts, this album clocks in as pretty short, and yet Ray commands each track, giving them his all and lending his full-bodied soulful voice to these old standards! He sounds golden and he makes it seem so effortless. In addition, despite the fact that this album's recording is such poor quality, his playing of the piano comes through so nicely and effortlessly, especially on the second half. Jazz is not a favorite of mine, but Ray makes this so easy to listen to.

What a debut album from Rage! They are sometimes credited with developing the metal-rap genre. If that's not true, they certainly were paramount in perfecting it. The fact that they already have the formula down so well on their debut album is incredibly telling. The group shows a lot of energy on this album in both the metal and rap areas, and they clearly have a handle on what it takes to make these genres successful independently and together. They also find a common ground for metal and rap in the topic of politics; the lyrics and imagery on this album are incredibly motivated by political themes. An enjoyable listen from such a unique band!

RHCP, to me, have always had such a unique, signature sound; there just isn't any mistaking them for anyone else, and this album cemented that sound for them. While some other bands do the "funk rock" sound, RHCP still stands out among them, and is probably the most known for this sound. Simultaneously, with this iconic album, the helped to usher in the 90s alternative craze, and would be solidified as powerhouses in that genre for the next two decades. This album has some of the band's greatest work on it -- the funkiest guitar riffs coupled with fun funky vocals, as well as memorable lyrics. True to the album name, I never realized just how many sexually suggestive lyrics danced throughout the songs on this album. Overall, it's just a fun, interesting, and catchy listen. Not every song is a hit single, but every song is fun to listen to and I wasn't tempted to skip anything -- a feat for an album clocking in at nearly 1 hour, 20 minutes. An album definitely worthy of this project!

This album in particular reminded me a lot of Jim Morrison's dreamy, distant, psychedelic vocals. I had either never noticed that before, or it is a sound they moved away from in later albums. The Killing Moon, a known hit of theirs, was the standout track on this album. I loved the eastern strings that permeate the track. Additionally, this track leans a little more into the goth rock and new wave space than others on the album and hits a sweet spot for me there. Otherwise, the album was okay. I liked what I heard just fine, but overall didn't personally find any other standout qualities; it was kind of a "one note" album for me.

A few other albums exist on Spotify from this artist, but strangely, this album is missing. Fortunately, I was able to track it down on YouTube. In addition to this being a perfect example of a concept album, it's certainly a protest album as well; the theme carries all throughout but if you haven't been paying attention, it is especially overt on the track Terminal Passage. Overall, the album is filled with strong poetic lyrics directed at America's treatment of Black Americans. Behind its political lyrics, this album is backed by some good, emotional vocals, and a pretty standard blues and soul flare. I am really glad for the opportunity to check this album out and hear its message, and am pleased that the author was able to find this and thought to include it in the project. Musically though, this is not really my jam.

I liked a lot of the instrumentation on this album, but the vocals almost ruined it for me on nearly every track -- just not my thing. I thought Lexicon Devil and Manimal were two of the more well-rounded songs, both musically and vocally.

I knew a couple of Zombies songs including the infamous Time of the Season from this album, but had never heard of this album. The occasional baroque pop song with psychedelic pop leanings found on 60s albums here and there are usually such easy, upbeat, and enjoyable listens for me. That said, this album does not dabble in the genre; it is absolutely immersed. It is an absolutely shining example of baroque pop with psychedelic pop leanings from start to finish. People have been listening to this genre of music for 60+ years. And yet, you have a moderately known band that has a fairly unknown album that is especially representative of that genre, and even after so long, the album has still managed to stay fairly unknown. To me, that makes it a perfect inclusion to this project. Anyone who knows and cares about bands of similar sound, such as The Beach Boys, The Kinks, or even The Beatles should be made aware of this album and should listen to it! While I wouldn't say that this album necessarily blew me away, I really just found it to be all-around pleasant and a great listen. I didn't find a single song to be a skip. It’s just simply a very well done album on every level.

I have always put Talking Heads squarely in the "new wave" genre, but one thing I noticed with this album in particular is that the band, at least at this point in time, had way more funk and disco influences in their music than I realized. I Zimbra was a very unexpected but pleasant opener; I listened to that track several times. Overall, I really dig the bizarre rhythms that are used by Talking Heads. I think the band's vocals fit the progressive take on music, but sometimes those vocals come off as more hypnotic and monotonous than anything. I found myself really enjoying the first half of the album, but was kind of bored with the second half.

This definitely takes me back to a specific period of the 2000s where a lot of indie music had this folk leaning, and I remember Fleet Foxes being a standout example of the genre at the time. This album is a pleasant enough, easy listen, but that said, it is rather monotonous. After a few songs, it all kind of fades into one (albeit, nice) noise. I particularly liked White Winter Hymnal and Your Protector, and found those to be standout among a lot of dreamy, distant, slow folk songs. I wish this album had been more songs like these.

I knew some Sam Cooke, but this album made me a Sam Cooke FAN. This is easily one of the best live albums I have EVER heard. Sam is just as magical and energetic on a live album as he is in studio recordings. If anything, he's even more so in a live environment, where he is able to have these amazing interactions with the audience. He mixes a powerful, electrifying presence and untamed, raw vocals in with all of the quintessential Sam Cooke qualities that already made him great. It's a crime that this album was shelved for 20 years before it was finally released. In a world full of questionable live albums, this album shines as a prime example of what a live album should be. It has big energy, but feels intimate; I really felt transported to the moment. It made me wish I could have physically been there!

As I was listening to this album, I kept humorously referring to its genre as "soft hip hop" in my notes; these qualities were no doubt brought on by its close soul and funk ties. For me, these qualities made it all the more enjoyable. In the last decade or so, rap music has mostly migrated away from gangsta rap to a different style of rap. This album predates most of those big names that were part of that cultural shift. Common (and credit where credit is due: his producer, Kanye) were clearly onto something with this sound. Not a big standout for me, but enjoyable to listen to!

This album is fantastic from start to finish. There is a great mix of upbeat songs and slower ballads. Aretha commands every note of every song with her one-of-a-kind voice, in a way that only Aretha can do. Her impeccable abilities are so dynamically on display here, flexing crystal clear high notes, rumbling low notes, and everything in between. A special shout-out to (You Make Me Feel Like) A Natural Woman. This song sends me every time. This is easily one of the greatest songs of all time, and the way she owns every moment and every emotion of this song deserves acknowledgement. I don't even know what else to say that hasn't already been said. Aretha is a one-of-a-kind legend and the queen of soul, and this album is just one reminder among many as to how she snatched that crown.

One of my main complaints with dream pop is that it can be too, well, dreamy. It ends up coming across as monotonous, unexciting, and a bit boring. This album pretty much fell into that pit trap for me. It was pleasant enough to listen to, but I wouldn't seek it out again. That said, Zebra and Take Care (the album opener and closer) broke the mold a little bit, and did catch my attention as standout tracks.

I love this concept of a sci-fi album with minimal robotic singing, especially ahead of the new wave craze. This reminded me a lot of something you might have heard in a 70s Tron movie. In fact, I'm sure these guys influenced a lot of new wave and electronic artists that would come to the scene later in time. This was both a strange and cool listen.

I like this album...but I don't love this album, as a standalone or really as a piece of The Beatles' discography. It is fun and catchy, and an incredibly significant album in the course of Beatles history. That said, I would put most of the songs on this album in the "good" but not "great" bucket. The particular flavor of 60s pop on display on this album is always kind of hit or miss with me, and this era of Beatles just wasn't my favorite. I'm rating this a 3/5, but let the record show that I'd put it at like a 3.5/5, if I could.

This album definitely felt like a raucous free for all, which was mostly a fun, good thing. Overall though, it wasn't really my thing.

When the first track started, I figured I was in for a disaster. But, as the album progressed, I actually found myself liking this album a lot more than I thought I was going to! It is very reminiscent of some 80s alternative and new wave which I love. It's also saturated with some of the most defining sounds and effects from the 80s. That said, it still somehow defies being pinned into any genre from that time (thanks, it's the ecstasy). While I really loved the music on this album, the singing and vocalization is what I found to be lackluster. The vocals are usually incoherent and the lyrics (when understandable) are often nonsensical. While this goes along well with much of the 80s, something about the vocals just seemed worse than that. This album may be a hot mess, but damn if I can't help but find it to be an intriguing, cool mess.

All yelling, no substance. Awful lyrics, awful musicality. The band title and album name are a little try-hard, too. We get it, you're edgelords. Thanks, I hate it.

I thought the album was okay. It was easy to listen to, and had a nice kind of smooth groove to it, but ultimately I was just kind of bored, so I guess it wasn't really for me. Pyramids was a super standout track though; it caught my attention unlike anything else on this album. This album is definitely more than a 2, but less than 3 for me.

I love The Strokes' vocals -- they've always got a bit of that trademark cool distortion, but never at the expense of actually understanding the lyrics. A lot of the instrumentation of the album feels simple and muted, but the album does not suffer for it; it allows the catchy rhythms of these songs to shine and when great guitar solos crop up, they're all the more stand-out due to the lack of overcomplicated music. The songs are short and sweet and to the point. There is something to be said about music that is not unnecessarily repetitive with its bridges and chorus. Looking back at this album in 2022, the sound and style that is present on this album was clearly setting a standard, as many indie rock bands in the 2000s and even 2010s would go on to use this as their guiding light. Definitely a defining moment in rock music. Simply put, The Strokes are just effortlessly cool on this album.

Ah, the original rock opera. I think it's pretty cool how the concept was birthed out of a desire to find a way to escape the "short song format" of music that had existed up until this point. I had not heard this in full before, and was not familiar with the plot. Unfortunately, I wasn't able to completely discern the plot from the music alone; I had to rely on a little help from Wikipedia. Needless to say, the plot is very much a product of the 1960s. The album did feel a little long and bloated, but it was bizarre, which I appreciate, so it evens out. There were some great songs on this album. That said, musically, this particular album is classic Who. They aren't reinventing any wheel there; this particular album is all about the introduction of the rock opera format, which it turned out their musical style was perfect for. This album dared to try something new, and while not perfect, brought about a significant form of musical storytelling. That in and of itself makes this album a worthy addition to the project. Thanks, Who, for gifting us the rock opera!

This album had some good moments, and then it had some "meh" moments. I didn't really dig the heavy blues songs. For me, the standout tracks were Sympathy for the Devil, Stray Cat Blues, Street Fighting Man, and Salt of the Earth. I make a point to specifically call these out because I feel like they were the most interesting tracks on the album due to having some musical aspect giving them an extra "kick" out of average bluesy purgatory. I would be remiss not to dedicate some discussion to the iconic Sympathy for the Devil -- one of the most well known and regarded songs in music history. It feels like a Bob Dylan song in that the lyrics aren't afraid to tell a long story, but I admittedly find the topic and the music surrounding it is so much more interesting than most Dylan tracks, from the hand drums down to the iconic "woo woo" vocalizations.

It was okay! This isn’t particularly my jam. Glad to be exposed to some Afrobeat music in here, though!

I wasn't familiar with this album of the songs on it, aside from the infamous La Grange. It's impossible not to get hooked on that teaser intro and vocals, only to then be paid off with exceptional rhythm guitar and riffs. Blues rock can be a bit hit or miss for me, but ZZ Top's music has a unique gritty, "dirty south" rock quality to it that I can't help but dig; it perfectly complements Gibbons' iconic vocals, and that is very much on display on this album. I enjoyed this album even more than I thought I would!

It was okay; very funky! Oddly enough, I liked the didgeridoo songs the best.

I found this album to be an excellent display of 1980s heavy metal. The tracks are chock full of excellent guitar riffs, the vocals are over-the-top and perfectly theatrical. There are no duds on this album; each track has an exhilarating power of its own, and that power does not let up until the very end. That said, I still find the album to be incredibly accessible to someone who might be a little metal-shy or metal-timid. Though they are undeniably great, this album is SO much more than just the well-known Breaking the Law and Living After Midnight. I loved every minute of this album.

In a bit of research, I learned that this album was the result of Basement Jaxx being displeased with the state of dance/electronic/house music, and this album was intended to redefine the genre. I'm guessing they didn't accomplish their goal, because I fail to hear what is so genre-defying on this album. Most of the tracks seem thematically scattered and musically unpolished, like we are hearing an album full of demos. It wasn't a great listen, but it was tolerable. Honestly, I would not even find most of this music to be very danceable. The experiment to redefine the electronic space kind of fell flat and remained just that: an experiment.

So, I should start by saying I liked this album okay. For me, there is always a baseline "like" when it comes to ABBA. That said, this album just didn't quite fully hit for me. It seemed darker than their earlier stuff, which for me, kind of results in ABBA, but with the wind knocked out of their sails. On the other hand, a band that was very progressive musically and who was all over 70s dance and disco scene, it's not difficult to see this as an early lean into what would become 80s new wave. I will say that the title track, The Visitors, was really outstanding and new to me. I was hoping the rest of the album would follow the same lines. But again, there is just something about ABBA that makes this baseline enjoyable, period.

I have become pretty familiar with all of these songs individually, to some degree or another, over the years, but have never heard the album from front to back. These songs are outstanding as individual tracks and in a whole album format. I just love the vocal harmony among these four; Young adds something special here and I like the band's sound better with him (which is ironic, since I'm not a solo Young fan). While dominantly folk, this album touches several different genres and does so masterfully.

I don't think I had heard anything by this group aside from Green Onions and Mo' Onions! I didn't realize instrumental music was their entire jam! Green Onions is one of those songs that everybody knows. It's iconic, funky, and the organ solo just GOES FOR IT. Ultimately, I think the concept of instrumental funk is completely worthy of this project. As far as personal enjoyment, I thought it was just okay.

This album was okay. As someone who isn't too familiar with Iggy Pop, I was very intrigued by his vocals on this album; they often reminded me of the fairly unique stylings of Mick Jagger -- if Mick Jagger did proto-punk style music. I can't recall ever having heard anyone sound like they are emulating Mick Jagger, intentionally or otherwise. On some of the slower songs, it reminded me a bit of some stylings that would become popular under the goth/new wave 80s umbrella. Overall, it seemed pretty ahead of its time, and probably the best listen of the proto-punk genre I've heard on this project so far. I'd rank this at about a 2.5/5, but will round up to 3.

Another album where I know almost every song to some extent individually, but have never heard the album front to back. There really isn't a dull song on this album. The music stands out with its piano-forward rock sound, and the lyric writing is truly top notch -- all of these songs tell a truly memorable story; the lyrics aren't overly simple, but the storytelling is never sacrificed for the clout of sounding artistic, deep, or edgy. Billy makes it all seem so cool and effortless. This album just has an all-around major display of talent. An excellent inclusion in the project.

I have enjoyed many a Tom Petty song over the years, so I was actually pretty surprised by how average this album was. It was certainly easy enough to listen to, and a couple of the tracks are Tom Petty classics, but I personally didn't find the entire album's offering to be anything significant enough to warrant a spot in this project. A decent first album, though!

I remember the first time I heard Wesley's Theory. I was absolutely wowed by the message and the production; I had never heard anything like it. Now that I've heard this entire album, I feel even stronger: there is nothing else quite like this album. Kendrick Lamar has a lot to say about the state of politics, inequality, and being Black in America and worldwide, and he doesn't waste a single second on these tracks talking about these topics. Even the album art makes a confronting statement, communicating a very charged, thought-provoking, detailed message, a message that makes many statements in one image. It all comes full circle with a mostly spoken world closing track explaining meaning behind the album title "To Pimp A Butterfly". As if that's not enough, Kendrick uses several Black-defined and influenced genres (funk, soul, jazz, to name just a few) and modern, fresh, audibly intriguing production across this album to create a progressive and elevated hip-hop experience. I won't say that I love every song, but damn if the production, lyrics, and style just don't keep me intrigued and curious all throughout. I wanted to keep listening, and I want to listen again. In my opinion, this is easily one of, if not THE most important hip hop albums in the past decade or more (disclaimer: I'm so incredibly white so please don't take my word for it). It's art, it's protest, it's love, it's hate, it's poetry, it's politics; it's black struggle and black power.

I'm not a huge fan of jazz most of the time, but I found this to be surprisingly enjoyable to listen to. Trading in "big band" jazz sounds for a more low-key, instrumental sound made this a nice, easy listen. There was some very beautiful piano work in here, as well.

I'm already not a huge fan of country music from this era, and this album didn't sway my opinion. I don't think Ray Price did much on this album to define the country genre in the 60s as compared to many of his peers (Waylon Jennings, Johnny Cash, Patsy Cline, Loretta Lynn, Merle Haggard), and he himself certainly has more country-sounding music out there, so I can only assume this inclusion comes down to him going more country-crooner on this album, which is somewhat unique when compared to most country singers at the time. Not a bad listen, but still not really my thing.

This album was okay...decent for a first album from a band that was integral in shaping and defining the sound of 80s metal. I can see where this album was setting the stage for greatness to come in the form of their more renowned albums. Overall though, it didn't wow me.

This was relaxing and very easy to listen to. It was smooth and warm all throughout. I really enjoyed the tracks that had Latin vibes! Also, considering the year, I felt like the production on this album was really top notch.

I'm a sucker for new wave, so I baseline enjoyed this album. I liked the hints of punk that were sprinkled around, as well. English Rose was a surprising track on this album, and very beautifully done. Overall, this wasn't incredibly remarkable for me; I did not find it to be a particular standout.

The 2000s were a great time for indie rock/pop type music, and MGMT was leading the way during this time with a fairly unique sound in a psychedelic indie pop mashup. Not only did they pave their sound in a sea of indie pop bands, many of which sounded the same, but they hit the nail on the head on their first try with this debut album. Electric Feel, Time to Pretend, and Kids felt revolutionary at the time, and honestly, that still holds true today. The lyrics are catchy, the rhythms are catchy, the distorted composition are catchy. And though there have been attempts, there is nothing else quite like these tracks. The chorus from Kids, while so simple, has also always stuck with me: "control yourself / take only what you need from it / a family of trees wanting / to be haunted". It's a message about the planet literally giving itself over to be used by its human inhabitants, and that as a result, we have an obligation to treat it better, and teach our future generations to do the same. That all said, if you're looking for more on this album like the above mentioned well-known trio of outstanding songs, the remainder of the album could possibly be a letdown. No other tracks on the album hit quite like these. Still, this album has an experimental composition at its heart, and there are unique and interesting treats for the ears all throughout. I continue to find this album a fun experience, all these years later.

This album was really interesting. It had a lot of the typical 80s new wave qualities, but they really seemed to experiment here, playing around with the "limits" of what typically defines new wave. Particularly of note, there was a lot less synth and a lot more complex instrumentation. For whatever reason, new-to-me song Living In Another World particularly stood out; I went back to listen to it multiple times. It is just so masterfully composed with various layers of instrumentation, genres, effects, and vocals.

This immediately transported me to years and years of Mexican markets, restaurants and taquerias, from adolescence through to my adulthood. I can vividly see, hear, smell, and taste the specific food, colors, decor, and ambiance that is associated with so many places like this. It's always a good sign when you can connect to the music on a level that transports you somewhere else! If you are splitting hairs, this is more "Cuban" than "Mexican", but that doesn't stop it from being perfect and timeless in any Latin setting. Classic mambo albums and artists like Tito Puente are staples in these settings, and for good reason. It's fun to listen to, it's joyful, it's passionate, and it's exciting while also still being perfectly accessible for relaxing (again, in my case, almost always dining or shopping -- these can be forms of relaxing!). A real joy to listen to!

This album didn't prove to be a favorite, but let me just start by saying damn if The Weight isn't one of the best and most influential folk rock songs of all time. Chest Fever was another new-to-me standout. I Shall Be Released was a beautiful, memorable, hymn-like album closer, as well. Even though I immediately called this out as 'not a favorite', there is still something about this album. You can sense the band's togetherness and the organic nature of their playing and songwriting. The tracks put the musicians' playing talent front and center. They wanted this album to sound the same to the listener as when they were recording it in the basement of Big Pink, and they absolutely achieved that. It feels incredibly intimate. The album didn't seem cohesive in so much as that each song seemed very individually conceptualized and completed, rather than intended as part of a greater work, but given the band's history and the overall vibe they were going for, this jam session style compilation of songs seems to work. This debut album from The Band is a great entry on the project, as it truly exemplifies the chances, opportunities, and happenstances that can pay off in the music world, take you out of the shadows of someone famous, and leave a lasting legacy.

Jazz like this continues to definitely not be my thing, but this is sooooo smooth. Miles Davis made playing the trumpet sound like the easiest thing in the world; he was truly a master!

This album didn't really strike anything with or in me. It was okay, but I was ultimately pretty underwhelmed. The one track that piqued my interest was the instrumental track, Elegia. It was such an odd but great inclusion that really highlighted and brought to light the dark wave qualities on this album.

This album went hard and didn't stop! I'm familiar with some of the band's later stuff, which isn't quite as heavy. I really enjoyed their heavier sound! I thought all of the instrumentation on this album was done really well, from guitar to bass to drums...and the organ work was outstanding too! I really feel like each band member got his talent and instrument appropriately represented on this album! Really a great addition, and an unexpected one from Deep Purple. It demonstrates that Deep Purple, a somewhat unlikely candidate, was part of shaping the heavy metal and hard rock sound of the 70s. I really dug it!

I see now why he is called RAMBLIN' Jack Elliott. He also drawls, howls, yodels, and warbles. Definitely not my thing. It was bearable for 30 minutes, but just barely. I would argue that I could have gone without hearing this one before I die.

This album seems to have a reputation of confusing people...confusing people on why it was included, confusing people on what the genre is, confusing people to the point where they don't even know whether they like it or not. This album was definitely all over the place, sometimes in good ways and sometimes in not so good ways. I like when a band doesn't force themselves to be confined to one sound or style. But that also makes for a mixed listening experience -- you like some stuff and absolutely don't like other stuff. Ultimately, I'm not sure why this album was included, except maybe for the band's daring to be eclectic. This album didn’t hit a home run, but I was interested all throughout.

Absolute pioneers! These guys really were paramount in reshaping hip-hop, and infusing it with rock sounds, which is especially on display with the iconic track "Rock Box". I don't know the proper terms for these things, so I will just say that they make heavy use of the "call and response", "finish each other's sentences", and "you rap one word and then I rap one word" styles. The sparse rapping also gives ample opportunity for the fun beats to shine through. All are certainly products of the time, but enjoyable. This is fun and was truly groundbreaking, but it does understandably feel dated and basic by today's standards. Still, during this album's time, it's impossible to deny the effect and impact these guys had from this debut album.

I wasn't as familiar with this Doors album, save for the bigger hits. Most of the album was okay, a few of the tracks were GREAT. These bigger hits (Love Her Madly, L.A. Woman, and Riders on the Storm) are all outstanding, amazing tracks, and I was hoping for similar from the rest of the album. That said, I don't think any other song on the album quite held up to this trinity. I think these three tracks are highly reminiscent of their first album works, and maybe that's why. For me, the song that came closest to hitting the same level of greatness as the album's trinity was The Changeling. A great album from The Doors. I would say this particular album falls into "like", but not quite "love".

I have always been a sucker for what I call "Lilith Fair music" -- you know the type: 90s singer songwriters that aren't too pop but aren't too rock, either. This album fits right into that. Also typical of artists in this category, the lyrics are often sharp and thought-provoking, overlaid on generally upbeat music. Even though I liked it based on the baseline qualifications mentioned above, I do feel like other females singer songwriters in the 90s did the same thing, only better. For me, it started to drag the longer it went on. Maybe somewhat forgettable to me, but it was very easy to listen to, though!

Aside from some general knowledge of a couple of his biggest hits, I am not really educated on Van Morrison. I wasn't even aware that Moondance was originally his song. So imagine my surprise when I hear this album and it's basically some kind of weird folk-blues-jazz hybrid. On the other hand, I WAS familiar with his original Crazy Love, which in my opinion is one of the sweetest folky love songs to ever be recorded. It is quiet and intimate and highlights the most subtle vocalizations in Morrison's voice. I really enjoyed this album and found myself going back to it for more listening.

Honestly, this was okay, but it didn't do much for me. I was surprised at how hard this album went for 1968, though.

Honestly, I expected to like this more considering this is the same album that birthed Monday, Monday and California Dreamin'. The album was just kind of one-note for me, and I found most of the tracks to be forgettable. They certainly didn't come anywhere close to living up to the hype of their biggest hits. Overall, though not remarkable, it was still very listenable 60s pop.

I've never listened to much Radiohead, so I was very interested going into this. I was not disappointed! This album felt incredibly well crafted, from the production to the music to the lyrics. The album had an overall "sound" to it, but each song stood on its own and was interesting and unique. Thom Yorke's vocals on this album are nothing short of ethereal. His lyrics are not always understandable, but I didn't care; his stylings really lend something extra to the songs, and he knows just what style(s) and vocalizations to use in a given musical scenario to take the track to the next level. I found myself waiting to hear what he was going to do from track to track. Based on what I know about 90s music, I could quickly tell upon hearing this that there was not anyone else quite like Radiohead at the time. Though I was not really aware of who Radiohead had influenced in the music world, it is incredibly obvious upon hearing this album that it was setting standards for where alt rock would go for years to come following the grunge era. Bands like Muse, The Killers, and Coldplay were clearly influenced by this album in their own works, 10+ years after this album came out. This album was a definite win for me!

This is likely an unpopular opinion, but I love how The Pretenders, on their debut album, mixed punk with pop to make that punk sound more accessible to a general audience. I have long thought that Brass in Pocket was an outstanding and catchy song, but the rest of the album didn't quite grab me the same way. The album was good, but not great. Space Invader was a nice grab, though!

I really enjoyed the diversity of genres on this album. In addition, there was clearly a lot of experimentation going on that sort of defied the expectations for an album centered in the heart of the 60s. Both of these things kept things fresh and interesting on this album, during a time when bands had a tendency to stay kind of "one note". As a complete aside, I love Georges Seurat and the pointillism art movement, and I really liked how The Byrds seemed to gravitate towards what could be defined as a pointillism-inspired album cover. Ultimately, an enjoyable album!

I can appreciate what this album was going for, especially considering music had largely moved away from psychedelia by the late 80s. That said, I don't really feel like it pushed any envelopes or reshaped the psychedelia landscape. It felt like a conceptual demo rather than a complete album. Most of the tracks were numbingly repetitive, never really going anywhere, thus missing many opportunities to have some good highs and lows throughout the album. It was okay at best, but overall kind of boring and forgettable.

The title track certainly grabs your attention. It walks and talks like jazz, but something about it just hits differently and doesn't follow the typical jazz "composition". This general idea carries on throughout the album; if this isn't an example of or at least adjacent to improvisational jazz, I don't know what is. I decided to average this out at about a 3, as my personal enjoyment of this was fairly low, but my respect is high for the technical ability displayed on this album.

I am not usually big on live albums. I feel like a certain magic of the live performance tends to get lost in translation most of the time. Unfortunately, I felt like this album fell prey to that. I wasn't really able to FEEL the energy of the room and the performances. Not to mention, I'm already not really a fan of James Brown or his music, so I feel like this live album was probably an uphill battle.

Really, who knew someone could find a million different ways to growl? My favorite growl styles were what was on display on tracks such as The Earth Died Screaming and Dark Wings. I am good with gravely vocals, but I sometimes felt like he was all growling, warbling, or mumbling, and no singing. I'm coining the term growlbling™ to identify this. Either way, I wasn't a huge fan of tracks where that was on display. Honestly, I loved a lot of the music; the minimal sound with very forward drumming, percussion, and/or morose piano made for a very dark/gothy blues vibe, something almost tribal or bayou voodoo. This album was southern gothic genre before southern gothic was cool. Goin' Out West was my absolute fave on this album; if I didn't know better, you might could have convinced me that it was from some unknown Rob Zombie unplugged session (coming soon to an MTV near you). You know that one Devil archetype -- the deep southern, prohibitionist-era, bluesy, mysterious, smooth-talking dark but not particularly evil figure? Yeah, THAT Devil's soundtrack is this album. I didn't love every song; hell, I didn't even love half the songs. But this made for a super interesting listen.

I like some Beck, but despite listening to this album twice, I just couldn't get into it. Honestly, I was just kind of bored. Not sure what happened here, but this album just didn't do it for me.

I liked the homemade quality of this album. Fiona clearly has enough history in the music game to know how to stay on the good side of the line between homemade-good and homemade-bad. There was a good but cohesive mix of styles on display on this album. I really liked the darker, moodier songs on the album: for example, Newspaper, as well as Heavy Balloon, which turned out to be my favorite album on the track. This album was very percussion-forward, which is a bit experimental for an artist like Fiona, but she made it work. If Fiona ever finds herself failing as a musician, she can easily be a dolphin, because her dolphin chattering at the end of I Want You to Love Me is top notch.

What is there to say about this album that hasn't been said a million times? Black Sabbath paved a road forward for heavy metal with this 1970 album. It would become a blueprint for successful heavy metal music for decades to come. The album has some of the most amazing and memorable riffs to ever grace music, and at least THREE songs from this album (War Pigs, Paranoid, Iron Man) have stood the test of time and are acknowledged as among the best heavy metal songs ever, even all these decades later. Every other song on this album, while not all as commercially appealing to the general public, serve the same level of amazing quality metal and offer a blueprint of success for the genre going forward. This album is iconic. This album is the definition of legacy.

Man, this album is just as cool today as it was when it debuted over 20 (!!!) years ago. It's easy to forget that it was so long ago because megahit Clint Eastwood STILL gets played on every alt-rock station as if it were released yesterday. As a teenager at the time when this came out, they are the first "virtual band" that I can remember taking seriously. These guys knew themselves, they knew they wanted to do something different, and they knew how they wanted to do it from the beginning of their career; with their debut album, they were not only already setting a foundation for their own signature sound, but also an eclectic alternative/trip hop/lo-fi sound that many other band would embrace in the new millennium and attempt to make their own. Speaking of eclectic, this album is all over the place, but in a good way. They don't limit themselves to any specific sound or genre from track to track, and any given one track is likely to have a mishmash of genres and musical stylings. And yet, everything they do on this album sounds intentional, cohesive, and cleanly executed. All these years later, it was fun to reexamine this album, find a new appreciation for it, and find that it has really stood the test of time.

I saw someone in another review refer to this as "proto bardcore", which was a new term to me; I honestly have not been able to forget that very amusing, very appropriate description. This album has all the making of fantastical, Celtic, medieval, renaissance faire folk music, but with a slight rock edge. The combination of folk and obvious electronic instrumentation back in 1969 seems a bit ahead of its time. Not to mention when considering the medieval vibe, this album is truly an act of anachronism. This was a fun, obscure, weird listen! I can see where this wouldn't be everyone's cup of tea, but it's definitely mine.

This was somewhere between ska and new wave? I think? Is that a thing? I wasn't familiar with Madness for anything other than Our House, but I found this album to be a good example of why they're named Madness: every song is a little bit zany and off-the-wall. This album wasn't a favorite, but the intrigue was definitely there and this album kept me interested. Madness is all in the mind!

My 100th album on this project! And what an iconic one! This double album is packed with music! Not only that, but there is so much diversity and variation of styles from song to song. This album is interesting if for no other reason than that it's on the precipice of the 60s ending and the 70s beginning. Sounds from both decades permeate this album, showing just how influential the Beatles were on both decades. Helter Skelter is also a song I personally enjoy a lot, partially for this reason -- I love how McCartney just went full force on this song, his goal to make something loud and raw and "dirty". Not only did he achieve that, but it's obvious that the song would inspire heavy metal sounds of the 70s. Other songs on this album (While My Guitar Gently Weeps) would go on to inform other definitive sounds of the 70s as well. I'll be the first to admit that I am not the biggest Beatles fan, and that a lot of what they do is lost on me. While I found this album to be great, I don't think the entire album is at the same caliber as the best songs off of the album; there was definitely some filler (thanks, Lennon). Nothing on the album is BAD, but not everything is downright great. That said, this is a good album for George Harrison, as it features his best Beatles song ever (and one of the band's best songs in general), While My Guitar Gently Weeps. Savoy Truffle is another easy standout from Harrison's side of the catalog, which also features on this album. An interesting album that, in my opinion, really challenged and pushed the state of music at the time. I would rank this album at about a 3.5, so I'm going to go ahead and round up to 4.

I could definitely hear the punk inspiration here, along with some very heavy garage rock and hints of surf rock. I thought the production was pretty poor, even by 60s standards. Everything was way more muddled than it needed to be. I didn't hate this, but I far from loved it. The sheer number of "WHOOOOOA" and "WOOOOOW" screams on this album got really old, really fast, to the point that it probably significantly contributed to my not loving it. This album was okay, I guess, but it didn't do a whole lot for me.

One thing I noticed about this album is that it is really stripped down and low key compared to most of the Bob Dylan stuff I know, save for the interspersed harmonica moments. I guess I didn't realize that some of his earliest stuff was just him and his guitar. While this was his second album, this was the first where he actually wrote the vast majority of his own lyrics. If anything, this project has shown me firsthand what a great songwriter Dylan is. I am still just not into him as a vocalist, though, and his musical style isn't usually to my liking, either.

This is an interesting one. I liked this album okay, but my review is mostly negative and/or critical. So here goes: "I Want You To Want Me" is probably one of the most famous and well loved live recordings, ever. But why? Well, because the original album version is bland as hell and this album pumps SOME life into it. While the results are not quite as dramatic as with "I Want You To Want Me", you can take that same train of thought for their entire discography up to this point in time and apply it to this album. That is basically what this album is: a compilation of their passable songs, but live and with a little bit more life breathed into some otherwise pretty dull studio recordings. There's a reason it took this album to put Cheap Trick on the map. And there's a reason why they were not on the map much AFTER this album. Again, I liked this album okay; I was rocking along throughout most of it. But looking at this as a live album, it is not anything particularly special. There's not really a "spark" on this album to make it feel like a live album. If the source material is incredibly dull, and you rehash it mostly as is but spice it up a tiny bit, does that really make it an iconic live album? You wouldn't know this was a live album if it wasn't for the fans shouting and the band telling the fans what song is coming up next. There's just no magic in terms of a live album. Not to mention, the recording and production quality is actually not great. This is still Cheap Trick's highest selling album, and is often regarded as one of the best live albums ever (and some even say one of the best albums ever, period). But when the source material is boring, and you compile your best tracks into an album and make it slightly more interesting, calling it any of these things almost feels like a bit of a grift. Let's call it what it is: this is just a passable pseudo "greatest hits" album.

I would like to acknowledge that the album itself certainly defies being slotted into any one genre. It's hard to believe that it came out in the 1970s; something about it seems a lot more current. That said, this album didn't do anything for me. The music might have been more enjoyable as an atmospheric thing, but the spoken-word lyrics sort of took away from that. And the "concept" of the album is unacceptable and disgusting. Just, why?

One thought that immediately struck me about this album and lasted throughout the entire thing: despite this being from 1971, it still, today, in 2022, sounds very contemporary and modern. At first, I found this album to be pretty interesting, but by the time it got to track 5, it seemed to take even more of an avant garde turn and I wasn't really feeling it anymore.

I love what the Beastie Boys brought to the music scene; they are undeniably among the select few pioneers of the rap rock style in the late 80s and early 90s. It's impressive how solid they sound on this debut album -- it's like they had already been doing this for decades. That is only further exemplified by the fact that several of their biggest hits come off of this debut album. One of the amusing things about Beastie Boys has always been their ability not to take themselves too seriously. Half the time, it feels like they are joking around with each other and being stupid, and they're letting you in on the joke. I will say that objectively, this album does sound pretty dated by rap rock standards. But you know what? It's still just so old school cool. It was fun to listen for the various samplings throughout this album -- my favorite among them being Led Zeppelin's When the Levee Breaks and CCR's Down on the Corner.

I assume this is considered "avant garde jazz" due to the mixture of jazz and classical stylings. The songs themselves are even arranged in and structured like classical movements rather than modern music tracks. When listening to classical works, my ear always gravitates towards the piano, and I really enjoyed Mingus's piano playing on this album. The brief, added Latin flair that was dabbled here and there was a nice surprise that I also loved! I'm still not finding myself to be much of a jazz fan, though! I think my overall enjoyment was rooted in some of the more out-of-the-box moments and less around the jazz itself. Still, a worthy listen!

This album was folky, ambient, and dreamy, but not so much so that I was bored or lulled into sleep. Elements of indie-pop and electronica keep it from being too lo-fi and ultimately help to break up most of the monotony that can come with albums of this type. Based on what I already know about Goldfrapp, I like how they were able to blend some of their typical, more dance-oriented elecrontic style with this more ambient genre. Ultimately, I think they did a great job doing it. I don't usually review the album art unless something specifically catches me. Well, let me just say that before hearing this album, based on the album art, I thought I was going to be in for some weird swashbuckling, sea-chanty indie music. I was thankfully wrong about that. Road to Somewhere, A&E, and Cologne Cerrone Houdini were all standout tracks for me!

Marianne Faithfull was new to me, but I found her to be intriguing. Her first album was released in the 60s and was quintessential 60s pop. Then, into the 70s, Marianne went through a rough patch, which led to her heavily abusing drugs and suffering from an eating disorder. As a result, her voice was permanently damaged and changed. In 1979, after mostly a decade of musical inactivity, she released this album which was an extreme deviation from her norm and a culmination and reflection of these many rough, life changes. This album was categorized as "new wave", and while I can hear those qualities, I felt like the album had a lot of other musical genres on display that were often even more prominent. Regardless of genre, the album was pleasantly dark and edgy throughout. This was coupled with Marianne Faithfull's raspy voice, which I loved. The songs themselves were a bit hit or miss for me. That said, Broken English and Witches' Song were both faves; the latter gave me strong Stevie Nicks vibes in musical and vocal style as well as lyric style. I'd clock this at about a 2.5, so rounding it up to 3.

This album was soooo smooooth, all throughout. The laid back yacht rock vibes are just right on this album. The overall "feel" of this album is well composed and executed, with each song still being its own thing. I was not familiar with anything from this album, so it was a pleasure to check it out!

First We Take Manhattan is such a dark song and album opener, made only more bizarre by the juxtaposition of the bubbly backing vocals (which is a continuing juxtaposition throughout the album); it stuck with me the entire time I was listening to this album. It was easily my favorite song on the album and it set the precedence for me going into the rest of the album. Leonard Cohen's singing style sits almost like sultry spoken word over the musical layers of the songs. I never could quite decide if I liked that or not, but it certainly made for an interesting, engaging listen. Leonard Cohen is like no other in that regard.

Look, the impact of Miles Davis is not lost on me. But here we are: another jazz album, another "this isn't my thing" comment. Experimental jazz is somehow even worse to me, and there was a lot of that on this album. I will say: Miles Davis was KILLER on trumpet.

Since my teenage years, I've had a fascination with Shirley Manson, and Garbage by extension of that. Her look and her voice are dark, haunting, edgy, and captivating, and I'm just an absolute sucker for that, along with the expected 90s alt-rock sound. That said, I really only knew their hits going into this, so I was excited for the full listen opportunity here. I am always impressed when a debut album from a band can leave such a mark, and this self-titled debut does just that. Several 90s anthems come from this album, not the least of which is "Only Happy When It Rains", which has been featured, used, or alluded to in so many things where that signature 90s edge is required. There are aspects of industrial, dance, and trance mixed in on this album, which keep things fresh and interesting. It manages to do this while still staying true to its alternative, post-grungy core. This album is full of bangers and hits, and even the tracks that are less so drew me in and had me very interested and enjoying the experience. Either way, I didn't find a single filler track. When the album finished playing, I turned around and immediately listened to it a second time, and honestly, I can't wait to listen to it again.

I definitely heard what was likely some inspiration for Nirvana. This wasn't bad, but...meh? It really didn't do anything for me.

I'm admittedly not sure why this was included. This was fine, but I'm not sure it's a must listen. Is it supposed to be an inclusion symbolizing the modern pop boy band's split and a member having individual success? Is it supposed to be a shining example of 90s Britpop? I'm not sure, because it's not really a glowing example of either, in my opinion. I didn't get much out of this. It was fine. It was listenable. But it didn't stir me in any kind of way. This falls somewhere between a high 2 and a low 3.

This was a super interesting listen! It has a lot of the typical 90s alternative vibes that one might expect from bands like Beck or Cake, yet Eels finds a way to make the album slightly more eclectic, slightly more diverse, slightly more eerie, and at times, slightly more ambient. This album feels familiar and yet unique at the same time. I wouldn't say this album just "sucked me in", it was more like a strange new thing that makes itself known and its up to you whether you want to investigate its strange and eclectic nature. And I did want to; I found myself eager for a second listen so that I could pick up on all of the quirks that I missed the first time around. Ultimately, this genre is an absolute soft spot for me, but this album really had me feeling like I was discovering something very 90s that I had never quite put my ears on before. As a sidenote, I had always wondered why so much of Eels was in the Shrek soundtracks. Well, they're both put out by DreamWorks. I had no idea DreamWorks even produced music, so today I learned.

Prior to 1001, this was one of my lesser liked (but still liked) Led Zeppelin albums. I would say that is still the case. That said, this is still a solid album which an amazing variety of instrumentation and vocal effects, and I have a new appreciation for it after listening to it in the scope of this project. Though it may not be a favorite album, Immigrant Song is hands down a favorite song from this album, and one of the best in Led Zeppelin's entire discography. Also, though maybe "underrated" is not the right word, I have always thought Gallows Pole doesn't get enough recognition; they manage to accomplish so much build up and excitement in a song with very minimal instrumentation. Bron-Y-Aur Stomp, as far as I'm concerned, is a secret sleeper agent banger on this album. Again, III is not my favorite, but Led Zeppelin makes it hard not to respect and appreciate their chemistry and inventiveness. What they do was cutting edge at the time, and it just WORKS.

Eminem entered into an arena invented and owned by Black artists. Despite his white privilege, this is one area where he truly had to work to stand out, as white rappers were historically not successful and/or were not taken seriously. By this point, Eminem had already found his celebrity status, but this is the album where Eminem became fully realized, showing that he wasn't just copying Black artists, and leaving his official mark on hip hop music. He combines catchy riffs, well written lyrics, and dexterity masterfully. The talents, styles, and quirks that are sharpened on this album changed the face of hip hop and set into motion his immense career with albums following these formulas. Eminem has an obvious snarkiness and stupidity about him that he really hones on this album, making it easy to see the irony and sarcasm in his work. These are an important component to his work; as he works through his incredibly stormy upbringing, this album is a sort of proverbial mirror held up to white people, showing said white people the ugly sides of themselves and their culture that they don't want to acknowledge or admit to. Using his newly found platform of huge success, Eminem does all of this to make a statement and commentary on white culture, on what is arguably his most provocative album. White people want to like and be a part of hip hop music? Well, be careful what you wish for, because like it or not, now the bad and ugly of white culture is in the spotlight. The price to pay for being white and wanting to enjoy an incredibly successful white rapper is acknowledging, consciously or unconsciously, that this album isn't about a third party, such as Black people in Compton -- it's about white people and the fucked up things they do right in your own town...it's about white people you know and associate with, and it's maybe even about you. From a music enjoyment perspective, I like this album okay, a couple of the songs I like quite a bit. But Eminem has always been hit or miss for me, as has a lot of hip hop music; it's a fine line to draw between commentary and glorification of the troubled things many hip hop artists rap about, and Eminem is not immune from that. But it is undeniable that, for many reasons, the cultural impact of this album is significant.

I will say upfront that this album wasn't really my thing from a musical perspective. Most of the music didn't really resonate with me, but I found it listenable. The closing track, Girl Like Me, hit the hardest for me musically, and I wish there had been more like that on the album. What I really appreciated was Jazmine Sullivan's entire concept on this album. She crafted the album around various named female "characters", with spoken word interludes introducing each one, followed by a song that tells each woman's story more in depth. The stories are socially relevant and will continue to be, talking about all manner of feminist and social justice issues. The format had me so interested and while I didn't necessarily overly enjoy the music, I was very engaged in the stories being told.

Was this listenable? Sure. Was it great? Nah. From a music history standpoint, it's cool to hear a band who is regarded as a progenitor of a genre, in this case heavy metal. But even though they had part in creating it, they definitely didn't perfect it. They definitely put the proto- in proto-metal. But hey, I guess they walked so bands like Black Sabbath, Judas Priest, and Pantera could run.

I knew a couple of songs off of this album, including Layla, but ultimately I know more solo Clapton stuff, and wasn't too familiar going into this. I will say, I was pleasantly surprised. While nothing is ever going to be Layla, this album was chock full of excellent tracks. The guitar was out of this world on each song, as would be expected from a Clapton album; he and Duane Allman are on full-force display here. Nearly every song makes room to show off their combined guitar prowess and I was here for it. This was heavy on the blues, which can often get a bit boring for me, but the band navigated that incredibly well with what I felt was some good variety and incredibly catchy rhythms. Clapton's singing also establishes some variety here, ranging from gravely bluesy to loud cries meant to support the heaviest guitar moments. As far as the album's claim to being a love song album, that is the part that fell short for me. I wasn't particularly wowed with this album looking at it through that specific lens. But what this album lacks in truly heartfelt love songs, it makes up for in good old fashioned fiery guitar playing.

Radiohead is quite experimental on this album; everything has an ethereal feeling about it that is quite entrancing. The tracks on this album was incredibly cohesive; they went together and felt like one big piece of art. That is to say, even their experimental work seems very themed and works well when put together. Still, while the theme and the album cohesion seems spot on, I still found this album to be a little bit improvisational and drawn out. This album was definitely a fascinating listen, but I wouldn't call it a favorite.

Huh. I found this to be unremarkable. From an artistic standpoint, I'm intrigued by the idea of taking nothing but samples and using it to create something new, but in the case of this album, and maybe the entire genre, the final product just isn't my thing.

I looove Jack White on the guitar. He is honestly a modern day guitar genius, as far as I'm concerned. And really, it's impressive too that him and Meg do all of this themselves. Seven Nation Army is such a stellar song -- it's one of those songs that everyone knows, even if they don't know that they know it. As a whole, this album falls under "good, not great" territory for me. The dirty distortions of the guitar are outstanding, but the album is overly bluesy, and I think that falls kind of flat for my personal taste. I absolutely respect and appreciate what The White Stripes accomplish on this album, though.

So far, this project has made me a little bit leery of proto-punk from artists I have never heard of. Well, this album broke the curse; I was pleasantly surprised, because this album was pretty enjoyable! Aspects of this album definitely reminded me of psychedelic rock, and at times the singer reminded me a lot of Jim Morrison. At the same time, I hear some bits and pieces that sound like 80s and 90s alt rock genres. I wouldn't ever presume to say this is the only band to have past and future musical references spanning four decades, but for some reason it was very apparent to me here!

Honestly, I didn't have a problem with this album. George's voice was spot on on every song, there was diversity among the songs, and the music and lyrics were well written. However, it didn't really leave a strong impression on me. Definitely listenable, but not really one I will return to anytime soon.

This is a fine example of synth pop and new wave. Most of these songs were new to me, and while I wouldn't say any of them just absolutely grabbed me and took me, I really did enjoy listening to the album. I'm looking forward to more Pet Shop Boys on this project. This album is more than a 3 for me, but less than a 4...one of those times I wish we had incremental star ratings!

You know, despite the global rating on this album, I was pretty hopeful. I was really into the first few tracks and loved the pure, unapologetic 80s synth sounds. However, by about midway through the album, everything kind of blurred together and the songs became less and less distinct to me. I still liked it okay, and I'd still listen again, but it just didn't turn out to be great to me!

I couldn't quite decide whether or not I liked this album, so I listened to it a second time. I still don't really know how I feel about it. Parts of it are very interesting, experimental, and are very vibe-y, with an almost electronic new-age quality about them. Some of that new-age quality likely stems from some eastern influences I'm hearing nestled in the music. It honestly isn't half bad for some ambient music. Either way, I wasn't very wowed by it. I'd rate this at a high 2.-something, so I'm going to bump it up to 3.

After splitting from N.W.A., Ice Cube certainly had his work cut out from him trying to deliver something as hard hitting and impactful as Straight Outta Compton. That said, he probably got closer with this album than anyone else could have. This album feels like a sequel or an add-on to Compton. I'm not familiar enough with rap to know if this is typical or not, but I found it intriguing how much Ice Cube sampled his own group's work in this album, just further tying it to its predecessor, the elephant in the room. Ice Cube hits on a lot of tough topics here, but this album suffers from the same thing that Compton did: overt and excessive misogyny. It just hasn't aged well.

This album was a trip! It was interesting and felt mostly fresh, even 20 years later. To that point, it's hard to believe they got electronic music so very right with this album, back in 1995. The overall mood and vibe of this album is exciting and fun. To me, some elements of new age were even present, especially in the closing track, "Alive Alone". Overall, this album was a pleasant surprise, and it really was an absolute vibe.

Alright, look. I'm a huge Alice Cooper fan, and so I am going to make a strong attempt to be as objective as possible in this review. And it is from the perspective of that objective lens that I am here to tell you that this album 100% deserves to be on this project. Alice Cooper brought shock rock out of its prototypal obscurity and perfected it. That didn’t happen without its fair bit of experimentation. But it was on this sixth studio album that Alice Cooper's efforts reached a point of stars aligning and coming together. Billion Dollar Babies brings together the best of the band's work thus far in the areas of glam, metal, horror, and shock. The album is consistent and cohesive throughout, with interesting lyrics and vocals, dark horror-inspired topics, excellent riffs, and hard hitting rock. The band went through a significant polishing phase during this album, even down to Alice Cooper himself honing in on his signature look, a look that he is still ultimately known for today. The success of this album was a culmination that led to the also incredibly successful Billion Dollar Babies Tour, a true shock rock theatrical spectacle that included drills, guillotines, body parts, blood, whips, and thousands of other pounds of miscellaneous horror paraphernalia. (Seriously, if you care about shock rock, watch the tour recording, "Good To See You Again, Mr. Cooper" and witness history in the making.) This album and its tour undeniably shaped and changed the course of shock rock, and was undoubtedly an inspiration for other shock rock legends such as Rob Zombie and Marilyn Manson. The impact just can’t be overstated. Honestly, this album just slays.

As a huge fan of 80s and 90s country, I find Dwight Yoakam to be a very interesting inclusion, and honestly, a pretty informed one. At this point in time, country was taking arguably its biggest turn yet, encompassing more pop and rock sounds as made popular in the 70s and breathing a new life into the country genre (this decision is still rippling through country music today, like it or not). While Dwight Yoakam followed that musical trend to a certain extent, he still kept one foot planted firmly in that classic country "honky tonk" world, using his unique, forlorn-sounding voice to lend to his lonesome country style. Yoakam’s music was also synonymous with Mexican border town cantinas, as he never shied away from infusing his music with that noticeable “tex-mex” flair. Because of the change in the country music landscape at this time, America's country capital of Nashville was critical of Dwight Yoakam, ironically referring to him "TOO country". This resulted in him spending most of his time as a country music outsider, earning is fame the long way around, not the least of which was by playing in L.A. punk clubs. This album was accomplished as a result of Dwight Yoakam relentlessly seeking country music on his own terms and finally gaining significant popularity among listeners, despite Nashville’s backlash. While I can think of country albums from the late 80s to mid 90s that I like better, I honestly don’t know if any of them would better encapsulate this particular era’s country music past and country music future in one album, not to mention Dwight’s reputation as a “cowpunk” outsider. Dwight Yoakam has always unapologetically been his own thing, and this album is probably his most shining example of that uniqueness.

What an interesting album! There is something incredibly poetic about Leonard Cohen releasing an album talking about the heavy topic of death, mere days before his own death. It feels so deeply personal that you can't help but feel like there's some level of prophecy going on here. I'm not the biggest Cohen fan, but this album really did catch my attention. "You Want It Darker" may very well be my favorite of any Leonard Cohen song I've ever heard. There is something about him honing in on this dreadful topic, both on the song and on the album, that drew me in. I DO want it darker, indeed.

This band had historically been pretty heavily punk up until this point, but were outspoken about not wanting to do the same exact thing twice. The band found themselves gravitating toward the slightly more polished and structured sounds of alternative rock and grunge, despite protest from purist fans. This album was a result of those efforts, with the band finding some kind of balance between those punk roots and something a little bit more melodic, an outstanding offering that brought Courtney Love's charged feminist topics and harsh vocals to clash with more rhythm driven instrumentals. Love wanted to show a softer side of herself here, and she found a way to do it that worked for the band and their music. This album would inevitably lead to Hole not only becoming a figurehead of the woman-fronted grunge/alt-rock movement, but showing that they had the grit and attitude to exist among the best alt-rock grunge bands of the time. Love's vocals drip with fury and vigor and show so much range on this album, from raw screams to quiet growls. The clever lyrics mixed with that delivery and incredibly catchy melodies just send this album over the edge into greatness. I already loved Hole, and readdressing this album in its entirety only further cemented that. Really glad to see this excellent, often under-rated band on this project.

As someone who isn't really a huge punk fan, this was a punk-adjacent listen that was easier for me to digest. The music was crunchy and rioting all throughout. This band has a lot of energy, and it shows through in their music. I found it to be a fun enough listen!

Defying all likely odds, 1001 gave me this album literally two days after the last Hole album, so Hole is definitely fresh on the brain and I was ready to hear this. The title track, Celebrity Skin, is just one of the best alternative rock songs of all time, and I'll die on that hill. It comes out of the gate with immense attitude and musical energy. That opening can be recognized in a second or less. The lyrics are deliciously edgy and delivered in that burn-it-all-to-the-ground way that Love personifies, analyzing what it is to be famous from a not-so-glamorous point of view. This whole idea of fame and the California lifestyle becomes a recurring theme on this album. Hole, again being a band that doesn't like to repeat their exact style twice, takes a much more alternative rock approach on this album, shedding most of the remnants of their punk and grunge persona from previous albums. This feels like Hole's most mainstream album, which may be viewed as a negative by some, but I don't think they don't suffer from it. All of the fury of their work is still there, just in a slightly different form, and sometimes not as overt. Again, Courtney Love, to me, is just a voice of an entire movement of angsty yet justified 90s women who were seeking feminism through their music. This album is no exception to that and is another great example of that era and corner of music history.

I thought this album was good, but not great. I believe Young added a certain something to the mix that just made this band pure magic, and for me, that magic is clearly lacking on this album without him. The impact of this album however, is not to be undermined. This debut album popped up in 1969, just in time to inform and be an inspiration for many 70s soft rock, folk rock, and singer-songwriter acts. They naturally had a sound and a style here that many bands would go on to covet and seek. While Crosby, Stills & Nash was not the first supergroup, they're an incredibly significant one. Before them, any group formed of members from other bands was considered a "supergroup". But Crosby, Stills & Nash all came from already pretty successful bands and created an even more successful band than any of them came from individually. Crosby, Stills & Nash, along with this album, ultimately set a strong precedent for true supergroups going forward; it's a good introduction to that 70s folk rock sound and a good foundation for things to come with this band.

This album was an excellent listen! I was familiar with a couple of the more iconic songs, but I've definitely been sleeping on Steely Dan overall, as both albums of theirs on this project have been outstanding. It was perfect for active, engaged listening as well as great music to work to. I listened through three times! Steely Dan comes out of the gate with their first album, immediately laying down iconic songs such as "Reelin' in the Years" and "Do It Again". The entire album is full of great vocal work and harmony, as well as exciting and unique guitar and instrumentation work. They do that 70s soft rock sound soooo well, and it's impressive that they got it so very right and left such a mark with their first album. An outstanding debut, for sure; really, there wasn't a bad song on the album.

Honestly, I'm not sure what to say here. It wasn't bad, but it wasn't great. It was just average, through and through. It wasn't offensive, but nothing was really exciting about it, either. It was just consistently just "okay". In this album, I can definitely hear where Costello is likely influenced by and trying to carry over some of the power pop and rockabilly of the 50s and 60s, such as The Beach Boys, The Beatles, Elvis Presley, and Buddy Holly. You can even see it in the album cover art. But again, I think it's all a little too evenly neat and one note, nothing out of bounds or surprising like you might have gotten from the above-mentioned bands. Where they all got their fame taking risks and playing around in these genres, Costello just seems to be mostly rehashing them. Again, I always like to note when an album is someone's debut album, because I think it can say a lot. In this case, I definitely feel like Costello already had a solid idea of what he wanted to do and didn't need multiple albums to find his sound; he had it right away. As I understand it, there's a LOT of Costello on this project, so I'm definitely feeling indifferent about that, but at least my first Costello entry was this, his debut album, so I can maybe do some interesting comparisons with future albums. You know, for science. So far, I'm definitely not seeing what all the fuss is about.

"Darkness, Darkness" was an outstanding album opener. This song reminded me of indie folk of today, and The Youngbloods were doing it back in 1969. Really cool to hear! The rest of the album didn't really live up to that song, though; it was an okay mix of folk, psychedelia, and even jazz...specifically, the kind of jazz that you might hear in an elevator. Overall, the album was very middle of the road and not that exciting. But it wasn't bad, either.

This album was fun and pretty unique! "Fusion" is a strong word that comes to mind when I think of this album. There were obvious fusions of glam, punk, psychedelia, and grunge throughout this album. As shown on this album, glam and grunge make such an enjoyable juxtaposition when done correctly. While this didn't blow me away, I really did enjoy it, and would gladly listen to it again!

This album linked to the UK version, but I made the executive decision to listen to the US version instead, because who really wants to hear this album and not hear "Paint It Black"? I have heard a few of the songs from this album MANY times over the years. But, I think mostly due to this project, I REALLY picked up on the heavy psychedelia present on this album, as well as the very overt Eastern influences throughout. These were both genre qualities that I had never paid attention to or noticed in the past. Another thing I had not picked up on previously was the dark, creepy nature of the lyrics of "Under My Thumb". Whether the lyrics tell of sexual dominant/submissive roles or something more rapey, I can't confirm, but really HEARING those lyrics for the first time was interesting. Otherwise, I was mostly underwhelmed with this album; it was just okay. Some of the instrumentation (again, the eastern influences) were cool to hear when compared to the entire album, but the overall album got pretty boring after a few songs, and many of the songs leaned more bluesy than I care for.

This album was really unique! I am not typically big on jazz (this is not news to anyone who has read my reviews at this point), but the afrobeat sounds really caught my attention. This is a short album that spans over an hour of time. The music is full of passion and feels like it could go on forever (in a good way). Ginger Baker's work is also outstanding on this album. It sounded like he really took the time to understand the culture and its music in order to perform this!

Ella's voice is so incredibly warm, so incredibly smooth, and so incredibly timeless. There is something incredibly comforting, nostalgic, and transportive about this album. Ella takes these songbook classics and exudes nothing if not pure elegance. In my opinion, she is among the best of the best of what vocal jazz has to offer. On one hand, I can't believe this is the only songbook collection by Ella on this project (that I know of), but on the other, I can't imagine it getting much better than this, anyway. While I continue not to be a big jazz fan, I must say that if I am going to hear jazz and come even close to appreciating it, this album and the voice of Ella Fitzgerald sets the bar.

So I'm not super versed on Sly & the Family Stone, but I guess I was expecting something a little more like "Everyday People" and "Dance to the Music". That said, "Riot" was overall a little bit more soulful funk. While definitely baseline enjoyable, it wasn't quite in my wheelhouse. As far as soulful funk music goes, though, I can see where this is among the best. Happy to experience it and get a little more educated on this type of music, which I know almost nothing about!

THIS. This is my kind of punk. This is the punk I've been waiting for on this project. They are angsty and grimy, but their lyrics are smart and their music is actually well done. In other words, they're not just slamming on their instruments; they're actually making lyrical and musical statements. These things no doubt contributed to their success as (arguably) the first mainstream punk band (in the States, at least). And they're regarded as among the best punk acts because they simply are; they showed that punk didn't have to just be sloppy, unmitigated noise. They had the talent necessary to leave a true mark on punk music, even with this debut album. There's just no doubt in my mind why this album went down in history. If you listen to each band member's part as individually as possible, they all sound talented and they all sound like they're giving 120%, which is an important part of making impactful punk music, in my opinion. Also, props to "I'm so Bored with the USA", because honestly, same.

From a music technicality standpoint, this has some impressive composition and playing. But also, the tracks devolve into a lot of heavy improvisation; to me, that just ends up sounding like discordant noise. Even if its discordant noise, I guess there's something to be said about the agility with which it is being played. I continue to not be the best candidate for appreciating jazz music, no matter how hard I try.

I had concerns when I saw the genre of "alternative country". I grew even more concerned when I read other accounts that this was essentially a mash-up of country and punk. I'm open to the idea, but I definitely wasn't convinced this album would be a masterful example of the mash-up. My concerns were definitely valid. It's an incredibly bizarre mashup that was not well produced. It's like hearing two different tracks, one country, one punk, that were layered on top of each other and just turned loose. The way it ends up manifesting in the final "mix" on most of the tracks is in the form of punk sounds with weird fiddle overtones. It's discordant, and it's messy. The vocals on this album are annoying and often rambly, too. I've heard worse on this project, but I'm not going to let it stop me from conveying in my rating that this was far from necessary listening.

I mean, I'm always a sucker for 90s alternative rock, so they had me at that. It was fine; I enjoyed it. However, this sounds like a massive off-brand compilation of every popular sound and style of the time, minus all the bands that made these sounds and styles popular. I really don't know what makes this album a worthy contribution to this project. Then again, this came out in 1992, so maybe they were ahead of the curve on all of these sounds? Very middle of the road. Neither under- nor over-whelmed with this. It was average, but enjoyable enough.

So, I only knew the infamous "Song 2" from Blur, and was pretty much expecting something in that vein. I was pretty wrong. This is some bizarre indie, britpop, semi-ska contraption. I did like the chipper, sunshine-y nature of it all, but overall, I honestly just could not get into it.

Meh. This album was boring. I've really got no other word for it. I thought I'd be able to get into some of the dark concepts around this album, but I didn't find myself becoming interested at any point. In fact, it almost felt like it was trying too hard, and came off as pretentious. This was another album where I didn't feel like it warranted the "must hear before you die" label. This was my second PJ Harvey album on this project so far, and I know there are many, many more to come, and I'm just wondering...why? What is this author's obsession with them?

This made for the third Dylan album I've received on this project, and I was pleased to hear that this was the least nasal-y album I've heard yet.

It was okay, but kind of on the bland side. It seemed to take the typical 90s Britpop genre and infuse it with folk of yesteryear. But even then, I'm not sure what makes it a standout album of its genre and era. This is an obscure album that feels like it really doesn't have any strong reason to be brought out of obscurity.

One thing I almost immediately noticed about this album was its sound: it was an interesting and pretty balanced mix of post-punk and pre-new wave sounds. This makes perfect sense giving the release year of 1980, a time when the former genre was beginning to emerge into the latter. Additionally, I felt like the bass shined a lot on this album, which isn't something I would normally pay a lot of attention to or acknowledge. Overall, I found the album to be okay. It was not boring, but it was also not groundbreaking.

I actually dug this quite a bit. It was a nice fusion of upbeat, melodic pop punk music mixed with new wave. I felt like it was still allowed to exhibit that punk spirit but without being as messy or chaotic as some punk, which isn't typically my cup of tea. Most of the songs here were jarringly short, but it worked for The Undertones; they had something brief to say, so they said it, and then they were done. Period. While I would say this was good, I wouldn't say it is as great as other pop punk/new wave combo acts that would rise during this era.

I was surprised how fast this album went by. While part of that was due to the short and sweet album length (14 songs coming in at less than 30 minutes), part of the issue was that, frankly, this album was just incredibly repetitive. Several tracks blended together and honestly sounded like they could have been the same song. While this album was fine, I honestly just think it had been hyped up for me too much over the years, not to mention the insurmountable Blitzkrieg Bop sets a high bar. Nevertheless, I was glad to finally listen to it and experience the legacy of the Ramones.

My first thought on this album is that it was "okay". Frankly, for some reason, I was surprised to find that it deviated a lot in style from the previous Pixies album I reviewed, Bossanova. I liked Bossanova a lot and I guess I was expecting something similar. I gave it a second listen and found myself enjoying it a bit more when I removed the preconceived expectations I had about it. Surfer Rosa seems to embrace more grunge, noise, and chaos, and ultimately just has a less polished sound. The singing between the vocalists can often be characterized as discordant That said, I can fully tell where this all was intentional and was a sound they were going for here. The album's arrival was timely and obviously influenced other alternative and grunge acts that would emerge in the 1990s. Maybe not a favorite listen, but definitely an intriguing one when given a fair shake!

I didn't care for this. Due to the psychedelic nature and the vocal style, it reminded me of off-brand The Doors at several points. They failed to be as interesting as The Doors, though. The tracks are all very short, and you think you're going to escape with your life...but wait, the final track is over 18 minutes long, accounting for over half of the total album length. Honestly, this album was not the worst listen, but it was just forgettable and unremarkable.

This album is quintessential Americana heartland rock, but not for the reasons many Americans think it is. Let me explain. It is incredibly common on American Independence Day to hear the song Born in the USA blaring at every neighborhood barbecue and community fireworks show. Many folks cling to the song like some kind of badge of superior patriotism. It's just one of those songs that has become as synonymous with patriotism as the American national anthem. But here's the thing that they fail to get (which is crazy, because it's literally in the lyrics): Born in the USA (the song) is NOT about being proud of being American. It's about the STRUGGLES of being American. It's about how American soldiers were used as cannon fodder in the Vietnam War and how, when they came back, they found difficulties in adjusting to everyday life again, because of inflation, because of trauma, because of lack of support from their government. Because the government treated those who returned from Vietnam as being as good as dead. The soaring chorus lyrics "born in the USA" are intentionally antithetical to the purpose of the song; the verses are meant to make a mockery of the chorus and make the chorus feel hollow. But the real message of this album was buried by blind American patriotism. Apply this concept to Born in the USA (the album), and you have what this album is really about. Again, it is about being American, but not in the way patriotic people should be gloating about. It's about the struggles of blue collar life in America. The album cover captures it perfectly as well, with a clear blue collar type of person (white shirt, tattered jeans, faded hat) emblazoned on the front. This person isn't thriving. This person is getting by. Looking at this album for what it is, it has great, meaningful lyricism encapsulated in very catchy melodies and foot-stomping beats. It really tells a cohesive, real story of life from front to back, which is what makes it such a shining example of the heartland rock genre, and a profound piece of American rock in general. It no doubt launched and furthered the popularity of other heartland rock acts, as well. This album has a number of well known radio hits, and it was great to experience it from front to back. I only wish more Americans appreciated it for what it really is, and not for what they idealize it to be.

I was among the folks that had this album come up the day after Queen Elizabeth II's passing. I appreciate the morbidity, Alexander, but what have you done by subverting the random nature of this project? Surely this will cause a cataclysmic ripple effect across our universe with unpredictable and disastrous consequences! This album is moody and there is some dark yet catchy guitar work to be found here. For these reasons, this album really borders on something gothic, even though it and the band was never considered to be so. When it comes to post-punk alternative music like this, I always find that I enjoy listening a lot of it, but I don't often seek it out. That said, I enjoyed listening to this but probably wouldn't run back to listen to many of these songs outside of the context of the album. I think The Smiths probably have some other, more catchy individual songs. Still, a worthy inclusion!

So here's the deal: I really only know Simon and Garfunkel's greatest hits. And I think that colored my view of this album. Because going into this, I was expecting something on that level. However, I found this album to contain a lot of basic filler folk songs that were okay and listenable, but not spectacular or up to the level of their greatest hits that were groundbreaking in the folk genre. But of course, the album does have some of their BIGGEST big hits such as Bridge, Cecilia, and The Boxer. So how does one review something they perceive as basic overall, yet has some of the band's best individual songs, and arguably some of the best songs of all time? Well, I don't know. But I will say that this album does have some fantastic harmonies and melodies, even among the filler songs, despite the fact that this duo was on the brink of a breakup. The album has a lot of world music sounds that work perfectly under the folk umbrella, and lends a quality to some of the songs that make them almost "renaissance" folk in nature. It is also easy to see that this was somewhat of a playground for these sounds for Simon, as much of his later work would be dedicated to world music. However, it also foretold what would be his tendency to take world music without appropriate credits, as was the case with the (albeit, beautiful) track, "El Cóndor Pasa (If I Could)". Bridge Over Troubled Water and The Boxer both are beautiful songs that build moment over moment until, by the end, they swell into even more beautiful music and unbelievable vocals, both showcasing Simon & Garfunkel's talent at its peak. These songs leave goosebumps EVERY time. So Long, Frank Lloyd Wright was pretty boring, if I'm being honest, but I can appreciate any song that is a tribute to my favorite architect.

Any album that starts with the sound of a TIE fighter is a winner in my book. Also, 1977 was the year Star Wars: A New Hope came out. This album has previously been compared to bands like Sonic Youth, which made sense to me. There's a lot of heavy guitars with catchy melodies and dirty distortion. Many of the songs balance quiet and loud, slow and fast, which was another thing that reminded me of Sonic Youth. This album felt a little generic and not particularly groundbreaking, but again, I am generally a sucker for 90s pop/rock/alt/grunge/etc., so this album finds a nice home with me. Average, but enjoyable enough.

This was an intriguing listen! I am really not a blues fan, but the African spin put on this type of music makes it a lot more interesting! Hearing how Ali Farka Touré interprets the genre and gives it a different flair was intriguing! He still finds a way to penetrate with his vocals, reminding the listener that this is still blues music. I felt like where the album really shined was on the guitar and other string instruments. The rapid, yet precise picking often gave things an almost Arabian-sounding quality from a musical perspective. Where I would normally find blues music boring and drawling, the vocal and string qualities made this very enjoyable as well as easy to listen to. I have never heard anything quite like this, and I definitely enjoyed the experience.

What a great entry from Elton John! This album kicks off with one of Elton's greatest hits of all: Tiny Dancer. Generally speaking, this song is kind of a surprising opener, but it makes makes sense when looked at in the scope of the album. All of the songs on this album tell stories, something that Elton is well known for. The songs all have that signature Elton "flair", as well: a little pop, a little rock, some forward-facing piano, and a lot of glam. But in this era and on this album specifically, all of the songs have a bit of a piano ballad quality about them. While beautiful, I would not describe any of the songs as "fun" -- another adjective sometimes used to describe some of Elton John's later work. And so in this light, Tiny Dancer shines as an excellent album opener. The album has a very cohesive sound; one might even argue a little too cohesive, as a lot of the songs sound really similar. But honestly, for me, this doesn't take away from the enjoyment. The backing band's music is engaging and Elton is simply captivating.

Don't get me wrong, these guys have always known how to bring the energy and excellent guitar work. Both of these efforts on this album, in the 70s, laid groundwork for hard rock in decades to come. That said, aside from this album's title track, most of these tracks sound the same. The energy and guitar work is there, sure, but they really do start to sound like the same song. There is something to be said about a formula that works, though, because I still find myself toe-tapping and finger-drumming along to this album. So while this album may come off as a bit repetitive, it clearly sparked something important and long-lasting.

I didn't remember who The Lemonheads were, but I did recognize their cover of Mrs. Robinson. I'm not sure what it says about you as a band as it pertains to this challenge when you're by far most known for a cover song, but hey. This was definitely a good example of the 1990s alt rock sound. That said, it was also pretty generic and I feel like there are better examples of 90s alt rock from bands who were pioneers in this genre. Overall, though, most of the songs on this album were still fun, enjoyable listens. I'd rank this higher than a 3, but less than a 4...ultimately still closer to the 3 mark, I guess.

It is often seen where bands go from punk to a more "radio friendly" genre, becoming polished over time and losing that "edge", but Nirvana did the exact opposite here, releasing their critically acclaimed Nevermind first and later following it up with the more edgy, unpolished In Utero. There are some songs on this album that have that similar Nevermind polish, but this is ultimately a more primal album. And as I understand it, this is exactly what Nirvana was going for. Still, the magic of Nirvana is there for those that are drawn to it in the first place. You have grating, visceral emotions from Cobain's vocals and lyrics. His words fit the grunge genre so well, as he is adept at telling his very personal stories with dirty, grimy, grungy lyrics befitting of the genre. The music, while also incredibly grungy and distorted, is masterfully edgy; you can tell you're listening to musicians who know how to do more than slam on their instruments. While I understand that Nirvana wanted to go more unpolished, I personally believe they were at their best on Nevermind. Still, this album is solid, and a very shining example of 90s grunge and punk-adjacent genres. Cobain was known for pushing hard for what he wanted, and Nirvana shows here what they wanted to be, and they were uncompromising on that. And it proved to be a success. This likely would have been the beginning of their sound moving forward, had it not been for Cobain's untimely death.

This album is an interesting inclusion. While I do recognize Beyonce's immense impact on pop and R&B music as she exited Destiny's Child, this album, to me, marked a turning point where she became less of a singer and more of an experience and a production. Everything about this album was a production: the album dropped secretly and unexpectedly and toted a long list of credits and came complete with visuals. This album's work, while not bad, seems incredibly manufactured and mostly uninspired. In this case, I do think the production overshadowed the artistry. The lyrics seem disparate and disconnected from the songs. I could probably get behind this more easily if it were marketed as some kind of dark, moody, ambient electronic/R&B collaborative concept among the producers. But the need to throw Beyonce's name on this and literally market the music around her made this feel, again, overproduced. It mostly sounds like Beyonce showed up to do some vocals on songs that were never really for her to begin with. Aside from a couple of notable songs, I don't feel like she adds much to this music. If you want a more inspired experience showing Beyonce emerging from a girl group and thriving as a solid, unique solo performer with an outstanding voice, look further back in her catalog. That said, this album is the hallmark of the modern Beyonce experience, and what she has built her empire around. And beyond Beyonce, this work is a decent example of conceptual electronic R&B. Maybe that is what makes this album a notable inclusion in the project. But considering this is ultimately marketed as a Beyonce album, I would be remiss not to mention that Beyonce is not what shines on this album; it is okay for what it is, but it stifles her talent.

I found this album to be enjoyable enough, but a lot of the songs drew on a bit longer than I think they needed to. The lengths allowed each track to become a bit repetitive and boring. That aside, the music itself is creative and still holds fairly well, all this time later! If this is really a birthplace for EDM and house music, they really got things right here. I loved the various eastern and new age influences throughout the tracks. Both styles have become prolifically woven into EDM and house music over the years, and if Leftfield is also responsible for that, then they deserve even more brownie points. I do think Release the Pressure and Open Up did a lot of the heavy lifting on the album. While everything was decent; these two tracks are the only real memorable "bangers".

Upon hearing the first song, I was quick to judge and figured I was in for an album with awful lyrics and awful vocals. While I won't say every lyric is a winner on the album, I can say that things go uphill from here. While Prine does seem to have some fun on this album, most of the lyrics do tell a worthwhile, engaging story. I found it funny that on a couple of different occasions, Prine used Jesus Christ as a storytelling device, talking about what Jesus would and wouldn't be liking about the state of the world at the time. Frankly, Your Flag Decal Won't Get You into Heaven Anymore was a bit jarring because this message is still 100% relevant in America, maybe now more than ever. I definitely thought of Bob Dylan when hearing this (and turns out, John Prine was definitely on Bob Dylan's radar). This was an interesting folk/country listen with some very superb first album songwriting chops!

So, I love surprises. And I was actually legitimately surprised with this album. I wasn't sure if the progressive soul and R&B was going to be something I dug, but I did. Speaking of the progressive soul and R&B genres, they are absolute perfect fits for the futurism (specifically afrofuturism!) and science-fiction concepts that make up this album. Janelle has a clear picture of her goal here, as the music and lyrics perfectly aid in building the concepts for this album. To tie it all together and enhance the concepts, the album permeates with various sci-fi sound effects. Janelle expertly derives inspiration from some of the great futurist music artists of our time and finds ways to adapt and make these sounds her own. Her work here just evokes creativity and originality, and I like her fascination with all things digital, computer, and space age.

I was not familiar with Suede, and found them to have an interesting sound. They reminded me of several bands (U2, INXS, Oasis, The Smiths) all rolled into one, and with varying intensities at different given points. I was definitely surprised at the strong presence of 80s new wave and 80s moody alt rock sounds, as those genres had been heavily put to bed at this point in favor of grunge and 90s alt rock sounds. Overall, the album was an okay listen, but it didn't resonate too much with me. I thought it touched on a lot of great sounds, but ultimately I couldn't quite escape from comparing Suede to who they SOUND like.

Very electronic, atmospheric, ambient, and lo-fi. This kind of music is very trendy in certain groups today, and I had no idea that the sound dated back to the 90s. I imagine that this has had significant impact on similar sounding music of today. This was fine, but it was starting to lull me toward the end. This was probably a really high 2.-something, so I will just not split hairs and may it an even 3.

This is more tolerable than the other Mothers of Invention album on this project. But just barely. I can at least see what the intended purpose was: to parody The Beatles and the hippie movement. This album's scope was much more specific and carried a message encouraging people to rebel against binary social and political thinking. This made it a little further from drivel and closer to making an important statement. But still. I didn't like it.

This album hits with a mix of punk, new wave, and a surprising hint of psychedelic -- something that listens as being akin to The Doors. Honestly, this was one of the more unique punk-labelled inclusions that I have received on this project thus far. This is something that is fairly obscure and niche; it is something I would otherwise not find on my own and is a perfect example of what I like to hear on this project!

This album immediately reminded me of another on this project: "You Want It Darker" by Leonard Cohen. Like Cohen, David Bowie seems to have a level of premonition about his own lingering death. The music, lyrics, and tone are all a bit eerie, even for Bowie, and possess a certain level of gloom throughout the album. Hearing a heavier than usual jazz flair from Bowie was also quite interesting. I tend to prefer Bowie more in the glam sphere, but the decision to go more jazzy was certainly intriguing, and what I believe to be an intentional decision to create some artistic contrast and dissonance. Bowie was no stranger to experimenting, and I feel like this album is no exception. This album defies falling into any one sound or genre. This album is also busy, and not necessarily in a bad way; there are many things going on in the tracks that paint a bizarrely beautiful picture. This is not my favorite iteration of Bowie, but it's certainly a captivating iteration nonetheless. Bowie went out on a high note with this album, reminding us why he was and continues to be a king of the weird.

I won't lie, I definitely groaned when I saw the "punk" and "folk" genre combination here. Something about what this project has brought to the table thus far in those realms had me feeling like this would be a mix that would drive me to drink. Essentially, after hearing the album, I can say that what I was expecting was an album full of stuff like "Honey, I'm a Big Boy Now". Fortunately, that was not the case. This album straddled a nice, palatable blend of the two genres. I found it to be a relatively pleasant listen. The socially conscious lyrics really stood out among all of this, as well.

If a friend had not told me, I wouldn't have known that David Holmes was known for his cinema soundtracks. That said, I might have still drawn some kind of parallel. Because there is something about this album that has a cinematic quality to it. I can imagine this music over an artsy film about dark, seedy city underground people and dealings. All the music is touched by a little bit of grit, distortion, or mystery. Not every soundtrack can garner these kinds of visuals, so I find it very impressive (but not surprising, knowing what I know now) that this non-soundtrack produces such images befitting a soundtrack. Overall, I liked this but didn't love it. It was interesting, but didn't blow me away. It was definitely a unique listen from this project thus far, though!

This album was a really nice surprise. I enjoyed the metal elements, but what really caught me was the blending of traditional Brazilian tribal and folk musics into the metal sound. I have no doubt that these inclusions contributed to my enjoyment of this album. At the time that this album came out, it was probably unlike anything Americans had ever heard and no doubt influenced metal music to move forward with more world music sounds. This is also the kind of metal where there's plenty of yelling but not TOO much yelling; you can still pick up on some of the lyrics. Dictatorshit went a big far into the "thrash" realm for me, but fortunately it was short and sweet. Canyon Jam was an incredibly bold finisher, leaning even more heavily into the tribal side of things and away from metal. It was a move that worked well, though, as it seals the album with a bit of mystery and intrigue. Simply put, this album is a killer celebration of heritage crafted inside of the realm of metal music, where the band shines best. It just works.

I knew it was coming, and today was the day. Elvis Presley. I am NOT a fan of Elvis by any stretch of the word, so I have kind of internally been dreading the first of what I assume is many Elvis albums on this project. Fortunately, this is not "Hound Dog" Elvis or "Blue Suede Shoes" Elvis; this is a more soulful Elvis that I personally find much more tolerable. Given that, I ultimately I found this album pretty inoffensive and enjoyable. It wasn't particularly buzzing with excitement, but it wasn't outright boring, either. The production was surprisingly good for 1969, but I didn't really get a "live" energy from this. Elvis definitely sounds great for a live album, though! Some songs that really did stand out to me, as a non-Elvis listener were Power of My Love, Any Day Now, and Suspicious Minds (which, in my uneducated opinion, is among his all time bests, even though I tend to prefer the Dwight Yoakam version).

I had never heard this album front to back, and I found it to be incredibly experimental, even for Pink Floyd. "Shine on You Crazy Diamond" is a masterwork in synth, as is the chilling "Welcome to the Machine". "Wish You Were Here" strips things down a bit more and is almost a ballad. It's wild that these two iconic songs were never singles from this album. The songs both take on new life when heard in the context of the entire album, though. Honestly, the entire album evokes interesting vibes. It's haunting, surreal, melancholy, and strange. I'm not sure if I LOVED it, but it really intrigued me, and has stuck with me and I can't get it out of my head. To me, that's worth something.

Britney is an iconic pop star, but she has mostly rode on her incredible singles career. Drilling down too far into most of her albums usually reveals a lot of forgettable fluff. This album is really no exception. However, this album, despite the overall quality, propelled bubblegum pop back into the forefront of music and ushered in a period of such for the 2000s. It pushed Britney to the forefront of music in a world that was thought to have moved to catering mostly to pop groups versus individual pop star acts. From a pop culture perspective, this is probably one of the most influential albums of all time (granted, mostly due to the title track), and it makes sense that this album would be here. This album has a few incredibly memorable, iconic tracks (Baby One More Time, Crazy, Sometimes, Born to Make You Happy) and a couple of cringy tracks (Soda Pop and E-Mail My Heart; for what it's worth, those songs were cringy back when they came out, too). The remainder of the album doesn't really stand out and kind of blends into one (albeit, listenable) mix. However, Autumn Goodbye was a very obscure bonus track only released in some markets, but I always thought it stood out among the other tracks on this album and should have been part of the main release. It pleases me that I have a platform to advocate for it now; it could have been a solid contender on the album at the time. Again, this album is mostly here on this project due to the cultural impact of one track, the title track. When you think about it, it is arguably even more impressive that one track could launch such a craze and reshape the pop landscape. But for the purpose of rating the albums as wholes, if you step back and look at the album as such, it just kind of becomes average. It's still very listenable and enjoyable if you like this era of pop, but the merit of Britney can't really be perceived in her album work.

So, this is definitely ska. Just in the 80s with Black folks, before it was a "thing" in the 90s and 2000s with white folks. This is definitely super funky and not overly reliant on copious amounts of loud offbeat trumpet, though. This was unexpected for sure, but I definitely enjoyed it. It's a pity that ska music ever strayed away from this.

These guys are mostly known only for "Shout" and "Everybody Wants to Rule the World", but to me, this band is among the pinnacle of new wave music. And yet, on this album, there's even a touch of progressive rock as the band clearly looks beyond new wave, at the height of new wave. The tracks on this album all feel connected, yet they are all very unique and have a flavor of their own. This is another album that has great singles, but also makes a profound impact when listened to as a whole. The album is short and to the point, not wasting any time with filler tracks. This album also straddles somewhere between bright-sounding and dark-sounding, neither word quite describing it perfectly. This album's sound would be described in a space that falls between words like 'bright' and 'dark', because it's a little bit of both...perhaps foggy or misty? The instruments and synth on this album are masterfully done and have a lot of depth on each track. Every time I listen to a track, I hear some new layer that I didn't hear before that really lends to the complexity. For a decade that is known to have music that didn't age super well, this album HAS aged well and still offers a sound that is incredibly intriguing even today, and I feel like the depth and complexity of sounds on this album definitely contributed to that. For what it's trying to accomplish, this album is practically perfect. I enjoyed every track and the album as a whole.

This album feels like something that was made by a gay man for gay men. I see some similarities between songs on this album and modern day "bops" loved by gay guys. Also, I definitely see where George Michael drew on Prince as an influence for this album, as it's full of sultry, sexy, and even funky beats and lyrics. Speaking of "bops", I thought a lot of the songs on this album fit that bill -- Faith, Father Figure, I Want Your Sex, Monkey, but most of the other songs, while baseline good, were kind of forgettable. Even the good songs don't quite live up to "Faith". In case you forgot, George Michael definitely wants your sex, and he makes it known again on the final track "A Last Request", which is kind of a boring finisher, but it is what it is. While not a perfect debut album, it has its merits and is enjoyable and just kind of sexy.

This is another prime example of the stuff I enjoy seeing pop up on this project. I have never heard of OR heard this, and the story behind it is simply amazing. In a series of mistakes, Keith Jarrett was left with an incredibly subpar rehearsal piano to perform on for a sold out audience, versus a very specifically requested grand piano befitting a piano master. What resulted was an hour of pure piano improvisation; that's right, Jarrett switched everything up and composed and played on the fly, all in a way that would fit the rehearsal piano's limited capabilities and allow for the best possible output. All the while, Jarrett can be heard occasionally stomping and vocalizing along with the work; you can tell that he feels what he's playing. This album speaks to overcoming hurdles, being present in the moment, and being open to spontaneity; a variety of chaotic events led to this and it could have resulted in a cancellation or even a performance ruined by the limitations of a specific instrument. But instead, these events occurred, Jarrett agreed to play, and his musical genius flowed, allowing for this unique masterwork to happen, something that would not be readily replicated even if one tried. I feel like the genre label of "jazz" on this album is a bit misleading. While I definitely hear aspects of jazz, this also resonates with some very classical solo piano qualities. I don't want my rating to be misconstrued with the idea that I think classical music is the best thing I've heard on this project. While I do really enjoy classical piano music, I don't regularly seek it out, and it's by no means an absolute "favorite" or "preferred" genre. Rather, my rating comes from now knowing that this album is 100% improvisation on a shoddy instrument; it is a creative breakthrough birthed from chaos. This album very clearly communicates an undeniably masterful craftsmanship and an inspiring message of spontaneous human creativity. This really is something that people could benefit from hearing before they die, and I couldn't possibly rate it any lower.

I haven't heard anything else quite like this on the project thus far. Pet Shop Boys again straddle two worlds on this album -- 80s new wave and 90s synth-pop, and you can clearly hear the influences of both here. But on this album, now in 1993, the synth-pop sounds are heavier than ever. Honestly, this album felt like one big gay club anthem, and rightly so, as one of the members used this album as a coming out of sorts. In this regard, the album is full of fun bangers very fitting of the time and the purpose. I like this Pet Shop Boys album about the same as the other PSB album on this project, just for different reasons. These guys definitely have a history of straddling 80s and 90s throughout both of these albums, and that is fun to hear!

Disraeli Gears has some very epic and timeless examples of psychedelic rock nestled within its tracks. Also included toward the end of the album is some heavier blues rock, and even what seems to amount to a sea shanty. The blues rock sound was not a surprise, as Clapton would eventually become pretty well known for this sound. That said, I'm glad this album was heavier on the psychedelia (without letting it overrun the album) and lighter on the blues, but honestly it could have been even lighter on the blues for me. Cream clearly found success in a certain sound, as the song Tales of Brave Ulysses and White Room (not on this album) have almost the exact same chord progression. Both of these would become two of their greater hits. When this album slaps for me, it REALLY slaps, so while the rating probably falls somewhere between a 3.5 to 4, I'm going to go ahead and bump it to a 4.

You know, I was aware of Joan Armtrading, and I knew a few of her songs, but had never heard one of her albums. I am here to tell you that this album in particular is outstanding and alone is worthy of her getting more recognition than she does. I would describe Joan as having a Joni Mitchell quality mixed with Tracy Chapman. Her singer-songwriter style from the lyrics and instrumentation down to the topics and vocalizations resonate just as much as theirs do, and yet, she is lesser known than both of these other artists. Joan Armtrading is full of such richness, warmth, and passion on every track; there is something incredibly tangible about her emotions. This is an album I will want to hear again and again.

This made for some good background music, but I honestly just wasn't that into it. What I liked was the dichotomy between the ambient and surreal vocals when put against the very dark trip-hoppy music. Sometimes more ambient albums like this can kind of blur into one big mass for me, and that kind of happened here.

It is an incredibly dark, rainy, and gloomy day in late October as I write this review, so this album seemed all too appropriate today. Arriving in 1980, this album very clearly was pioneering goth rock, during a time when goth rock was emerging from post-punk sounds and before goth rock was a fully formed concept; you can hear the earliness of the genre in this album, as if it's still not fully baked yet. Nonetheless, the music has the core of everything you expect out of goth music: it's moody, dark, ambient, eerie and morose. It's obvious that The Cure would grow to be even more goth from here by using this album as a blueprint, as would other bands in this genre. From a perspective of The Cure, I was kind of surprised how minimal the vocals were on this album, which again, allowed for the album to shine as somewhat of a soundscape blueprint for the goth rock genre.

This is a super funky album! I found it an interesting detail that "Everyday People", which is easily the greatest hit and most well known song on the album (if not most well known for the entire group), yet it was the shortest on the album by nearly 40 seconds. The album is full of 60s dream idealization, but came at the end of the decade, when that dream was falling apart. I can imagine that Sly and the Family Stone as well as many hippies clung to this as a final stance against the peace movement tapering out.

Honestly, I had never listened to The Wall from start to finish before. But I am always down for something that is categorized as a 'concept album' or 'rock opera'. Usually, it means that I am going to be in for something quite intriguing. I can't deny that this album is incredibly groundbreaking, artistic, and intellectual. It tells a very interesting, thought-provoking story among incredibly ambient, transcendental music. The highs really are high. Tracks like "Another Brick in the Wall, Pt. 2", "Hey You", and "Comfortably Numb" are iconic rock songs that have helped define how transcendental Pink Floyd can be. And no doubt, they set a high bar for that atmospheric style in rock music. But here's the thing: aside from the "big hits" and a handful of others, the songs on this album aren't really something that I would want to listen to outside of this album. And even within the album, many of these tracks were just flat out boring, dragging down the parts that are good. I have no complaints about album length, because this is just how things tend to be in rock operas, but I get the impression that Pink Floyd was afforded a little bit too much time to ramble and this resulted in some level of self-indulgent filler. It's because of this that I think the album could have done with a trim. I really do think I would have liked it more if some of the fluff was trimmed out. I have immense appreciation for this album and recognize its iconic status, but it doesn't win me over quite as much as it does other people. Nonetheless, it is a very worthy inclusion on this project.

I mean...it was tolerable. Beyond that, a couple of the songs were actually okay. But this just really didn't do anything for me. I honestly don't even have anything to say about it.

I liked this okay, but I will say that Neil Young just sounds kind of odd when his vocals are put on this genre. On some tracks, it's passable, and on others, it's downright bad. His voice just tends to be more bearable when he sings folk, for whatever reason. In some ways, this album feels like jumping back in time. Some tracks sound straight out of the garage rock era of the 60s, and others sound a little bit more fresh. Either way, garage rock was definitely not a thriving sound in the 90s, so this album definitely delivers a fresh twist on something old. This album is no doubt a tribute to the genre of what came before. While labeled as garage rock, I can definitely hear the subtle hints of 90s country music in this work, as well. This would no doubt continue to feed into Young's own influences, as he would go on to explore country rock even further in following albums. The guitar work on this album is the REAL MVP here; it is forward, clear, and audible, but still manages to be as distorted and as imperfect as one would expect from a garage rock album. I would listen to this album again just for that guitar.

Musically, this album was interesting. It had some very progressive beats that all work really well together from an album perspective. I wasn't particularly captivated by the lyrics. I may be hearing this album a bit too late, though, because I feel like progressive rap artists like Kendrick Lamar have eclipsed Kanye in this realm, without being overly egotistical. Sidenote: The line in "So Appalled" dissing Donald Trump sure didn't age too well for Kanye.

I had never heard of this band, and I was surprised to find that I really dug this album! If I had to describe it, I would say it's like an easy listening, folky new wave. In other words, it has that new wave strangeness about it, but a lot of the heaviness of new wave is tenderized with that folk sound. One thing that can happen with folky music is that everything can sort of blend into one mess of sound, but I did not feel like that was the case here; each song stood on its own and had its own unique presence. Bob Dylan seems to have been a huge influence for Lloyd Cole, and considering I am not a fan of Dylan, I was very pleased to find that Cole and the band found a way to take that inspiration and create something fresh with it. I've seen some debate about whether or not this album deserves to be on this list. Maybe, maybe not -- I can see arguments for both. But either way, I really enjoyed it, and I'm going to let my rating reflect that.

The music in this left something to be desired for me, but the poetic lyrics were spot on; I definitely felt like this album succeeded in making strong political commentary. That said, I think this project has ultimately taught me that I'm not a big fan of classic hip-hop and rap, because I tend not to be too crazy about any albums that fit into that bucket. No doubt this album is impactful and important, though!

I'm a huge Alice Cooper fan, so I know this album well enough, but I imagine it might surprise or confuse more casual or new listeners. Alice is most known for his shock rock persona. The title song would become by far the most popular song off of this album, and one of Alice's all time biggest hits. While School's Out (the song) is not entirely shock rock, it's probably the closest example to that on this album. That said, this album came at a time when Alice Cooper and his band were still experimenting with their sound and deciding where exactly they intended to land. (It wouldn't be until Alice's next album, Billion Dollar Babies, that they would really cement that shock rock sound that he's so known for.) This album is an example of the band's exploration prior to breaking fully into shock rock. Alice Cooper would continue experimenting throughout much of his career, but most of that exploration would still be centered around shock rock. What you have here is an intentionally bizarre, not-quite-shock-rock, progressive hard rock album that is most certainly also a concept album (it was never declared to be so, but the songs certainly have an overarching theme) with qualities not unlike a musical. While this album is not yet manifested fully into shock rock, you can hear the hints of it; the album is fairly campy and odd. It has an almost dark cabaret/burlesque quality to it mixed in with glam rock and hard rock, a combination that could maybe even be considered proto-shock rock, thereby making it an important stepping stone in what Alice Cooper would become. While this is not my favorite Alice album, it is no doubt an incredibly important piece in the story of shock rock. This particular album lands at about a 3.5 for me, but I have no problems bumping it to a 4.

This was a unique album; haven't heard anything else like this on the project thus far! That said, this album was interesting from a music study standpoint, but I didn't really enjoy the music itself, aside from Once in a Lifetime. I definitely know and like a lot of Talking Heads' biggest hits, so maybe their other stuff just isn't for me?

This album really slaps. I was familiar with a couple of Justice songs and remixes (if you do not know the Justice remix for MGMT's Electric Feel, do yourself a huge favor and listen). This album has shown me that Justice definitely has a signature sound, and I am here for it. The music here is edgy, dark, and dramatic -- just the way I like it. As the duo has noted before, their music is derived from disco, distorted, and made electronic. This may be why I like it so much. Either way, I am able to hear some of those disco roots when I really listen. The heavy use of organ makes things seem very operatic at times, too. Regardless, this album is just full of energy and is incredibly danceable. Good, modern EDM was harder to come by in 2007 (when this album was released), so I have no doubt that this album has been among a privileged few albums that have set the tone and stage for EDM music today. I would also go as far as to say that this album, now 15 years old, is still better and more unique than so much EDM that is released today.

One thing I certainly appreciate about Tom Waits is that everything he creates sounds touched by darkness and maybe a bit of dirtiness and seediness. I make this point regardless of his voice -- his voice just adds to this! This genre continues to not really be a favorite of mine, though. I think I like Waits in a bit of a more experimental environment, but that's just me. 2.5 rounded to 3.

This may very well be the best representation of 'noise rock' that we have had on this project thus far; it very often seemed to be exactly that: noise. There were moments where I liked this, but the noise factor got old pretty quickly. I didn't even mind that the singer was kind of incoherent in that quintessential 90s alternative way; the problem was that it was SO mumbly that the music was drowning it out, anyway. And when he wasn't mumbly, he was discordant and unappealing. Overall, an interesting precursor to what would become 90s alternative rock, but I was pretty indifferent on this album. Saving the worst for last, special shout out to "Don't", the most noisy and awful song on the album. I almost gave the album a 1 for this song alone.

This album fits perfectly in with the best of post-punk that was coming along in the late 80s...it's dark, it's a bit mopey, and in that musical sweet spot that draws in goths. Also, when comparing to other post-punk acts, this album was really very inoffensive and easy to listen to. These guys are far less gimmicky than other bands in this style. This album has a very cool atmosphere about it that I don't really have words for. Compared to other post punk acts, this band is not nearly as well known or celebrated, but they should be. I think I'd put this at a 3.5, so I will go ahead and round up.

I found this to be spacey and unique! It was just exciting enough while being chill, just experimental enough while being familiar. It didn't grab me fully, but I was intrigued. I felt like the album had a very cohesive idea around it, musically; everything fit together well. Again, I won't debate whether or not this really needs to be on 1001, but I'm glad for the opportunity to check it out! I'd rate this somewhere above a 2.5, so might as well bump it up and call it good.

I wasn't familiar with The Roots' music, although I've always been impressed by their musicality on The Late Show with Jimmy Fallon. I was eager to hear how they sounded in their own element. I'm not sure what I was expecting, but I was surprised by how diverse the album was. The rapping on this album is also very diverse. It is not always rough around the edges; these guys have voices that can sound as smooth as butter when rapping, when they want to go for that sound. There are some excellent harmonies in here, too! Ultimately, I found myself respecting their music style, but it really just didn't strongly resonate with me. I'm really just not that into rap, and this project continues to reinforce that.

Laura Nyro was completely new to me, name and all. If you told me that Tori Amos derived her influence from Nyro, I would believe it. As a Tori Amos fan, I saw a lot of striking similarities here. While Nyro is decidedly jazzier, she has this eclectic piano pop singer songwriter quality about her. You can tell that she views her singing as an art form. She allows her singing quality to carry the emotions of various musical and lyrical phrases. Even when she’s singing more “dirty” or wailing or dissonant, there is no doubting her conviction or commitment. This was an interesting and unique experience, and aside from Tori Amos, I know this woman must have paved the way for so many eclectic singer songwriters of today. It was wild and educational to hear someone doing this style back in the 1960s!

I kind of liked this? Maybe? It was pretty easy to listen to, and I enjoyed many of the indie and experimental pop sounds on this album. However, I will say in some places it seemed a little repetitive and boring. While the music could get repetitive, I felt like there were a lot of musically intriguing things to hear throughout the album. Ultimately this album wasn't a huge winner with me, but I can appreciate that Stereolab was experimenting with this kind of music back in 1996, at least a decade before this sound really took off in the USA.

I like a lot of music from this era. And I’m not sure what it is, but Buddy Holly has always been at the peak of that for me; I’m not sure what it is, but during a time when most music roughly sounded the same, Buddy Holly somehow always sounded a little bit different. Needless to say, I really enjoyed this album. I found the whole thing to just be fun, including the non-hits on the album. Buddy’s inclusion on this project is the right choice in my opinion. Few artists have made the impact he did in such a short career span. It’s really an unfortunate crime that we didn’t get decades more music from Buddy Holly.

I still remember being a pre-teen and discovering my first Offspring song. I felt like I had reached the pinnacle of rebellion. Time has obviously reshaped that opinion, but into college and and even now, I still find this music incredibly fun to listen to. It's fast, energetic, and the riffs are just downright catchy. There is something about this band's somewhat dissonant harmonies and wailing that grabs you in, too. At times, The Offspring can border on thrashing ska music, which is my least favorite Offspring "form", but at their best, I feel like The Offspring is a top tier artist in the pop punk/skate punk genres, with many well known songs. Many of said songs are off of this album, so my opinion that this album is among the best of their offerings is likely not controversial. I never knew this album was released by an independent label, but it does not surprise me that it is the best selling album from an independent label of all time.

This was a really intriguing album! I would say that the over-arching musical genres of this album are folk, rock, pop, and a bit of singer songwriter, but it is hard to reduce the album to that. Harry Nilsson is clearly very open to trying things, as there is a lot of musical diversity, creativity, and genre hopping going on here. I would say he's experimental in his own right, just not experimental in the same way someone like Pink Floyd might be. Practically everyone knows "Coconut", and may just not know it's Harry Nilsson. Well, the rest of the stuff on this album is just as entertaining, unique, and at times, just as quirky. This album was just incredibly fresh and pleasant to listen to when compared to music of the times, but all while still being very easy to listen to and accessible.

I mean...meh? It was okay, and certainly listenable! But it was pretty forgettable to me. Nothing really stood out. This fell somewhere between a 2 and 3 for me, but I don't feel inspired enough by its attempt to go for a 3.

I've been waiting for some Santana! This album is exceptional. There is a lot of great psychedelic guitar work on here, as expected of the times, but it is of course mixed with that signature Santana latin flair. Further, there's some other great world music and even jazz sounds across this album. As if latin music wasn't already cool, Santana makes it ice cold here. "Hope You're Feeling Better" was a new-to-me Santana song that I am surprised is not a bigger hit. Like "Black Magic Woman", it is a good encapsulation of the psychedelic style of the time combined with latin sounds. Simply put, this album was a great, fun, engaging listen.

So, my first thought upon finishing this album was "I really didn't like this as much as Born in the USA", and while it's unfair to compare the albums when rating this specific one, I couldn't help that thought. If "Born in the USA" is an 'uplifting' heartland rock album (which many people find it to be), this one is a little bit darker and more downcast. Bruce's voice is particularly unappealing on this album. That said, I would say this is fairly raw and gritty, so maybe I'm deriving some correlation there. This album was fine, but definitely not groundbreaking for me.

I have long associated this music with "space age". This science fiction vibes of this album have always resonated with me and while I know this album didn't pioneer that sound, it certainly perfects it. I have enjoyed imagining over the years that this is the album that aliens would be listening to if they were interested in Earth music, and not just because of the album name, either. This commentary brought to you by someone who is actually not under the influence of psychedelics, believe it or not. Like most Pink Floyds, this is a total concept album that is built to be experienced from beginning to end. It tells a specific story, has a very specific flow, with timeless songs and overtures. Every song is otherworldly and soaring. It is so easy to think of this album as one giant continuous experience piece, because it very clearly is intended to flow that way. The heartbeat opening and closing tracks just tie things together even more nicely. This album, simply put, is just an experience that really should be heard. This album is about a 4 for me, and a definite 5 for relevance to the project.

This was an incredibly modern and powerful take on the current landscape that Black people face. The lyrics are thought-provoking, and the music is fresh and diverse, spanning across multiple genres and setting a high bar for what those genres can sound like in the 21st Century. The spoken interludes are incredibly empowering and poetic, as well. While this type of music might not typically be my cup of tea, I found myself in constant intrigue over this album.

I barely enjoyed this. This is mostly just mumbling, rambling, noise. Even the experimentation just sounded like they let some wild animals slam on instruments for a bit. I can get a little bit down with noise rock, which is why I guess this isn't coming in at an absolute 1. But I really don't have much good to say about this. Another strike for me with the proto-punk genre. We get it, these bands helped establish punk...but it was not very good. We don't need this many examples.

I discovered Alice in Chains in my teenage years, during my grunge craze. They were easily one of my favorite discoveries to come out of that phase, and this album is a big reason as to why. This is grunge that maintains a metal edge, and Alice in Chains are masters at making it work. This album starts with a bang with "Them Bones", and in my opinion, does not let up. Every track is a dirty headbanger. Even the slower tracks have capturing, gritty guitar and substantial vocals and harmonies. Rooster has one of the greatest musical build-ups of all time with some of the band's most prime instrumental and vocal oddities. It's irresistible. Overall, the band deploys a lot of other unique vocal and instrumental tricks and styles that I don't have the musical knowledge to describe, but it creates a very specific Alice in Chains signature style, and that signature is in its prime and peak on this album. Suffice to say, I never have to wonder or guess who I'm hearing when Alice in Chains comes on. I wouldn't say this is a perfect 5 for me, but it's such a high 4 that I just may as well round up at this point.

This album really IS super fly. The funk and soul display on here is top notch. It's simultaneously smooth-as-butter easy listening while also maintaining a certain musical excitement about it. Curtis Mayfield's voice here is euphoric, overlaid in such a blissful way on top of the already masterfully funky music. There are so many layers to the music; it's overwhelming in a good way. Listening closely is a rewarding experience here because you pick up on different musical layers each time, all of which are part of an amazing total package. The fact that Curtis Mayfield wrote and composed ALL of this himself is an impressive feat rarely seen in today's music. Really, this album was just a nice surprise and easily the best funk/soul album I've heard on this project to date.

I wouldn't call Taylor Swift's albums "concept" albums, but many of her albums in recent years have definitely been what I would call aesthetic albums. She presents a specific aesthetic and dedicates to it. Historically, they've also been incredibly distinct, separate aesthetics, divided by time. Here, it's the opposite with her quick release succession of folklore and evermore. They're closely related, and yet not the same. To try to describe it: if folklore was an album about spring and summer, evermore would be an album about fall and winter. If folklore was an album about specific fairy tales told surrounded by clear skies, evermore is an album about experimental storytelling on a grey day at dusk. Ultimately, evermore is a little more mysterious and a little darker than her sister. evermore is a product of a specific time, as well. It speaks to a longing for soft folky music and flannel shirts and gentle campfires -- cozy things that people were looking to embrace during the times of COVID-19. I like a few songs by themselves on this album, but I find myself gravitating to the entire mood of the album. I realize that Taylor Swift is not for everyone, and her seemingly generic dreamy indie pop phase on display here may be even more polarizing. But one reason why I think her presence on this project is relevant is because Taylor Swift excels at establishing atmosphere, and this album is among her finest atmospheres. She has a poetic songwriting style that, in my opinion, shines brighter in this particular atmosphere. In the current decade, few artists are as dedicated to world-building in their music as she is.

I can't really fully explain why, but QotSA have always kind of done it for me. I love the edgy, unique instrumentals combined with the kind of lazy, soaring drawl of the vocals. Hypnotic musical qualities permeate throughout with a fair amount of dirty post-grunge metal sound. What results is some kind of weird rock sound that is just slightly off kilter from the rest of what rock has. Nearly every track hits the mark here. This is another example of a band that tuned into their sound early in their careers; QotSA continues to push this sound in their music and highly succeed with it. They continue to be fairly unique, as well; this music was alternative when it came out, and it is still alternative by today's standard, never quite getting absorbed by mainstream rock sound. This album is also incredibly impressive when you further consider that only two band members put this together, one member playing drums and the other playing every other instrument and singing.

When a live album pops up on this project, I get extra critical. I think a live album needs to pack a special punch to make it onto this project, otherwise why include it at all? You're not really able to tell that this is a live album, aside from the occasional clapping at the end of tracks. It's great that they perform so well live, but without the concert energy, again, I'm not sure what the significance of a live album inclusion is; this may as well be a greatest hits album. But on the other hand, I can't deny that this album is just a complete and total rock fest from start to finish. While it is certainly gratuitous, it is pretty impressive to hear Deep Purple just lose it on these instruments with expert musicianship and improvisation. However, without the concert energy context, the gratuitous instrumental nature does start to get a little boring after minutes and minutes of sitting and listening to it happening in multiple songs; sometimes it even slows down to a droning crawl. Overall, the whole thing does leave me a bit jealous that I couldn't be at this concert/series of concerts in order to see what it was like in person.

This was enjoyable enough, and it was incredibly ethereal and ambient. But it may have been too much so, as it just didn't do much for me. I didn't feel like anything stood out; it was just background music for me. Again, this wasn't bad. I wouldn't really seek this out again, nor did this inspire much commentary, nor do I feel like it really adds much to this project, so I'm ultimately feeling pretty indifferent while rating this.

I felt like the electronic aspects of this album were cleverly subdued and underplayed, and I really enjoyed how it was presented. I definitely heard Daft Punk elements in this, as well, which is probably no coincidence considering both groups are French duos. Unlike the last "dream pop" album I heard on this project, this album managed to stay super interesting by having a lot of dynamic tones and bizarre sounds across the tracks -- ultimately, I like it when my dream pop comes with some obscure stuff to break up the ambient monotony, and this album did just that. This was dream pop, but the dream is your life in the form of an artsy and slightly trippy French film. Very chill, very ambient, very classy, but also very uniquely cool and intriguing.

I really love the just out of punk/just entering post-punk sound of this album, combined with the touches of grunge, surf rock, and other alt rock genres. Speaking of, you can especially hear the beginnings of 90s alternative sounds here. While this band has plenty of alternative content, this particular album, released in 1989, is so apparently influential, firmly lays the soundscape for so many phenomenal 90s alt bands to come, across many different 90s alternative sub-genres. This album is a noise rock album as well, so it bears mentioning that it is a very tolerable amount of noise and that label is not being used here to avoid actually making something cohesive and melodic. At 38 minutes, this album seemed to just fly by, and each song being great only made it go by faster. This album has some of my favorite Pixies songs, including "Debaser", "Here Comes Your Man", and "Monkey Gone To Heaven". But really, I'm not disappointed with a single song on this album.

So, I can definitely hear in this album how Kanye's style was unique and part of the reshaping of hip-hop music during this timeframe. And with his debut album, he came out of the gate with innovations in the genre. But musically, I really just wasn't that interested in this.

As someone who is fairly ignorant on The Monkees except for a few songs here and there, I was interested to give this a listen. I wouldn't say it blew me away, but it was a fun, happy, easy listen. On this album, the band being influenced by The Beatles is apparent, but what I love is that they're more approachable than The Beatles. Though somewhat a product of the 60s, I really appreciate how concise and straightforward the songs on this album are. They're full of heart and "Randy Scouse Git" is my favorite Monkees song, and it was welcomed to hear this banger as the album closer. It just jolts you out of the comfort of the rest of the album and gets you moving and jamming. In mentioning what seems to be inspiration from The Beatles, it bears mentioning that this is the song that most closely captures the "weird" and "random" side of The Beatles. Another new to me song that really stood out was "You May Just Be the One". I loved the cadence of the song and the harmony going on.

"Industrial" or even "alternative" hip-hop are definitely excellent genre subcategories to describe this album. I have definitely not heard too much hip hop like this. The message here was worthwhile, but I just...didn't care that much about the music. Not mad about having to listen to this, but just not really my thing.

While this album was very 90s alternative through and through (something that I usually love), it was kind of boring. I felt like I was hearing a lot of pretty generic alternative sounds, and nothing stood out. This certainly doesn't top, add to, nor enhance the work of the Pixies...which, I guess it doesn't HAVE to, but I just kind of expect something special when a band member goes solo and makes it onto this project. Not bad, but nothing really to talk about.

I actually really liked Avalanche, the album opener, so I was kind of wondering if I would be more into this album, especially when compared to other Cohen albums I've heard from this project. But as things progressed, I kind of lost interest. It was okay, but I ultimately just don't think Leonard Cohen is much for me. His impact and place on this project is certainly undeniable, though.

Upon hearing AmeriKKKa's Most Wanted, I wasn't incredibly impressed, as I felt like Ice Cube was still leaning very heavily on his N.W.A. association in his debut solo album. That said, this third solo album, is Ice Cube in high form. Ice Cube sounds brutal and gangster as hell here, and any corny aspects of late 80s and early 90s rap have been stripped clean here. It's very apparent on this album how he successfully made a name for himself. I certainly found myself enjoying this a lot more than AmeriKKKa. Still, it's early 90s gangsta rap, so the misogyny is of course still rampant, though decidedly less so than in previous Ice Cube/NWA releases. One thing is clear after three total NWA and Ice Cube albums: they were loud and unapologetic about the injustices facing Black communities, and that never gets old.

This was an easy listen, as other Bruce Springsteen albums on this project have been. I can see where the promise of some good old fashioned heartland rock from The Boss would be one of the things to bring the United States together after the tragedy of 9/11. Ultimately, Bruce does a great job on this album with sticking to his heartland rock roots but pulling everything into the modern era; the 2000s adult contemporary rock sound is alive and well on this album.

While I'm vaguely familiar with The Byrds (and liked the album by them that I heard on this project), I wasn't really familiar with Gene Clark as a person, let alone his solo music. Wow! This album was a pleasant surprise. I would go as far as to say that I was truly amazed by it. Every song was well crafted, lyrically and musically -- not a single dud on the album. Like many have noted, it has aspects of Neil Young to it, but still manages to stand uniquely on its own. It's truly baffling that this album was ever poorly received, but I'm glad that it has since been reassessed and given its proper dues. I'm definitely glad to have stumbled into this hidden gem.

I was surprised at just how jazzy-funky this album was! It's interesting to consider how unique this still sounds in 2023; I can only imagine the uniqueness of it back in 1994! I'm no Beastie Boys expert, but this album seems even a little out of the norm for them. I am more of a Beastie Boys singles kind of appreciator, but while this album was not entirely my thing, I was definitely captivated by the all around uniqueness of it. Definitely a worthy entry on this list!

Thanks, algorithm, for delivering this to me on Christmas Eve Eve! I’m definitely more likely to give it a fair shake during the actual season. I wasn’t familiar with this album as a whole, but when it got to going, I was surprised at how many of these individual renditions I knew. So many of these versions are absolutely iconic and permeate the holiday season. I had not heard of the “wall of sound” before, either, but after reading about it, I recognize this effect — it is certainly an iconic one! I love Christmas music, and I typically have a type that I gravitate towards — this album is not that typical type. But hearing all of this together on this album is most certainly like a warm holiday hug, and I loved every minute of it.

This marks the first David Bowie album I've received on this project, and I know there are many. This was a good first one to get, as I believe this is the oldest Bowie album on the project, and certainly the album that showed the first sign of the sensation and character that he would become. I have always associated Bowie with glam and art rock/pop, but on this album, in the songs I was unfamiliar with, I heard surprising Beatles and Dylan influences. While "Changes" is an amazing Bowie song, I didn't love this album. That said, I was glad to listen to it!

Again, I'm just not that huge of a blues fan, so a lot of this is lost on me! That said, the album was very engaging and had great "live" energy; there was good interaction going on, and it was evident that Muddy Waters and the crowd were feeding off of each other. Also, it was super obvious how in 1960, this sound that Muddy Waters is excelling at would become a base for many rock acts moving into the coming decades. While the album didn't particularly hit me, I thought it was an easy listen!

I really just don't think I care for early 1990s gangsta rap. It's important and it's worth including on this project, but I just continue to not be that into it. That said, this album was more palatable to me personally than most of the early 90s gangsta rap I've received thus far. Speaking of the gangsta rap albums I've been given on this project, this album, like the others, contains a lot of important social commentary but also a lot of overt misogyny. Really, this album seemed a little bulky as well and could have benefitted from some trimming. Body Count was a nice surprise on the album! I actually think I would be able to get behind an Ice T punk album. I liked how the song was prefaced by an interview in which Ice T made it clear that he does what he wants; hearing him speak about skirting expectations and then doing it was outstanding. Overall, I think I'd give this album a 2.5-ish. Body Count almost makes it a 3 for me.

What an intriguing, ambient listen! The synth work on this album is truly outstanding. Some bands were already playing with synth sounds by this time, but this album has such a prominence to it; there is no doubt in my mind that this fed into and influenced the heavy synth movements of the 1980s. Even by today's standards in a musical world that has renewed interest in synth pop, this stands out. As someone who enjoys the type of new age music that became popular in the 90s and 2000s, I also hear what I can only assume are early developments of that sound in this album. Again, no doubt that many new age artists took their cues from this! Last, there was a very obvious space age sound to this. This is maybe the most unsurprising thing about the album, as artists in the 70s seemed to treat synth and space as synonymous. Still, this feels ahead of its time in that category too -- think bordering on space age synth from movies like Tron. Part 4 was the obvious powerhouse of the album, both relaxing and incredibly engaging, but the entire album was captivating and entertaining.

The album had an excellent flow; it felt continuous and like one combined, cohesive experience. This is not my first sampledelia type album on this project, though, so if I'm being honest, I just don't think I'm particularly into sampledelia from a musical perspective. Technically, it is impressive, and it wasn't even bad to listen to, but I just wasn't really grabbed by this.

Bowie called this album his take on "rock and roll in America", and I feel like he more or less nailed that, for better or worse. The use of the Aladdin Sane/A Lad Insane persona was perfectly fit for this era. While I can't pinpoint why, this album just sounds very much like what was going on in the rock and roll scene during the early 70s in America, but still with that iconic David Bowie twist. The album is fine, but lacks any great songs or singles to glue the album together; everything is just kind of "okay". The song "The Jean Genie" was probably my favorite on the album, but still not really all that standout...I did enjoy how it tied back to the album title theme, though. "Lady Grinning Soul", the closing track, sounded the most glam to me, and the most like David Bowie as I know and appreciate him. I couldn't help but wonder if this was on purpose. What really shines about this album is the cover art: this Bowie look is absolutely iconic, and may be the look that is most associated with him, even still today. This look alone eclipses anything musical that came out of this album. While "Hunky Dory" didn't blow me away, I liked it better than this album. If "Hunky Dory" was a 3.5 for me, "Aladdin Sane" would be around a 3.

This was my first experience listening to a Grateful Dead album! I have somehow always been able to unintentionally avoid them over the course of time. I'm not sure what I was expecting from this, really, but it was okay! The tight harmonies on this album are certainly reminiscent and likely inspired by Crosby, Stills, Nash, & Young, but in comparing the two, I didn't quite love the music as much as I typically do CSNY. I think this album probably focuses more on fusing folk and country/bluegrass. Really, this album sound felt more like a mash-up of CSNY and Bob Dylan, which is maybe why I like it a little bit less than just pure CSNY. That said, this album was nothing to frown at -- I ultimately enjoyed listening to it. As a first time Grateful Dead listener, I think my favorite song on the album was probably Sugar Magnolia!

I found this to be an odd inclusion. It wasn't bad at all, but as far as 90s R&B goes, there were probably soooo many better options that could have been included in place of this album. Ultimately, this was very smooth, but also very boring. It just faded into the background for me.

The opening track, "I Am Trying to Break Your Heart" was tolerable, but not great. There were some interesting melodies and sounds throughout the song, and the ending of the track hit with a surprising, completely discordant piano. This general theme would prevail throughout the entirety of the album. I remember this album from a few years after it came out. It was regarded as a prime example of indie pop and was heralded in the community. It probably did sound new and fresh at the time, but in the 20+ years since, this sound has been done and done and it leaves this album feeling pretty unoriginal and boring, despite its interesting occasional soundscapes. Songs like "Heavy Metal Drummer" and "I'm the Man Who Loves You" give the album a more exciting, engaging sound, but these tracks are unfortunately drowned out by more sleepy-sounding indie on the remainder of the album. Essentially, the sound on this album has been done and improved on since this album's release in 2001, leaving this album feeling a bit irrelevant. Though, I suppose the relevance is in their pioneering of this sound. But as previously stated in other reviews I have done, the pioneers of a certain sound are sometimes the cannon fodder; they bring the idea to the table, but someone else makes it better. And that's exactly the case here: while this album may be a significant milestone for indie pop, there are just better examples of 2000s indie pop out there. This album would probably be a 2.75 for me, if I could split hairs, so may as well just make it a weak 3.

I only knew the song "Take Me Out" from this album, which is of course absolutely iconic and has a life all its own. But I was pleased to hear that the rest of the album carries the same spirit. "Take Me Out" is still the star of the show, but the energy and sound of the other tracks really are good on their own, and the album as a whole has a cohesive, enjoyable sound. This album is rife with sounds of post-punk goodness; while punk pop bands were keeping people occupied in the current state of affairs of 2004, Franz Ferdinand was paving the way with this freshman album, setting the stage for other bands that would become popular in the years to come. Not only did Franz Ferdinand take part in pioneering this sound, but they ALSO excelled at it on this album, and it's easy to see where they'd be a major influence for other post-punk acts to follow, such as Panic at the Disco. The sound, lyrics, and delivery is just so fresh, energetic, and fun here. Again, having really only had exposure to "Take Me Out" for all these years, I was expecting the rest of this album to fizzle out. I was glad to be proven wrong by an album that, in my opinion, had steady stamina from beginning to end and clearly knew what it was trying to achieve!

I remember when this album came out, and hearing little snippets of it here and there from friends and people in the neighborhood, and realizing how different it sounded compared to rap and hip-hop that had led up to this point. For a kid who doesn't even like hip-hop very much to note and retain that information is pretty telling. And as an adult who is experiencing this album for the first time, I believe it holds true, still: with this album, in a new millennium, OutKast changed the face of rap and hip-hop music. OutKast found a winning formula with the way they mixed funk and other experimental sounds into their smart, witty lyrics and hip-hop sound. No track on this album is straightforward or predictable; everything here sounds fresh and a bit off-kilter, while still remaining incredibly accessible. The soundscape that OutKast created here would become a staple for other Black artists going into the 2000s. Songs like "So Fresh, So Clean" and "Ms. Jackson" lead a great charge on this album, but there are plenty of other songs on here that could and should have been just as popular ("B.O.B." and "We Luv Deez Hoez" to name a couple). I have commented a lot on how the 90s rap on this project is dated, if for no other reason than the misogynistic way that rappers talk about women. OutKast flipped the table on this and rather than capitalizing on the mistreatment of women, addressed misogyny as an injustice. Again, I am not a rap or hip-hop expert, but I believe this album is one of the best and most influential hip-hop albums to be released in our lifetimes.

This album is undeniably influential for so many reasons. It still remains one of the top selling debut albums of all time. It ushered in a new era of rock music by leaning into "bigger" sounds and absolutely excelled at doing so. It produced three top hits that are firmly cemented in classic rock fame that are still regarded as iconic today and ALL of the other songs on the album have received radio play on classic rock radio and are all staples of the genre. Every track has an epic, big feel to it. Vocals and instruments both soar in every song, complete with impeccable production. This music was meant to be played in big concerts and arenas; the album recording does a better job of conveying that grandiose "live" vibe than so many live recordings which are trying to achieve similar vibes. Are sooo many of these songs overplayed, thanks to the radio? Yes. Is a part of me tired of them, even a little bit, from years and years of over-exposure? Yes. Are these all still incredible, certified classic rock bangers that have influenced the face of rock as we know it today? Also yes. Really, I can't find a single thing wrong with this album. This album wrote the book on the concept of "not a single skip on this album". As far as classic rock is concerned, this album is among the best of the best. It is undoubtedly essential listening.

I had never heard of Sarah Vaughan, but I was happy to get the chance to learn a bit about her and check out her music! This live album was easy to listen to and pleasant, but again like many albums on this project, it lacked a real "spark" that I look for in live albums. Despite the lack of live energy, I did feel like the performance had a very intimate energy that the recording captured well. And again, jazz isn't really my favorite genre, so I didn't care about this as much as others might. That said, her voice was beyond smooth and made this a fun listening experience in a genre I typically don't care much about.

Honestly, this album just really wasn't my jam. I appreciated some of Solange's vocal stylings here, as well as the funk aspects that lingered in this album with the soul, but really, nearly everything about this album just faded to the background. I was bored with it. I want to stress that there were some good, overt messages in here, though. The album title alone clearly communicates what this album is going to be about: addressing black prejudices and injustices. And the album approaches the topic quite palatably. Particularly, I appreciated the very easy to grasp message behind the interlude "Tina Taught Me", followed by "Don't Touch My Hair". But the point remains: for me, the message was good, but the music was boring.

This was an incredibly fun, exciting, over-the-top, campy, dramatic album. Every song reaches heights with its own soaring level of epicness. It's one of those albums where the songs already seem like they're at 100%, and then all of a sudden the ending or outro takes off to 200%. Again, over-the-top is the word here. One thing is for sure: no song here can really be considered "dull". Really, the cohesiveness of this album makes it feel like a rock opera, and thanks to Jim Steinman's contributions here, if you didn't know better, you might could believe this to be an Andrew Lloyd Webber musical, as well. Parts of this album definitely sound Springsteen-esque as well, if Springsteen took himself less seriously. Some new information for me was that this album was produced by Todd Rundgren. Ultimately, this isn't particularly relevant information, but as someone who appreciates Rundgren's music, I'm even more appreciative knowing that he helped make this album happen.

Honestly, I love this album. So many of The Doors best songs are right here on this outstanding debut album, and they are culturally known and significant songs, at that. I am not a huge psychedelic rock fan, but I have always loved The Doors' take on it. Furthermore, they mix a lot of blues into their psychedelic rock, too, which is another thing I don't typically like, but I find it works well here. This is psychedelia at its best, and every song has its own weird quirkiness to it. In my opinion, when you hear a Doors song, you just know it is them -- they immediately made a significant mark on music that has lasted over the years.

I just got done reviewing The Doors, describing it as the type of psychedelic I DO like. Well, this is the side of psychedelic I could honestly do without. Was this listenable? Yes. Was it remarkable? Hard no. Also, I'm not positive on this, but it seemed like it was intended to be somewhat of a parody album. Maybe I just get that feeling due to how ridiculously zany and manic it was.

Getting through this was not impossible, but it was definitely a chore. Everything about it felt overblown and self-indulgent. It was all over the place, and not really in a good way. Maybe I just wasn't in the mood, but I did not dig this at all. I am surprised how annoying I found this album to be.

I had never heard of Neneh Cherry, and honestly, that's a shame! I feel like she could have existed among the best of 80s R&B and pop. I can't imagine a better year for this album to come out than 1989, because it sounds like a complete sound mashup of the entire 80s decade with tidbits from every 80s genre that you can imagine. It was eclectic in the best way possible. The lyrics on this album were very clever and fun, as well. Buffalo Stance is officially going in my "guilty pleasures" bucket, because despite the utter 80s cheesiness of it all, I couldn't stop enjoying it. Not every song was as much of a win for me, but I honestly didn't hear any songs that I didn't at least baseline enjoy. This album was a nice surprise, and definitely a hidden gem for anyone who loves the sounds of the 80s.

This album was okay. While I generally like indie, and indie of this sort, it can sometimes kind of blend into one sort of grey "sound" -- unfortunately, this album did that, and it kept it from really standing out. That said, "No Cars Go" and "My Body is a Cage" are both superior indie songs of the 2000s and deserve recognition.

I wanted to like this more than I did, but I ultimately did not. I enjoyed the Latin flair in this, but I somehow just found myself not feeling too much about the music or the album. And part of this may just come from me not being that big of a fan of progressive rock. I'm just not sure where the disconnect here for me is, but it's somewhere between "this is interesting" and "I don't really care". That said, the lead singer's falsetto is outstanding, and it reminded me a lot of Coheed and Cambria as I listened to it. Despite this not really thrilling me, this is still very listenable.

Oh god. I saw this album come up and I knew I was in for it. I know a bit about Sufjan Stevens, but I mostly know about his song from this album, Casimir Pulaski Day, otherwise known as one of the saddest songs I have ever heard. That song struck me as profound the first time I ever heard it, and it has stuck with me for so many years through no attempts of my own. While not as sad, turns out much of the rest of the album is plenty melancholy, too. I guess that's indie folk for you. Still, this album is incredibly peaceful in parts, and without being boring; it comes with intriguing vocalizations and lyrics on Sufjan's part that make the whole thing fairly whimsical. Bizarre instrumentations also dance across the already strange sounds -- horns often stand out, which is a unique and odd decision. At times, this feels like listening to a classic poet, but in song form. The real rub for me here is that it drew on too long and started to get old.

This album had the makings of something good, hence the 'first heavy metal album' moniker. There are some interesting and downright outstanding riffs on this album, but I couldn't escape the feeling that this album really does feel kind of half-baked and not quite complete. But that can't really come as a surprise, since Black Sabbath was in the process of birthing an entirely new genre here. That said, this incompleteness is more deserving of a spot on this project than some other things that I have heard. And truly, Black Sabbath's self-titled album walked so Paranoid could run just a few months later.

This album really surprised me. There is SO much influence here not only for alternative metal bands of the 1990s, but even for nu-metal bands going into the 2000s. I could fill this review with band names, all of whom I guarantee were inspired by this band and album dating back to 1989. The album is full of booming guitar riffs and drums and funky bass lines and vocals. The album had an overall feel and "signature", but the individual tracks were diverse and unique. Being a band with such a diverse cast of characters with different musical histories, this makes total sense; I'm glad they used this to their advantage. Woodpecker from Mars, an instrumental on the album, really hit me and I listened and jammed to it multiple times. This song just SLAYS. I was leery about a cover of War Pigs, as well, but they really did it justice -- no complaints here! Really, I just appreciated the album way more than I was initially expecting. But as someone who enjoys 90s and 2000s alternative and nu-metal, it didn't end up being that surprising. I'm not sure if this is quite a 4, but I'm gonna give it to them anyway, because I really did enjoy this. Just a good listen for anyone who likes this genre.

This was a funny one. This is not the Supertramp sound I am used to, but I still found myself knowing a few of these songs, just without knowing that it was Supertramp. This was a decent album, but not a favorite. There were times when this felt a little Led Zeppelin, a little Pink Floyd, and even a little Electric Light Orchestra. But the album didn’t outdo or compare to any of the aforementioned bands. And that’s really probably why this album didn’t full take off for me: I kept comparing it to other bands and never found myself particularly impressed.

This album is definitely the birthplace of the Queen that everyone knows and loves. They're still not all the way to that "full Queen experience" point, but you can definitely hear the hints of what they would become, especially on the hit track "Killer Queen". I would say they're still playing around heavily with their sound at this point, though. Regardless, this album is definitely the jumping off point, soundwise, for their biggest and most well known songs. Speaking of the album's sound, it's really got a bit of everything: glam music and lyrics, those excellent Freddie vocal harmonies, and some slightly off kilter, fun vocalizations and instrumentations. There's a wide variety of music here, too, but it all sounds unapologetically like Queen. This isn't my favorite Queen album, but it's a great lead in to their iconic sound.

WHY is this album on here? I am sure there are albums more deserving of the slot occupied by this album. I don't normally quote Wikipedia in my reviews, but the article for this album notes it as "one of 2004's most critically acclaimed releases". Says who? I could hear some of the sounds of 2000s rock in here, specifically bands like A Perfect Circle, Chevelle, and such, which I like. But this band and album didn't hit the mark. That is to say, parts of this album were NEARLY tolerable, but this was definitely "noise rock" with an emphasis on "noise".

This funky, psychedelic offering from The Temptations was kind of interesting! I wasn't used to hearing them in quite this style. The album was certainly pleasant enough to listen to, but overall, I just wasn't that blown away by it. This probably comes in at a high 2.-something, so 3 it is!

Another album where I have to question its place on here. It does sound like a lot of things that were yet to come at this point in music history. For instance, parts of this album do a good job sounding like 2000s pop punk in both instrumentation and lyrics. Other parts sound like early 90s alternative, not unlike Stone Temple Pilots, Barenaked Ladies, or even Hootie & the Blowfish. I could see where some inspirations for these sounds may have been derived from this album. Other parts of this album just sound like a generally washed up attempt at punk, though. It was another that was okay and mostly listenable. But overall, it feels pretty unremarkable, and the longer it went on, the less patience I had for it. It just didn't need to be a double album. This is another 2.-something that I just don't feel like warrants a rounding up.

I feel like Stevie is known most for his soul and piano numbers, but his unapologetic funkiness is what really shines on this album, especially in the tracks "Maybe Your Baby", "Tuesday Heartbreak", and of course, the iconic, timeless "Superstition". Maybe Your Baby was new to me, and wow, it was SO incredibly funky. Everything about it drips with funk. I couldn't get enough. And what can I say about Superstition that hasn't been said by everyone over the years? There's a reason this is a quintessential funk song. I didn't realize that Superstition segued so perfectly into Big Brother, though; discovering things like that is a cool tidbit that I enjoy about this project! While I enjoyed the funk aspect the most, there is nothing to complain about the rest of the album, as it is balanced with smooth, pleasant soul music. Stevie makes EVERYTHING a pleasure to listen to on this album!

Man, "There She Goes" is such a great song, but the rest of the album does not live up to that song. Everything else paled in comparison. The rest of the album was just very bland.

The eccentricity of this album could have been something interesting. But it was more than that. Not only was this album eccentric, but it was absolutely grating, cloying, and irritating, if I'm being honest. This did nothing for me.

I have heard a lot about King Crimson over the years, but have never taken much of a dive into their music, so this was a good opportunity. The opening track moving slowly from a new age crystal meditation piece of sorts to an all-out guitar jam to a funky progressive "freestyling" on the guitar was absolutely a fun build and journey. That first track did become a bit of a slog, though; there were multiple times where I was thinking (and hoping that we had moved on to a new track). The problem with this "brand" of prog rock is that a lot of this never seems to go anywhere. It seems mostly freestyling in nature and lacks a lot of the cohesion and theme seen in other prog rockers' work...say, Pink Floyd or Rush, for instance. Both bands could jam and explore but it didn't typically feel aimless. This not only felt aimless at times, but also tedious and rather long-winded -- both on individual tracks and as an entire album. That said, this album has moments of instrumental intrigue that capture my attention. I can hear the interplay between typical rock instruments and other string or percussion type instruments, and find it fascinating!

Honestly, this album is the perfect intersection of post-punk, dream pop, gothic rock, and new wave; it does an outstanding job of being a shining example of all of these genres, all in one album (and oftentimes, these genres even intersect in individual songs). All of these genres were done to some extent by The Cure over the years, and this album is really a culmination and reflection of their involvement in all of them. Robert Smith's depression, which he hoped to convey in this album, is incredibly palpable, as the sound is very much dark, dreary, and cold all throughout. This album just has such a presence and a mood about it. Each song conveys that mood and the previously mentioned themes well, and the album as a whole cohesively enhances the experience. Even the song titles are aligned with this vision, each reading as melancholy in their own rights. This isn't an album I would want to listen to ALL of the time. But the artistry and darkness of it all is delicious and irresistible. The whole package is just very well executed.

This album was a lot, both in good ways and bad ways. It's definitely a maximalist sound, production, and collaboration. It had a spacey and ethereal feel all throughout, without seeming like kitschy space age or ethereal music. But at points, the songs sound like no less than about six different things being blended into one giant mess of a song. I really don't know what to think of this album. I think I probably just don't really get it and am having a hard time connecting with it. A lot of it just ended up coming off as noise to me.

Another artist that I had heard OF, but not actually HEARD. This album was beautifully sung and recorded, but ultimately a bit uninspiring for me. It was pleasant enough to listen to, but was just very middle-of-the-road. I will say, "Your Love is King" is an exception to that statement -- this song really struck me and I couldn't wait to go back and listen to it again. The album closer, "Why Can't We Live Together", also had its own very unique vibe and passion that resonated with me, leading me to look at it as a standout song from the album. Really, all of this was easy enough and unoffensive to listen to, just also not particularly remarkable. This is probably a 2.5+ for me, so rounding it up to 3.

I actually typically like ambient electronic new age-y music like this. The 90s wave of new age that was heavily influenced by Asian soundscapes (as this album is) is certainly a guilty pleasure. I'm sure that many of these Western new age bands have created with a somewhat intangible lack of respect for the Eastern source cultures that they are pulling from. But here's the thing. I was pretty turned off by the idea of this band using Asian iconography and then dubbing the album something like "Strange Cargo". It's benefitting from the use of Eastern cultures while also labeling said culture as "strange". And to me, that IS a tangible lack of respect. Regarding the music, I thought "Water From A Vine Leaf" and "Into the Paradise" were excellent beginners. I was hoping that the remainder of the album would have as strong of a sound. But as it turned out, the rest of the album seemed pretty anemic in comparison; there were brief moments of intrigue, but it just never quite piqued. Ultimately, I'm just not quite sure what this album's significance is. Again, if we are talking about the "ambient new age" wave of the 90s, then there were much better, more iconic representatives of this movement.

So my feelings on this album seem to be a recurring thing, as I read a lot of similar reviews. Yes, this album is interesting. To a North American, it even seems novel and exotic. But that's the thing: I don't feel like I have an appropriate scope or context to critique this album, or its significance on this project. Albums like this certainly deserves to be on the project, but whether or not this specific album is an appropriate or worthy inclusion, I can't say. I think a relative amount of the album is lost in cultural translation. To someone like me, this is thrown into a catch-all genre of "world", which is essentially saying "everything that isn't western music". To the people of Africa or the Democratic Republic of the Congo, this is NOT something as simple or impersonal as "world" music. And maybe this is a bigger conversation, but I think music like this should be reflected with a more appropriate, specific, and culturally accurate genre than "world", especially in the context of this project where we are critiquing albums. MAYBE then, people like me would be even somewhat more in a place to be commenting on this type of music. All that said, I did enjoy what I heard. I guess just don't ask me to actually critique it, because I do not feel like I'm in any kind of position to do so.

This album exists somewhere between what I call "renaissance" folk, and then of course the pop/rock folk of that was pioneered in the 1960s and 1970s -- it straddles both worlds. Joan Baez was clearly one of such pioneers in the 60s/70s folk space, and I can appreciate that. But what can often come with this territory is a proto-sound that is great from neither perspective, in this case, a renaissance perspective OR a 60s/70s perspective, so I did find myself a little bit underwhelmed with that. But it wasn't bad to listen to. I just wasn't particularly into it or moved by it.

I really don't like most of Elvis' music. His voice grates on me, even in its early days. But I understand his impact, both from a genre perspective and a vocal perspective, and especially the impact of his debut album. So we're going to meet halfway here with a flat 3 and call it good.

Dusty has the voice of an angel on this debut solo album! She has such grit, range, drama, and vibrato. This album kind of straddles somewhere between 50s pop/soul and 60s pop/soul, which can both be hit or miss for me; it usually all comes down to the voice, and I absolute love Dusty's voice here. I recognize that this album is mostly covers, but I really do love Dusty's takes on each of the covers. And I think this album's merit on the project comes less from the songs themselves and more from Dusty's voice. During the early 60s, female-led pop/soul music was mostly still being dominated by girl groups, save for a few solo pioneers. Dusty was one such pioneer; she was no doubt setting a standard and a trend for women moving forward. Again, Dusty's voice just really resonated with me here and made every song enjoyable where it may have otherwise not been; I couldn't help but be inspired to go higher with my vote.

This is a classic example of indie rock, and no doubt a point of reference for so many indie artists going into the 2000s -- it sounds so much like many of the bands of that decade, but without sounding too depressing or morose. This was a pleasant, low-key listen that managed to stay true to the indie scene of the time without falling below the threshold into 'boring' territory. This is the kind of music that you expect to hear backing nice hipster indie movies, as well. That said, while I find music like this to be listenable and certainly even pleasant, it often doesn't leave too strong of a mark. This album wasn't an exception to that. Therefore: good, but not great.

Even though this was only the Smashing Pumpkins' second album, it immediately rings as the band in their prime and at their best. Billy Corgan's signature, unmistakable vocals are on point here; they are full of grunge and that iconic agony that only he could bring to a song. Each song sounds so uniquely and cohesively like the Smashing Pumpkins, yet each one stands out as individual hard-hitters. The instrumentation here does such a good job of elevating that grunge sound. You have certain points where the music sounds pained and tortured, and those points are also balanced with some very beautiful background string orchestration. The Smashing Pumpkins' use of that symphonic sound in grunge music is such a dichotomy, but it really just works. All around, the production here is just top notch. The album seems to end on a more obviously morose and sad note, but the lyrics, vocals, and instrumentations are not compromised here; it works quite well as a way to bring things to a close. This band is one of the most iconic grunge/alternative rock acts of the 90s, and so many of their songs are timeless examples of those genres. In fact, this album itself contains a few of those. Even among the lesser known songs on the album, there really isn't a skip to be found here. This album demonstrates why the Smashing Pumpkins are kings among the grunge and alt rock genres. There is no question in my mind as to whether or not this album should be on here. Aside from that, I just really loved every minute of this album.

If I had to rate this album with one word, it would be: "grating". I have actually known about and enjoyed Black Skinhead for quite a while now. But honestly, most of the rest of the album just didn't do it for me. The sounds are incredibly experimental, especially in the hip hop space, but I just didn't find myself particularly wowed. While I was intrigued and wanted to like it more, I just felt like I was being forced to listen to nails on a chalkboard. Not to mention, Kanye's obvious arrogance and ego pours over into his music and it just makes it really hard to look past them. Honestly, this album is probably the point where Kanye really started letting his ego show -- everything with Kanye is downhill from here. I can see why this album might be on the project for its heavy and experimental use of an industrial soundscape. But while it's an interesting experiment, it's still kind of a failed one, if you're asking me.

This entire album definitely made me think of Bob Dylan, but sooo much more tolerable. While Bob and Leonard have similar singing styles, and this album is also folk like Bob was putting out during the time, Leonard's somehow just seems more serious. Maybe it's the significant lack of harmonica and nasal voice, but the general sound here is more pleasant to my ear. If this album shows one thing, it's that Leonard Cohen's songwriting was a tour de force from this first album. He's telling folk stories with deep, passionate, masterful, and poetic lyrics. Also, Leonard wasn't as dark and gruff out of the gate, but you get that glimpse of that future dark lean nonetheless; there is a layer of melancholy across the album and his voice is not "velvety" by any means. Ultimately, The music and lyrics are just "chill" enough to invite you to slow down and listen more closely and to be actively engaged. Therein lies the Cohen darkness in its infancy. All in all, I liked this more than I though I would. It darkens the doorstep of a decade that was kind of known more for its happy counterculture music. While I'm not really what I would call a Leonard Cohen "fan", there is just something about his darkness that draws me in.

I have heard of the Wu Tang Clan, but have never heard their music, let alone the music of any of the individual members, so I was eager to dive in and give this a try. I was genuinely surprised by how easy this was to listen to. One thing that hit me about this album was the production quality; personally, based on my inexperienced hip hop ear, this genuinely sounds newer and more modern than 1994/95! Though I've not seen Shogun Assassin, I really did like how the snippets were incorporated into the album; they upped the dark, dramatic factor of the album overall.

One thing that struck me about this album was its futuristic lean. While this is a 70s punk album in the heart of the era, I definitely heard a 90s grunge lean, as well as even a 90s/2000s POST punk sound found in bands that were releasing (obviously) decades later. Coming in at 21 tracks, but only 35 minutes long, I feel like this album is only half baked; the album doesn't really seem complete. It seems like an album of ideas that weren't fully seen through. Then again, with many of the tracks clocking at around 1 minute or less, it's kind of interesting to hear something like punk rock be presented in such a minimal time frame. As a fan of 90s grunge and the other genres mentioned above, I had more of a disposition toward this album than I expected to. That said, the song length and incompleteness situation kept me from getting fully drawn in. I don't feel like the songs had enough time or substance to hook me. For me, this is more than a 2, but not quite a 3.

Apparently this is a Wu Tang week for me; first GZA, and now Raekwon. It is going to be hard for me not to compare, but I will do my best. As I understood it, this album was meant to play out like a film. I am not sure if it was intentional or not, but a lot of the background music and soundscape is what reminded me most of a movie. At times, what was going on in the background reminded me of film noir or even a Bond film. I can see where this album is regarded highly in the hip hop community. The style here is much more progressive and stands the test of time from a sound perspective than albums from other hip hop acts of the early 90s; this album sounds a lot like the kind of hip hop music that would become prominent into the 2000s. I didn't hate this, nut really, as someone who already has a very light, mostly non-existent relationship with hip hop music, this album was just too long and just not really my thing.

This was a pretty pleasant, but average listening experience. "Cinnamon Girl" and "Everybody Knows This is Nowhere" make for great openers, but the rest of the album doesn't hold up to the same standard ("Down by the River" and "Cowgirl in the Sand" BOTH could have been better if it were cut by a few minutes). Other than some nitpicks, I had no complaints about the album, really, but I wouldn't say that it really hit me or reached me in any meaningful way; it just made for very normal, middle-of-the-road listening. I will say, Neil's voice can sometimes get a bit hard to listen to, but it's in a pretty listenable form on this album, at least for me. Also notable is that Neil really sets a tone on this album for the next decade of folk and soft rock; this sounds akin to CSNY's work on Deja Vu, plus countless other soft and folk rockers of the 1970s. Neil Young definitely trailblazes with this sound. I want to give this more than a 3, but it's also not quite a 4. Probably a 3.5 if I could, but I'm going to round down.

The crowd's energy on this album is exactly what I look for when it comes to live albums included on this project. Blues isn't typically a genre of interest for me, but even I'm not fully immune to the voice of B.B. King, and his style of blues as heard on this album is very soulful and enjoyable. His own energy, interactions, and sheer power and emotion here all shine through, from raw gritty note to soaring high note. You can really tell that this man is feeling what he's singing, which again, is something that is so important to me in hearing these live album inclusions. This is one of those situations where I feel like attendees of this show must have witnessed something spectacular. The fact that even trace amounts of that come through on the album is amazing.

I enjoyed this well enough, but I didn't find it to be as engaging as the other Smiths album that I've reviewed as part of this project. While "The Queen is Dead" was mopey and felt pretty gothic in nature, this album just felt mopey. I did pick up on the subtle aspects of rockabilly on this album, too; fortunately those sounds were minimal, as I am most assuredly not a fan of that. Still, it had much of that 80s alt-rock and post-punk vibe and guitar rhythms that I enjoy, which was ultimately probably what kept this album going for me.

Another artist and album that I had never heard of. I wasn't sure what to expect from it. Pristeen was a weird album opener that grew more manic as the song went on, and I was hoping it wasn't setting a tone for the entire album. In reality, I don't think there was an overall "tone" to be "set" here. While there are some high overarching genres at play here, this is an incredibly eclectic album and each song kind of does its own thing. In a way, that kept things interesting and unexpected. This album felt a bit pretentious at times, and other times like it was just trying to be artful. I never did get a good "read" on it. Not exactly my cup of tea, but still a fun enough listen.

Adele has had lots of different inspirations for her albums, this one being fueled by her break up at the time. And nothing else that she has done has ever quite touched this album. Adele's previous album is fairly heavy on the sad indie sound. But on this album, Adele is channeling a righteous, upbeat fire surrounded by a simple but effective orchestral sound. What comes across is an incredibly soulful sound on this album. Her vocals are often raw, often sultry, often pained, and always approachable. The lyrics are poetic and palpable, all tugging on the heartstrings. Adele spans a few different genres across this album -- blues, pop, jazz, R&B, and more -- but somehow everything manages to feel very related and cohesive. Overall, this album is just really well done, and is undeniably powerful.

This album definitely stands as a "response" to the British Invasion sound of The Beatles and others, as that was the first thing that came to mind upon hearing this album. That said, the jangle-pop aspects, the heavier guitar, and the intricate harmonies all combine to make this album a birthplace of folk rock, and a great listening experience as well. The influence of this album is undeniable. And as someone who is not a fan of Bob Dylan's singing, I feel like the stylizations and vocalizations of his work are better done by The Byrds, personally.

I was unfamiliar with this album by David Bowie, as well as all of the songs on it. Turns out, I'm not really informed on the "Berlin era" of Bowie, so this album is the first I've heard from that era, both in and out of the scope of this project. I really enjoy artists who go through self-defined eras and phases and reinvent themselves musically, so I was eager to dive in here. You really can get a sense of the electronic inspiration that influenced this album. What normally feels glam and sparkly feels a bit more space age and moody here. Bowie is definitely one to take his inspiration and go further with it and make it his own, so what you end up with here is something that is ambient, electronic and a bit experimental, but still undeniably Bowie. Side B consists of instrumentals which I would say is where the album arguably shines the most. Removing the need for these songs to be lyrical allowed for some very creative results. The only "vocal" content found here are ambient voice sounds and the occasional incoherent word; Bowie's ethereal voice is perfect for that kind of use on these tracks. These tracks are ambient, dark, mysterious, and perfectly sci-fi in nature. Out of all of the Bowie I've heard on this project thus far, some of which I already knew, some of which I was less familiar with, this is probably leaning toward my favorite yet. Like "Hunky Dory", this is not quite a 4, but the experimentation heard here pushed it close enough for me.

Man, Jimi Hendrix just had it right. This album is psychedelic, acidic, and funky in ALL the right places. This final album from Hendrix offers a musician still VERY much in his prime, and it just goes to show how much future potential we missed out on by losing him at such a young age. Part incredible rock album, part incredible jam session, this whole thing is just a testament to amazing guitar work that has had far-reaching and long-lasting impact on guitarists for generations. A couple of these songs are over 10 minutes of jamming, and they honestly seemed like Jimi could have gone on for 10 minutes more. If I'm being critical, this album seems a little bit disjointed and lacking "clarity of vision". But you know what? It didn't matter then, and it doesn't matter now. Jimi is just THAT cool and draws people in with his unbelievable talent. Disjointed though it may be, paying audible witness to these works is a gift. Nonetheless, this album ends on such a highlight -- All Along the Watchtower. Jimi may not have wrote this song, but he put his stamp on it and made it unequivocally his. Bob Dylan who? Jimi Hendrix was destined to be nothing short of a legend and one of the greatest guitarists of all time and his impact can not be overstated. Even on this third and final, and arguably weakest, album, he makes it clear why he's a legend.

Björk is an acquired taste, and one that not everyone acquires...understandably so. Even for me, her music is only a sometimes food. This particular albums leans heavily into what sounds like lo-fi, magical, fairy and celestial music, at least to me. Her warbly voice lends an air of mystery and intrigue to some already mysterious, sleepy music. This album also sounds like standing between the old and the new; it sounds like small orchestra chamber music of the of the 1700s, mixed with a more modern electronica and trip-hop style. While some may view it as pretentious, I do find it interesting how much intentionality Björk puts into her work. This album in particular seems to have a lot of intentionality around the sound that she was trying to achieve. Every single thing seems to serve a purpose and has a reason for furthering that vision, which is intriguing to read about and discover, at least for me. Really, when "art pop" comes to mind, Björk is often one of the first that comes to mind, and in 2001 when Vespertine was released, Björk was reminding people in the new millennium that art pop is her domain.

Joni Mitchell is just something special. This entire album feels like being wrapped in a warm blanket and taken on a cozy drive. It is the epitome of sung poetry. I feel like each song is a glance into one of Joni's life experiences, each wrapped in a certain amount of mystery for the listener to unravel. Joni's voice and the way that she sings is incredibly soothing and sweet all throughout. The music gives off a folky, familiar vibe, but not TOO familiar -- it's complex and rich and different in all the right places. I am not super familiar with Joni's discography, but I'm familiar enough with her to know that she deserves spots, multiple, on this project, and this album feels right being here.

A little bit psychedelic, a little bit folky, and a lot rock-y, I thought that Mr. Soul was a great album opener. I was definitely hoping for more like this, but as the album progressed, it leaned a little heavier into psychedelic folk, heavy on the folk, and away from rock. A close second to Mr. Soul on this album for me was Bluebird, but even the last quarter of the song derailed a bit with that banjo breakdown. Overall, the album is a bit eclectic, but not in a bad way -- it's a mix of different styles and vocalists and shows a wide breadth of talent among the band members.

This album was a nice listen. I really do enjoy the raspy aspect of Rod Stewart's voice and how he uses it in his music. Aside from Maggie May, I'm not overly familiar with Rod Stewart's solo work, so I was pleased to hear that the rest of at least this album had a nice rock sound to it. There was an audible mix of blues, soul, and folk in here too; giving things a slight country-esque lean. One thing I will say about this album is that it somehow sounded newer (if only slightly newer) than 1970. If Rod Stewart played a part in the furthering of harder rock music mixed with bluesy and folksy sounds, I wouldn't be surprised.

If you've heard at least a handful of other songs from the 1950s decade, you can tell by listening to this debut album from Little Richard that he was onto something special; he was a key person leading the charge in the progression of music toward rock and roll. One rock and roll "technique" that Little Richard pioneers heavy use of here is loud, gritty, wailing vocals, complete with high-pitched "woos" and "hoos"; all of which would become signature Little Richard music traits. I was never the biggest Little Richard fan, but I would say I have grown to enjoy his music at a base level. It is fun and intoxicating in a way; it's no wonder that his pioneering ways caught on. Still, here on this debut album, everything sounds baseline the same to me. I would say Little Richard's debut album deserves a spot on this project, without a doubt, as his effect on music post-1950s is paramount. I would describe my personal enjoyment as still within the 'average' range, though.

I love the mix of pop- & post-punk, pop-rock, and new wave that all intermingles and mashes up here. While not nearly as rough around the edges as "true" punk, it is obvious that The Go-Go's were heavily influenced by the punk sounds of the 1970s. As usual, it was cool to hear such a polished and organized sound from a band on their debut album. The sound produced on this album is a sound that is so uniquely The Go-Go's, and one that I completely attribute to them. Even when I hear this sound elsewhere from other groups, The Go-Go's are who comes to mind; they no doubt were pioneers of this particular sound. Heck, "We Got the Beat" alone defines the sound and no doubt influenced others who would go on to aim for The Go-Go's sound. This probably landed at about a 3.5 or so for me, but I am going to round up, as I did really enjoy this one!

I've not ever heard anything quite like this album, in or outside of this project. The album is labeled "alternative country" and while that's as fair a label as any, it still doesn't quite pinpoint Bill Callahan's style here. I will say, the combination of the specific "alternative" approach, Callahan's voice, and the songwriter lyrics gives all of this a very dark, melancholy, almost gothic overhang. Both vocally and musically, it's almost like hearing the lovechild of Willie Nelson and someone like Leonard Cohen. It's all a very unique intersection, and I can't say that I didn't find it intriguing! This album won't go down as a favorite, but I am very glad for the unique listening opportunity. Also, this album was recorded in the suburb where I live, a nice but fairly unremarkable piece of a larger metro area, so that was a fun coincidence to discover!

I love when I get to put on my 80s/90s country hat for this project. Upon hearing this album, my initial bias was "well, this isn't nearly as good as X 80s/90s country album that I love! why was this included instead of X?" Well, I think I can somewhat answer that now. The late 80s into the 90s was a transformative time for country, as rock and pop music began to creep more into the overall sound. This album arrived during that transformative time and is probably a very early example of that sound transformation being put into heavy play. A lot of the "heavier" instrument sounds of heartland rock/pop acts were directly transferrable into country music. Bruce Springsteen was definitely among the most influential here, which is why his overall sound and voice affectations are so prominent in this era of country. Steve Earle still has a lot of classic country sounds going on here in these early days, but the Bruce Springsteen-isms are undeniable. Eventually, the Springsteen-isms would take an even heavier hold in the 90s country music scene. This project is known for paying dues to early influencers of various musical movements and sounds, and in the case of country melding with contemporary rock and pop, I think the presence of this album is again an early example of that. And while other artists that came later did this sound better and more famously, this album is in the midsts of the birthplace of the 90s country craze. So again, not a favorite album in the grand scheme of 90s country, but as an appreciator of this country music era, I did baseline enjoy this album.

Each song conveys extreme emotion, as well as vocal range and talent. Aretha sounds pristine, elegant, and crystal clear on every track. She communicates such intentionality and grace and seems to command every note she sings on this album. This album was a defining moment for women in music and continues to be absolutely timeless. Also, back in the 1960s, it was not every day that a woman could cover not one but two tracks on the same album and make those songs so dominantly their own. Aretha's version of Respect is not ONLY amazing, it changed the course of music forever and is still one of the greatest recordings of all time. But this album is among the greatest for another reason. This album is an act of persistence and perseverance. Aretha had nine albums before this that just didn't do well, due to her record label trying to silo her into jazz music. But pushing on still, "I Never Loved a Man the Way I Love You", her tenth album and first under her new label, finally saw success when she was allowed to create soul music. It tapped into her true talent and allowed her to showcase it. This album changed and pushed Aretha's music career, cementing her as the queen of soul once and for all, and it changed the face of music itself forever. This is a powerful album by a powerful woman.

I feel like "Right Here, Right Now" and "The Rockafeller Skank" alone are two songs that most people know from radio, commercials, or various media without even realizing it. Overall, this was a pretty fun listen. I did feel like the music was quite a bit repetitive and looped at times, but given the way this album was created (which I found to be cool), maybe that was the intention. I do like the heavy funk influence across the album. This album kind of feels locked in a small period of time. I don't know of too many artists who dabbled in this sound, and it was ultimately a short-lived time in music.

From the opening notes, I could tell this was intended as Beach Boys material. It sounds more like a Beach Boys concept in some places, and in other places seems far more experimental. Much of the music is "there" from a Beach Boys perspective, but only some parts feel like they were done to completion, while other things feel a bit more disjointed, unfinished, and pieced together, making this all a bit anemic and lacking cohesion to me. That said, I don't think I was able to disconnect it from its source and embrace it for what it is. While it is cool to see an unrealized album get new life breathed into it (and with equipment similar to what was used back in the 60s), it also just rang as a bit sad. Considering Good Vibrations was intended for the original "form" of this album back in 1967, Smile stands as a bit of a sad tribute to the music that was and what could have been. Music that lit up the 60s as sunshine pop has kind of a weird cloud overhead on this album. But I guess if you're a Brian Wilson/Beach Boys/surf and sunshine music aficionado, this might come off more as a triumph of musical restoration after years of it not getting created. All a matter of perspective, I guess. But for me: I didn't love it, I didn't hate it. I am glad I heard it and read about its very bumpy history, but I also think it went over my head. I appreciated the weirdness, but I didn't connect with it.

I was not familiar with Nick Drake's music, and I'm not entirely sure I've ever even heard of him. When I put this on, I was really surprised; this is definitely not your typical folk music of the 70s! It reminds me of the singer-songwriter and indie music of the 2000s, and I'm certain that these artists have been drawing some inspiration from here. Others must have thought so at the time, as his music did not sell well during his lifetime, and this album is no exception. This album received much of its recognition after Drake's death. Ultimately, this album sounds so ahead of its time. This album is rather short and the instrumentation here is fairly simple, as are the vocals, but the beauty here is definitely in the simplicity. This album has a clear and unadulterated focus on Nick Drake's voice and his guitar work -- nothing else -- and his voice and guitar complement each other so well. His voice is soft and airy and sounds like a "chest voice", rather than a "head voice". It's a singing voice that is unique; you just don't hear a voice like his very often. His guitar work on the album is soft, intricate, engaging, and soothing. This album's credits tout only a few names besides Nick's, and those names are all on the production side, not the music side; this album is for all intents and purposes a one man effort. Needless to say, I was pleasantly surprised by Nick Drake and by this album. It proved to be a peaceful, intimate, and engaging listen. It's a bit sad, and yet comforting. I hate that it did not receive its accolades during the time of its release and during Drake's lifetime, but its inclusion here is a testament to how greatness can be lost to time or circumstance. I looked ahead and found out that all three of his studio albums are on this project, and I really do look forward to hearing more from Nick Drake. On first listen, this was a 4. I couldn't help but listen again, and now it's so close to a 5 that I feel inspired to bump it up at this point.

I made the mistake of reading other reviews while listening, and now "over the top Neil Diamond" is just a lingering thought that I can't get out of my head. The vocal affectations and even some of the type of lyrics do very much read as Neil Diamond, but the music combined with the delivery have some kind of almost manic additional quality. Either way, I've never heard anyone else deliver things quite like Neil Diamond, but this is probably the closest I've heard. What I will say is that David Ackles definitely didn't shy away from experimenting and taking risks here. The music is dramatic and could definitely pass as a quirky 70s stage musical; I haven't ever heard anything quite like this outside of musical theater spaces. And while I like musical theater and discovering rare obscurities, and while some of the songs struck me as interesting and even a couple as strangely beautiful, this overall ended up just being kind of not my thing.

If Abba was already a hit sensation at this time, it would be this album that cemented them in gold as one of the greatest euro-pop and euro-disco acts of all time. This album has some of the group's best and most well known songs, not the least of which is Dancing Queen. These are songs that have stood for decades and are still very well recognized. This is just a really fun album that shows off the band's dynamics and harmonies. I don't know what to say about this album or group that hasn't already been said, but they make music such an unabashed joy.

I remember hearing Coldplay for the first time, around the time of this album, and thinking that they just sounded a bit different than many artists who were releasing music in this space around the same time. My assessment of that today is that they were among alternative rock artists who were taking that Verve and Oasis, softer-sounding English alt rock sound and bringing it into the new millennium. They weren't as edgy as other alt rock bands that dominated the 90s. And like Oasis and The Verve, they were bringing more ambient, orchestral, and dreamy sounds to alt rock. Chris Martin's hauntingly mysterious delivery of the vocals is at its peak here. Overall, this was a formula that seemed to work well for them, as they are still using it today plus and minus some other musical trends that have come and gone throughout the years. Not many artists since this time have done this sound and maintained their prominence, let alone find a constant spot as one of the most popular bands in the world. All that said, Coldplay is often kind of hit or miss for me. I tend to like a few songs off of each of their albums and end up being bored by other parts of the albums. That was more or less the case with this album, too, though I do feel like a certain amount of ambient flow keeps this one feeling cohesive and nice. A decent listen nonetheless, and a good example of how this band carried a sound beyond its "heyday", made it their own, and launched themselves into superstardom.

After Blood Sugar Sex Magik produced some amazing anthems in 1991 that carried across the decade, Red Hot Chili Peppers went through a big slump musically, failing to produce much noteworthy music. This album, just in time for the 2000s, revived them and brought them into prominence in the new millennium. And in the same way as BSSM, this album produced several outstanding alternative rock anthems for the new decade. The music here still has that quintessential Chili Peppers funk, but in my opinion it's dialed back on most tracks in favor of a more of-the-time alternative rock sound. In some cases, that is harder rock, and in other, it's more of a "chill" and relaxed alternative sound. Either way, this is a development that works well for them, as I believe this is the only album that rivals Blood Sugar Sex Magik, or even possibly surpasses it. I personally found the first half to be a lot better than the second half, but the whole album was enjoyable.

I had never heard of Manu Chao, but was pretty impressed! The way one track flowed into another was immaculate here. He traveled from location to location recording this album, and it really shows; this is sung in four different languages and played in a corresponding cultural genre, and Manu does it all masterfully. It all just made for a great mix of music. He isn't particularly doing anything revolutionary here from a musical perspective, but the blend of languages and genres certainly makes this a unique creative outlet. At the end of the day, it seems like Manu Chao just really enjoys making music, and he makes it fun to listen to.

Another solid Dusty Springfield album! Her voice is so sweet and so sultry in all the right places. There is a good mix of pop, soul, and jazz on this album that makes this very approachable and enjoyable from all angles. Arriving in 1969, this album sits as a perfect capstone of soulful 60s women, before music trended away toward different genres in the 70s. It is easy to see where other white female British singers of later decades who exist at the intersection of pop, soul, and jazz probably used this album and Dusty Springfield herself as a blueprint. But it's really no wonder why: the music here feels timeless, enjoyable, and easy to listen to in any decade or era.

This was a strange album. It kind of threw me for a loop, as I've never quite heard The Beach Boys in this form. I ended up having to give it a second listen because I just didn't quite know what to make of it after the first listen. The title "Surf's Up" definitely feels like a play on words, as if to say "our surf music image is over, this is who we are now". They know what they're known for, they are acknowledging it, and then asking the audience to give up those preconceived notions. Brian Wilson's relative absense here is definitely a loud silence; I had a Brian Wilson album sans-Beach Boys not too long ago, and thought it felt lacking. Well, Beach Boys that is mostly sans-Brian Wilson also feels anemic in a different way. All of them together is really the most winning formula. The title song, "Surf's Up", comes the closes to having this winning sound and formula while still pushing the newer, more progressive Beach Boys sound, and it contains a prominent Brian Wilson part, but I digress. Don't get me wrong, there are elements of what The Beach Boys are known for, but the final product is certainly more off the wall. It's psychedelic folk-y, it's progressive, and it's overall pretty esoteric and mystical. Needless to say, a genre is hard to pin down here because each song is kind of genre-defying and unique in its own right. But what this album seems to lack for me is any kind of magic. Not a bad listen, but not really one I enjoyed all that much, either.

This album was definitely an easy listen. It absolutely paints a soundscape of the time; I felt instantly transported to the 70s and while I have not seen Shaft, I understood what this album was doing and what it was conveying. There are only a couple of songs on here with vocals, and they are all sung with rich soulful ability, backed by the same rich, potent horn section that dominates so much of the rest of this album. Despite the fact that this film is no doubt part of the problematic wave of blaxploitation films that took off around this time, I feel like this album most certainly changed the way music was thought of and used as it pertains to movies, bringing in a more modern and contemporary flare to cinema.

The concept is intriguing: a soundtrack for an imaginary movie, existing somewhere in the realm between jazz club and psychological horror. This "soundtrack" is cool and smooth in places, but also creepy, atmospheric, weird, and even a bit disturbing in others. For not having actual real cinematic footage to link this to, Adamson and company do a great job of conveying cinematic vibes and projecting the general idea of certain imagined scenes. Given the alluring weirdness, I'm not surprised that David Lynch eventually went on to use a song from this album for an actual movie. Musically, the track "Achieved in the Valley in the Dolls" hit it all for me: it was atmospheric, esoteric, dark, ambient, and sexy. To me, this was the crown gem of the album. "The Sweetest Embrace" had Tom Waits-esque vocal qualities, which were perfect for the atmosphere on display on this album. This album certainly caught my attention and I am glad I got the chance to check it out. Ultimately, I'm not sure what makes it particularly significant as it pertains to this list (I usually try to understand the 'why' when it comes to these albums being included), but that didn't stop me from being fascinated.

David Bowie being a producer on this album is not surprising, I could hear the similarities from the first track. This album definitely had some dull tracks that I could have done without, but also quite a fair few good psychedelic, proto-glam songs. The good songs weren't particularly deep or thought-provoking for the most part, but they were fun listens, save for "Walk on the Wild Side"; this song was hitting on some interesting topics for 1972. All in all, everything here gives a very cabaret-esque vibe, and I am not mad about it.

This album came as somewhat of a surprise, musically. The genre here is "post-hardcore", and what I'm interpreting that as in this case is this movement from the very eclectic, heavy punk scene into a more melodic alternative and/or grunge rock sound. This album definitely exists somewhere in that in-between transitional space, neither quite one or the other. This album is another example of a breeding ground and jumping off point for the evolution of music. Unlike other "proto" type genre albums on this project where the album's presence seems to be based more on its contribution to music history and based less on its actual enjoyability, this album actually shines in both areas. As indicated above, it creates something unique and presents a good mix of two different musical worlds. And while this album no doubt fed into the alt/grunge 90s scene, this particular sound mix even seems to provide somewhat of a blueprint for the 2000s emo/screamo movement. No doubt a lot of bands have been influenced by this album in one way or another. While I wouldn't say any specific songs stood out here, I definitely found myself enjoying this album as a whole, both for its influence and its sound!

After discovering Nick Drake through this project, I was pleased to see another album of his pop up, though I knew from the beginning it was going to be tough not to compare it to "Pink Moon"; I was curious to learn if his first studio album would be as good as his last. This was really a great debut album! Even from the beginning, Nick Drake had a strong sense of self, musically. This is easy to listen to, peaceful, and folky without being too folky. While not quite as minimal as "Pink Moon", even this debut album keeps things pretty minimal from a music angle. Nick Drake also showed himself to be a great songwriter immediately out of the gate, as each song on this album feels complete and lyrically rich. Again, everything here feels advanced compared to where folk rock generally was in 1969. After having listened to my second album Nick Drake album as part of this project, I can say that he has proven to be one of my favorite 1001 project finds. A very solid 3.5 getting rounded up to a 4 here!

Such a funky, easy to listen to album! While it was easy to listen to, Mayfield does not shy away from hard topics here, seemingly unafraid to use his music as a platform to comment on the social issues of the time. I really love the statement of the album art as well -- it is this demonstration of the juxtaposition between the "American Dream" and what Black people were facing at the time. It's a statement that is still relevant today. This album, and Curtis Mayfield in general, is a great inclusion in this project because he's an example of an artist that was really quite gifted in many ways (he wrote all the tracks on this album), but who went largely unrecognized by a wider audience (namely, white people). And yet, his music is still as relevant today. There's no time like the present.

Relaxing in places and a bit more exciting in others, this still ultimately came across as a bit boring. That said, it was fairly diverse from track to track. This probably clocks at around a 2.5 or so for me, but I don't know if I liked it enough for it to be a 3. It wasn't bad, but I didn't find it engaging. I could honestly leave this album and be just fine.

Another day, another Neil Young album. One thing I will say about Neil Young, he has always been in favor of trying new things, musically. Neil has a signature sound that can usually be picked out, but all of the stuff about his music that exists "between the lines" gets played with a lot. This practice has become a more commonplace thing in today's music era, but back in the 70s, Neil Young was experimenting with different sounds during a time when it could have been a career killer. Additionally, I feel like Neil's feelings and emotions that he was trying to communicate come across exceedingly raw on this album -- something he was no doubt aiming for. All that said, I didn't particularly care for this album. There were glimpses of songs on this album that I enjoyed ("Come On Baby Let's Go Downtown" and "Lookout Joe"), but oddly enough, those songs seem to be some of the lesser enjoyed songs on this album by listeners. I just wasn't knocked off my feet by this album. It may just not be my thing.

I've always said that The Police really do new wave in their own way, and this second album, which helped launch them into stardom, really shows that fact off. The ways in which they saw that white reggae could fuse with punk and new wave (and before new wave was even really a thing) was a fascinating and well-received discovery that really led them to standing out from the crowd. This probably wouldn't be my first choice album of The Police to include in this project, but it is very likely among their most influential and defining moments for them in setting their unique tone. And who can say no to immediately coming out of the gate with "Message in a Bottle" as an album opener?

Although I had heard of LCD Soundsystem, I had never listened to them. After hearing this album, I'm legitimately surprised that I hadn't listened to them before. They're a perfect mid-2000s indie rock/electronic dance sound that I really find myself typically getting into. This is a really cool sound mash-up that exists somewhere between rock acts The Strokes and the Killers and dance acts like Justice. They're not reinventing anything here, but it was just an enjoyable listen. 3.5.

This was a really solid album! I totally understand why these guys are known for "Get It On", but so much of the rest of their music falls into obscurity, which is too bad. You can tell that this album is a pioneering album among glam rock. It has all of those essential elements, and yet there's still a psychedelic crunchiness to this; it exists somewhere between David Bowie and The Beatles -- the straddling of two decades of sound. I never would have guessed T. Rex to be pioneers in this space, or that this wasn't their original sound. Super enjoyable! 3.5

Third Tom Waits album on this project, and he's still not my jam. I really liked the concept behind the album, though. The "jazz club" motif recreated in the studio was convincing and well done by everyone involved on this album. Tom Waits uses the opportunity to parody the jazz club scene, at least to a certain degree; the topics and lyrics of the songs are often funny and have intentionally ridiculous delivery. I also like the "Nighthawks" painting that this album seems to be inspired by, so it was cool to discover that! All that said, this just wasn't my thing. I really do appreciate how Tom Waits pushes the envelope, though!

I can only imagine what it was like to experience this album back in 1993. There was really just nothing else like this in music that was even remotely mainstream enough to reach American listeners. This album has a very unique and eclectic sound; it dares to be different and finds multiple ways to accomplish that. Having not heard Bjork's Debut before, I am both surprised and not surprised to find that she already had a sense of herself as a recording artist. While she has certainly tried many different things musically across time, her visceral, often raw, often penetrating vocals have been a constant. And the music itself is full of experimental qualities, each track with its own intriguing layers. Speaking of her quality for experimentation, there is a huge amount of diversity just within this album. While this is very generally a form of electronic art pop, it's tough to confine what she's doing here, as she is really all over the place (in a good way).

This was an interesting album for me. I should start by saying that for the most part, the album wasn't really my thing. I didn't really find enjoyment in listening to it, and I just don't think I'd return to it in the future. All that said and taken into consideration, I was still very moved by the beautiful and haunting music, and the equally haunting, deeply sad, very intimate lyrics. This album feels like an incredibly personal window into the complex soul of Anohni. She absolutely bears all here and conveys so much emotion in such a short amount of time. This album also features several other superstars who are part of the art pop orbit; no doubt these legends were moved by the work of Anohni, too.

I was kind of excited when I saw The National come up. They're definitely well known in the indie music scene for their moody, punk- and folky-adjacent vibes and very distinctive vocals. The lead singer, Matt Berninger, has a very rich, deep, velvety voice, and in most of what I had heard from The National, he is really good at putting it to use to give the band a somewhat melancholy, moody, morose vibe. That sound is still somewhat present on this album, but generally, this album seems to steer away from that vocal sound and to my ear, just sounds more like your typical indie music. That extra rich voice is most on display in songs like "Terrible Love" and "Bloodbuzz Ohio"; I don't think it's any coincidence that the aforementioned songs are the most popular on the album. People listening to The National clearly crave THAT aspect of The National. All things considered, I thought the album was average, but I really DO enjoy what The National brings. I would have thought an album by The National that shows more of the richer side of Berninger's vocals would have been a better choice for this project, though (see their previous album "Boxer"). Nonetheless, a good inclusion of a unique indie band among a sea of a lot of indie bands that sound the same.

I don't know what to say here that hasn't already been said; this album is really just killer. Deep Purple shaped hard rock and metal, and there's just no denying that; they were laying the groundwork in the 1970s with this and other albums. This album opens with such a bang and really just keeps the momentum for all ~40 minutes. There just isn't much at all that this album gets wrong, in my opinion, and there isn't much to say either, except for reiterating that this is a birthing ground for metal music and a fantastic example of a genius band not only pioneering the sound, but doing it so very right. This is about a 4.5 for me, but I see no reason not to round it up.

I found this to be well produced and Bonnie Raitt's voice is certainly fantastic all throughout, but I'd be lying if I didn't say I found the album to be pretty bland. Most of the songs just seemed to drag, even the more upbeat ones. I will say, as someone who appreciates 90s country, I do appreciate the groundwork Raitt is laying here for that particular sound. I didn't love this by any means, but it was listenable and okay. It was just average all around. Again, Bonnie Raitt's voice is fantastic here and should have been done more of a service. Probably a high 2.-something, so rounding it up.

Me before this album: huh, a synth-punk album from the 1970s?! Sounds fascinating! "Fascinating" is...A word for it. It just got worse as it went on. I don't have much to say, because there just wasn't much here. It wasn't great. Not everything that is groundbreaking is good. If we're splitting hairs, 1.5, I guess?

So glad to finally get Tracy Chapman on this project! Her voice is incredibly unique, stunning, and a bit forlorn, and she knows exactly how to use it. This is a beautiful album from vocals to instrumentation. Tracy has always done a great job of communicating meaningful, impactful, socially conscious, and often downright heartbreaking lyrics through song. This album is a shining example of that. The album has a fair bit of diverse sound while still sticking to that contemporary folk rock sound that Chapman is well known for. Arriving in 1988, this album was a bit trendsetting and ahead of its time, as this a few of the singles off of this album not only permeated the radio throughout the 90s but certainly influenced other singer-songwriter women in the Lilith Fair circle.

After listening to this album, I need to make an amendment to something I said before. In a previous review, I stated that 'Electric Ladyland' was still an amazing album, but probably the weakest Hendrix studio album due to it being a bit "disorganized". Well, after revisiting 'Axis: Bold as Love', I feel like album organization is not everything. This album certainly feels more organized and tidy than 'Electric Ladyland', but I actually didn't find the music to be QUITE as good. Sometimes, a jam session like 'Electric Ladyland' really can just be THAT good. Still though, this is Jimi Hendrix we are talking about. Everything in his realm is kind of a jam session, and you just kind of accept that as part of getting to hear his phenomenal musicianship. Any Jimi Hendrix is better than no Jimi Hendrix.

It's interesting to me that this album's main goal was to deviate itself from a perception that was established on their previous album, "License to Ill", when probably most casual fans would agree that "License" is the Beastie Boys at their best. This album was a bit more Beastie Boys than I typically go for. Most of the tracks didn't really resonate me. Surprisingly, my favorite part of the album was the B-Boy Bouillabaisse suite at the end of the album. On an album where the band was attempting to differentiate themselves from their previous work, this was the portion that felt like it had the most derivation. I will say, most sampledelia usually bores me, but these guys at least kept me baseline entertained. Not my favorite of theirs, but not bad.

I realize that The Byrds always kind of dabbled in country sounds in their previous albums, but I don't know why The Byrds agreed to go full country here. From the producer perspective, I guess if they wanted to get country music in front of more people, duping them into listening to it by baiting and switching with a psychedelic band is one way to do it. Honestly, this album brings out my least favorite aspects of country music. And the Christian overtones were too much. This just really wasn't my thing.

Jerry Lee Lewis puts on a hell of a performance from start to finish for over 20 minutes solid here. And for all my scrutiny over the inclusion of certain live albums on this project, this one at least seemed to serve a purpose. But once again, I'm just really not that into this era of 60s rock and roll, so while I can appreciate the musicianship, I didn't really enjoy the music all that much. Not to mention, Jerry Lee Lewis was a piece of shit. All that said, a high-2, but I'm not going to round up after all.

I'm glad to see System of a Down make this list! They hands-down have always been known for doing their own thing in the metal space. They also never shy away from social and political commentary in their work, while still finding opportunity to be humorous and a little bit purposefully bizarre and chaotic. They somehow have always been ahead of the curve when it comes to setting all of these kinds of trends, too. These are all things that they have consistently brought to the table, even on this first album. From a nu-metal perspective, these guys definitely were part of the movement that spearheaded this sound in the late 90s, as it didn't really take wider hold until a few years later, further into the 2000s (closer to around when the band released their second album, Toxicity). Speaking of Toxicity, I think many millennial fans probably discovered that album first and then went back and tapped into this self-titled album, and rightfully so. Again, this is another band that had a strong sense of self from the beginning, so what listeners find here is fully realized, enjoyable metal content from a band that already knew who they were, even on their first album. Really, this is an example of an incredibly talented metal band bringing their best and establishing their sphere of influence on their first album!

I had never really heard anything by Living Colour aside from the infamous Cult of Personality (which is an absolute jam!), so was definitely not sure what to expect. I enjoyed this album! The first half of the album seemed to go pretty hard, sounding more like general hard rock of the time, whereas the second half was a little bit more experimental, mixing in a lot of rock, hip hop, and funk. This second half ended up reminding me of something like Phil Collins. Their sound permeates the entire album, but I definitely feel like the second half has more of it. The song “What’s Your Favorite Color?” towards the end of the album is a fun way to draw things to a close. What’s your favorite color? Living color! These guys definitely touch on a lot of sounds and do their own fusion of sound uniquely and with skill. It was impressive that this band did all of this on their first album, too, but lightning didn’t really quite strike twice for them; none of their subsequent albums were nearly as successful as this one. This was seemingly a moment in time, but a successful and fun one!

This double album from Elton is certainly an interesting one! The contents of this album definitely feel all over the place. Some aspects are a bit progressive, some a bit glam, some a bit piano pop, some a bit bluesy, and some are just good old fashioned rock and roll. But you know what? It works! This album is just peak showcasing of Elton John style, and if you're not convinced of that, just observe that a good handful of his most adored songs from a huge discography come from this one album. Again, despite this album being all over the place, it's just impossible not to enjoy this display of talent from Elton. I loved listening to this, and while I usually feel like double albums draw on too long, this album's length was fine by me!

So, here's the thing. I didn't LOVE this album. But I am absolutely not the target audience here; it is 100% not intended for me, let alone intended for me to be reviewing it. This is an example of deeply cultural music that is likely NOT going to be appeal to a westerner who is used to western world music. I will say, one thing that did come across regardless of cultural barriers was the energy; this music has a very palpable energy. So again, this made for okay background music, but wasn't a favorite, or even a "love". But I also don't think my vote should count for much here. 2.5, rounding up to 3.

This was honestly just pretty boring and bland, and it felt like they were trying to make it that way on purpose. All the music was very lo-fi and low energy, and the vocals were monotonous and effortless (not effortless in a good way). All of it has a slight lazy, kicked back country "flavor" to it, which I don't really felt like did the music any favors in this case. This album felt like drinking something and not necessarily finding it unpleasant, but finding it incredibly flavorless and unquenching. It just didn't seem to have any life in it. I truly have no idea why this album would be included in this project. But I guess I'm rounding it up to a 2.

Either this project is breaking me down with the excessive amount of Neil Young, or I actually liked this one. At the very least, this is probably the Neil Young album I have liked most out of what I have received thus far (this is the fourth). This album had some folk aspects, but definitely seemed to implement a lot more psychedelic and rock aspects than I remember hearing from previous albums of his. Either way, the folk rock presence on this album was somehow less grating. Another thing that resonated with me from this album was the darker vibe of the music, obviously a result of this being part of Neil's "Ditch Trilogy". Again, this album somehow resonated more than the other Neil Young entry on this project from the "Ditch Trilogy". I liked "Walk On" enough to want to listen to it multiple times. And for some reason, "Vampire Blues" really stuck with me as well. For me, any level of sticking hasn't happened with Young since "Cinnamon Girl" and "Everybody Knows This is Nowhere". Again, I can't quite put a finger on it, but I liked this Neil Young album more than the others I have heard so far. Leave it to me to me drawn not only to a darker album on the "Ditch Trilogy", but also the album from Young's discography with notoriety for being a lost album and cult favorite. In any case, on a project that is going to force me to listen to a LOT of Neil Young, I'll consider liking this album at all to be a win.

This was hypnotic and easy to listen to! It had a very intimate feel to it. Either way, "Funeral" is an apt name for this album; it feels very burdened and sad. While I definitely feel like this album spawned something within the indie movement, and certainly pushed Arcade Fire into stardom, I only averagely enjoyed this.

Considering "Brown Sugar" is one of my favorite Stones songs, if not my absolute favorite, I expected to love this album more. I find the A-Side/B-Side single pairing of "Brown Sugar" and "Bitch" to be fitting and fun, but the rest of the album doesn't really do it for me as much. The rest of the album is very heavy on roots rock and even bluesy rock. Still a decent entry from the Stones, just not my fave.

As far as electronic ambient albums go, this was better than most I've encountered on this project. It was well-produced and very easy to listen to. Sonically, there was a lot of diversity and variation. This was all just very tight and enjoyable. It goes to show why Moby has stood the test of time in this field unlike some of the other ambient electronic acts that have been featured on this project.

You know, not only do I hear the birth of new wave in this music, which Elvis Costello and this album are definitely known for, but I hear what was no doubt a huge influence to the early 2000s singer-songwriter and indie rock movements. In parts, this sounds not unlike listening to something like Vampire Weekend. This was definitely better than the previous Costello album I had. In just one year and one album's time, he took a huge leap in style. But I'm still not a firm Costello believer; ultimately, I thought this was just okay-good. There are many more albums of his to go, though, so we will see.

So, k.d. lang's voice is undeniably angelic. Her soaring voice is matched with beautiful instrumentation. That said, it's honestly just one big, sad, sleepy album; it was just a constant musical valley that never reached any kind of peak of excitement. Singer songwriter music can tend to lean this way, but this album was definitely exceedingly so. The previously mentioned instrumentation is probably the biggest variation to be found here, as there are mixes of pop, folk, country, and even Latin sounds among these tracks. One outlier and exception to all of my judgment of this album is the song "Constant Craving". This closing track is the crown jewel of the album; while it is still true to the tone of the album, it really shows a more upbeat track that is not present anywhere else on this album. I'm curious about the decision to hold this until the end, but hey. This song is one of lang's best for sure. While I was ultimately lulled by this album and not particularly into it, it was still a nice listen and definitely reminded me of the gorgeous voice of k.d. lang, a voice that played heavily into influencing the female singer songwriter movement of the 90s. Probably somewhere between a 2.5 and 3 on enjoyability, so I'll just round up. It's probably fitting to round up, anyway; while it may not have amazed, I've always been a sucker for "Lilith Fair music".

I'm in no way a hip-hop expert, but I hadn't heard of Jurassic 5 before. Further digging showed that this group has enjoyed relatively little success, stateside or otherwise. Some of the more "unheard of" acts on this project have been big misses, so I was nervous about this one. Well, I was actually really surprised to find that I enjoyed this album! Arriving in 2002, this album does a really nice job of straddling the sound of 90s hip-hop and embracing something more modern in the new millennium. Even from the "modern" angle alone, this album definitely has a different hip-hop sound even when compared to other albums that were coming out around the same time. This album does not have a "hardcore" feel to it either; there is something rather laid back and at-ease about the hip-hop here. Again, I'm not a big hip-hop listener, but I would definitely recommend this album, especially to anyone who IS a hip-hop fan. It seems like it has been widely slept on, and it deserves more attention! A pleasant surprise, for sure. I'd give it a 3.5 if I could.

I will be the first to admit that the genius of improvisational jazz is lost on me; I just don't appreciate it. I will say that Miles Davis makes jazz not only ambient on this album, but incredibly ethereal. He also shows off an incredible technical talent that is undeniable. My personal enjoyment of the style and music itself is just rather low.

I didn't know this album existed, but considering I like Metallica and actually really love symphonic metal, my interest was a bit piqued by this. As far as my listening of this album went, my intention was to hone in on the symphonic part. I assume the reason this album is on here is for the symphonic aspect, after all. What I was hoping for was a true conversion of Metallica's metal to symphonic metal. Turns out, this was just okay. It ended up being more like normal Metallica with a bit of a symphony overlay, rather than having the sound "baked in" symphonic metal. There is something to be said about symphonic metal that is WRITTEN to be symphonic. Because of this, this album fell a bit flat for me. As far as additional notes, I have a couple. First, "No Leaf Clover" was the one song on the entire 2 hour album that actually had a decent symphonic treatment. Both the Metallica aspect and the symphony aspect have opportunity to shine. It was definitely the best song on the album as far as the album purpose goes. And second, having never heard a live Metallica album, I was definitely surprised for some reason that James Hetfield sounds decent live, at least on this album. But all in all, when you boil this down, what you're basically left with (from my review perspective) is a live album where Metallica is doing their music and the San Francisco Orchestra is simultaneously doing Metallica's music. Both are fine on their own, but I didn't really feel like much was added by both happening at the same time. Average, at best.

Emmylou Harris did not have as "easy" of a start as some other female country artists, but this album really cemented her place in country music legend history, and it's understandable why. This album is a very pleasant listen with a lot of dynamic and range shown on Emmylou's part. Her voice is really allowed to soar on this album, showing her off as being in league with the best of the country classic divas, all while still being her own thing. My favorites from the album were probably "Bluebird Wine", "If I Could Only Win Your Love", and "Boulder to Birmingham". Each, in my opinion, probably showcase Emmylou's talents the best on this already very solid album. And I will add that her cover of "Coat of Many Colors" does Dolly Parton justice, for sure. If country music is to be represented on this project (and it should be), Emmylou Harris is an excellent contribution. Her path was a bit different than many female country music legends, but her contributions to the genre are still many. She would go on to be an influence for many female country acts to follow. This album is probably around a 3.5 for me.

Second time was the charm, but CCR nailed it here. This album definitely launched them into stardom and set them as a fixture of a specific brand of folky bluesy rock: swamp rock. This album set an entire trajectory for the band; they would go on to make a massive career from this sound and would just continue tweaking it and developing it over time. They have an entire discography of well-known swamp rock sounds that ultimately found their start with the success of this album. Other bands who would come to seek similar sounds also found inspiration here, so this was definitely an influential album.

I mean, it's all fairly elementary. Nothing too groundbreaking, except that 90s rock is just GOOD. And I don't know what it is about Oasis, but damn, I just love their particular brand of 90s rock, combined with that quintessential Britrock drawl. And seeing as this is their first studio album, it's my opinion that they had things soooo right, even from the beginning. This album is fun, easy to listen to, and has just the right amount of 90s alternative distortion. I can't help but love it. This is a 4.5 that is getting bumped up because when this last song finishes, I'm going to start the album over.

I'm not typically one for blues type music, but Jack White definitely has a way of making it enjoyable here; he really just seems to have a lot of fun with the music he makes. Nothing here is one note, either -- White plays with a lot of different bluesy sounds and keeps things fresh from track to track. Ultimately, during a time period when blues music was not "en vogue", White finds a way to make it so. This was an enjoyable listen, but not groundbreaking for me.

Damn, what an outstanding debut album. It's hard to believe that a band could churn out such absolute timeless jams as "Welcome to the Jungle", "Sweet Child O' Mine", and "Paradise City" all on their first album, but Guns n' Roses did it. The other songs on the album, though not as big of hits, are also consistently excellent. GNR is just one of those bands that had a winning formula from the beginning. This isn't a particularly "deep" album; it's just fun music!

Ah yes, Iron Butterfly...the softer side of Iron Maiden. Just kidding. While I knew of Iron Butterfly, I don't think I'd heard their music before this album. The album itself kind of straddles a space between psychedelic (think Beatles) and acid (think Jimi Hendrix), never fully going in one direction or the other. This album was okay -- I didn't love it, I didn't hate it. It doesn't really do much to hit the 'psychedelic' nor the 'acid' angle for me. For what it's worth, the title track is amazing, but it just doesn't carry the entire album. Fun fact: This album was released on my birthday in 1968 (June 14) and I am listening to it on June 13.

There hasn't been electronic music quite like this so far! This is definitely leaning in the direction of rave music. It's a little bit edgy and dark, which I can appreciate. This really isn't my type of music, so I didn't appreciate it as much, but that said, I know well enough that this is a historical piece of music in the raver scene, and certainly deserving of some recognition in this project! Probably around a 2.5 for me, but not rounding this one up!

This album is still very well-crafted, but I just didn't enjoy the music as much as some of their other most popular albums. It's definitely on the more experimental and electronic side of their career. That said, the haunting allure of Radiohead is definitely intact here, and I appreciated hearing that. This was certainly an interesting album, it just didn't really resonate with me as much as I might have hoped.

Love the inclusion of this album! There are many examples on this project from the late 60s and early 70s, during the birth of heavy metal, from the likes of Black Sabbath and others. By the late 70s, many other bands were beginning to run with that baton and take metal to that next level, and Van Halen is one such example. Van Halen's self-titled is another one of those albums where it is always amazing and surprising to remember that this is a debut album. Not only are a good handful of Van Halen's greatest hits on this album, but their musicianship is already top notch here. Amazing instrumentation is on display all across this album, but someone need look no further than the incredibly impressive guitar solo "Eruption", which changed the entire landscape and set a new standard for guitar solos. Probably somewhere above a 3.5 for me, and definitely deserving of a boost to 4!

I don't really feel like I had any expectations going into this album, but if I had, this album would have stomped on them! KIWANUKA defies any genre specifics -- it's a little bit folk, a little bit soul, a little bit jazz, a little bit blues, a little bit rock, a little bit pop, a little bit contemporary, and a little bit classic. This is a truly unique addition to the project. Regardless of the genre on any given song, Michael Kiwanuka's vocals are consistently soulful and perfectly gritty throughout, and most of the tracks feel a tad bit ethereal, giving the entire album somewhat of a hypnotic quality. I'm glad for the chance to experience this album! I was captivated by this unique addition throughout the entire playthrough!

Look. I'm about a week behind on albums. But today is my birthday, and this album pops up. It's like a divine gift from the 1001 Albums gods. And I'm not going to NOT accept that gift; I'm gonna skip right ahead to this album. It's always been interesting to me how Fleetwood Mac found most of its renown within the span of a few consecutive albums. They released so many albums, many of which were mostly forgettable, and then hit gold with just a handful of albums in the late 70s through the 80s, only to produce more forgettable albums shortly after that. And this album, their eleventh album, is probably the crown jewel of it all. This album just gets it all so very right. Nearly every single song on this album can be find on a Fleetwood Mac greatest hits album, and for good reason. The songs span rock, pop, folk, and many things in between. The album is cohesive, and yet each song stands completely on its own without the support of any of the others. The pacing of the album is excellent, as well, with perfectly timed highs and lows. "Second Hand News" and "Gold Dust Woman" are absolutely amazingly placed beginning and end caps, respectively. Each instrument can be heard clearly and offers a significant contribution. The harmonies and melodies are excellently executed. The lyrics, music, and production are all just very top notch. With Mick Fleetwood propping a foot up and holding Stevie Nicks' hand as she dances around in her flowing black outfit, even the album art in all of its simplicity just provides the perfect amount of intrigue; I can always picture it so clearly in my mind when I think of this album. Simply put, Rumours is excellent and timeless across the board. I've heard this album so many times, was still excited to get it on this project, and am now going to keep listening to it. This is just one of the best albums ever made, and the easiest 5 I will probably give on this project. Happy birthday to me!

I was surprised just how different this album was from the previous Joni album I received on this project. This was definitely unique, and a very interesting blend of singer-songwriter and jazz stylings. Again, Joni comes through with outstanding songwriting, each song playing like nothing less than a sung poem. Not my favorite Joni Mitchell album that I’ve heard, but it was nice, nonetheless!

Considering the direction that hip hop and rap was going at this point into the 1990s, this is really quite different than a lot of what was coming out of the genre at this time. The music found here when compared to other rap albums of the time is generally more progressive, sometimes jazzy, and definitely a bit psychedelic in parts (no surprises there given the album cover). The lyrics are also generally much less violent than a lot of the rising era's gangsta rap. While this has been a less traveled road in hip hop, this album definitely sent a message to hip hop artists that going more "artsy" with their craft is okay, too!

This was okay, but ultimately just not for me. It all came across as kind of lo-fi hip-hop. In any case, every song mostly sounded the same to me and I was left rather bored. Plus, I'm already not the biggest hip-hop fan. Wu-Tang Clan absolutely deserves a place on this project, but I'm just not into them myself.

I am typically a fan of new wave, but I wasn't particularly wowed by this. I found it intriguing, but definitely not something I'd likely listen to again. I'm starting to realize that my preferred brand of new wave is the type that is influenced by and fused with pop and rock sounds. This album is definitely more space age-y and experimental, which is what I would imagine more pure 'new wave' music to sound like, without the influence of those other sounds. This was probably a 2.5 or so for me, so I guess I'm bumping up.

Very experimental, even in the psychedelic space. It's clear that this band was enjoying some acid throughout this process. That said, more experimentation in an already experimental space just doesn't seem to be for me. This was a mess.

This definitely sounds like a mashup of many 90s things. I think they could have benefitted from some focus, because this mostly just sounds like messy noise. Again, as someone who enjoys 90s music maybe a little too much, I baseline found this to be listenable. But did it have wow factor? No. Aside from the writer of the 1001 book clearly having a strong affinity for British rock/pop, if I had to guess why this album is on here, I'd guess it's because it slightly predates mega forces like Oasis, who dominated this particular space, and is therefore kind of a progenitor of the sound. But I've had my complaints before about the author glorifying so many albums just because they were prototypal of a certain sound or movement. And the inclusion of this album feels like another instance of that. From a historical perspective, the prototypal sounds and albums are interesting, but it's always debatable whether or not such albums need to be heard "before you die". Anyway, it was okay. But nothing great.

Golden Years! It's easily one of my favorite Bowie songs, so I was eager to give the entire Station to Station album a listen. And it did not disappoint! Like "Golden Years", this entire album is full of funk. In my opinion, Bowie + glam + funk = a very winning combination. That said, in true Bowie fashion, even though this album has a lot of funk in it, he keeps things eclectic by making each song feel different from the other. This album comes in at less than 40 minutes, and manages to strike a perfect balance. It neither overstays its welcome nor does it feel incomplete. I wouldn't have said no to more, though! This is among my favorite of Bowie, and in my opinion, also easily among his best in a large discography.

It really is amazing that Creedence Clearwater Revival tapped into such a winning formula and then released three subsequent albums around it, with "Green River" being the second among them. Seeing as it was recorded and released not long after the outstanding "Bayou Country", "Green River" certainly feels like its spiritual successor. This album contains more of the same kind of outstanding swamp rock that made this band so unique and great. They just continue to utilize and perfect their signature sound here. I don't have much more to say that I didn't already say in my "Bayou Country" review. Again, just more of the same great stuff, maybe even slightly better!

I think I liked this Talking Heads album more than the previous one I received, but I am still not very enamored with them. I'm not sure what it is, but they just mostly come off as boring and sleepy to me. Don't get me wrong, I absolutely love everything about "Psycho Killer"; it has been my long-standing favorite Talking Heads song, but the rest of the album just didn't live up to the hype that this song gives me. I will say, Talking Heads have always sounded very distinct to me, and on this debut album, that sound is just as present for them as it is on later albums. So again, props to a band who knew their sound from the very beginning. It just turns out that I'm discovering that that sound is mostly not for me. If I was JUST reviewing "Psycho Killer", this would be an easy 5 stars, but unfortunately the rest of the album drags the rating down for me.

I wasn't aware of John Cale and was surprised to hear this side of a founding member of Velvet Underground. This was okay, but I wasn't wowed. I felt like the album took off pretty slowly and just never really gained momentum. Production quality was also fairly low. The artistic, orchestral quality was neat, as were a lot of the lyrics. Ultimately, it's listenable, I just didn't really vibe with it.

I love that in the late 80s when everyone was still obsessing over hair metal, Jane's Addiction was leading the way in 90s alternative rock sounds, especially grunge sounds. This is definitely a more chaotic, less focused alt/pre-grunge sound than would come around with bands in the 90s, but you know what? This style really seems to work for Jane's Addiction. You can tell that they were really pushing the alt angle as every song on the album is a little odd, but it all mashes together to make a fun little mess.

This was, simply put, a fun album to listen to! It was very funky and full of Latin flair. I loved the addition of tropical sounds on this album, as well. Jorge's vocals were great and added to the overall great and fun vibes of the album. No two songs are alike and yet the energy manages to stay consistent all throughout. I would definitely go so far as to say that this has been one of the best albums under the 'world music' umbrella that I have heard on this project thus far!

This truly was a funky album with plenty of psychedelic vibes, which comes as no surprise considering its arrival at the turn of the decade. There is lots of outstanding guitar work in here, too! While I won't necessarily say this album blew me away, it was certainly an interesting and fun listen!

This is one new wave band that I have never bothered to check out outside of their huge hit, "Don't You Want Me". All throughout, this is fun new wave that is extra heavy on the synth (and man, are there some excellent synth hooks in here)! I imagine the heavy is due to what is some obviously strong influence from the German electronica space. This also definitely has a David Bowie quality to it that is undeniable and unmissable. I would say the album as a whole is a bit eclipsed by and doesn't quite reach that same peak as "Don't You Want Me", but still a fun ride in early new wave space!

This is a short, sweet, and REALLY good soul album. Each song is given incredible care and depth. Al's voice is outstanding, full, and emotional on every track. Like the best soul singers, Al Green makes you feel what he's feeling. Most of the tracks here are written by Green, too! He's definitely a triple threat on this album. Coming in at just over 34 minutes, this album leaves you satisfied but wanting more...a good place to end up, I imagine!

This was incredibly easy to listen to and as smooth as butter. The intersection of jazz and samba styles is a great intersection, in my opinion. I don't really have any notes for this album, other than that it was quite a pleasant listen.

The Cars absolutely come out swinging here, making this another excellent debut album! The album is chock full of amazing songs, many of which would go on to be big hits for the band and very solid and lasting examples of the new wave movement. Some bands during this time period used synths ironically -- that is, they sounded corny and they know they sounded corny. However, The Cars find a way to make it all sound very cool. I'm not sure what it is, but in a sea of other new wave bands and songs, I can always pick out The Cars. Definitely a great album!

This is quintessential 80s metal and I love it. The fast and tedious guitar work, the soaring, almost operatic vocals, the heavier lean into demonic and occult symbology, all of it. And really, Iron Maiden is to be thanked for a lot of that, anyway; if Black Sabbath is thought of as the "progenitor" of metal music in the 70s, then Iron Maiden was definitely a leader in progressing metal music through into the next decade, and this album is a testament to that work. Even just focusing on "The Number of the Beast" and "Run to the Hills", two of the most well known metal songs ever, demonstrates the long-lasting and transformative impact on metal music that this band and album had. Also, up until this album, Iron Maiden had trouble in maintaining a lead vocalist, and therefore experienced trouble in establishing a vocal foundation for their band. This is Maiden's first album to feature iconic lead singer Bruce Dickinson, an inclusion which led to songwriting that was tailored toward his style. Ultimately, I believe his unique vocals were also paramount in cementing this band's fame. His vocals were also iconic in the progression of the metal movement, as many people would go on to mimic or be inspired by his voice. What a shining star this album is in metal music history. This is simply one of the all-time absolute best metal albums, and just an outstanding album in general.

This was an interesting thing to hear, honestly. It sounded like typical 90s Britpop, but done by someone who really wanted to sound (musically and vocally) like David Bowie. It's like a little window into an alternate reality where David Bowie blended into the typical 90s Britpop craze. The album was definitely not bad, but I could have probably gone without it, especially if I was just thinking about David Bowie the entire time. Probably a 2.5, but not enough to bring it up to a 3 in my opinion. On a sidenote, there is just SO MUCH average 90s Britpop on this project.

Dolly Parton is a country music legend deserving of her spot on this project! She only has two albums on this project, the other with other country legends -- the fact that her work spans decades and has been so influential in the country-pop crossover spaces makes that seem almost criminal. But if you're only going to include one album, this is definitely a top contender, though it would not have been my first choice (probably my second or third, though)! In any case, Dolly's voice is so incredibly sweet on this album (as always!) and her songwriting is strong; she weaves strong and relatable stories here, some of them obviously inspired by her own life. This is overall a light and easy listening album, not to mention quick and to the point, coming in at just over 30 minutes! Dolly is ALWAYS like an early morning breeze!

It was nice to hear some electronic music circa the 90s that was utilizing Indian/eastern sounds AND was actually BY someone of Indian heritage, rather than just a westerner utilizing the sound due to its exotic-sounding properties. There are definitely some similarities to the two approaches, but also a fair bit of difference! Ultimately, I'm not quite sure what led to this album being included, but it was a good listen, in any case.

Rufus has a nice voice, and I know him from his stunning cover of "Hallelujah". But honestly, this album was a little bit more sleepy than I was hoping. It definitely started to put me to sleep after a while. It had an interesting cabaret-esque quality to it without fully leaning in to that motif. It was an okay album, if not a tad bit boring. 2.5.

This album definitely marks a transformative moment, both for Taylor and in music. Taylor's previous album, Red, saw her diving unapologetically into pop music while still maintaining some of the country aspects she had been known for. 1989, however, was the moment where she left country music behind in favor of a full-fledged pop sound. It's also around the time that she took off as an international sensation after already being a noteworthy country-pop musician. Many other country musicians, especially throughout the 90s and 2000s, dabbled successfully in pop sounds. But nobody committed to it so fully and with such extreme success as Taylor Swift. The Taylor Swift movement and listener influence that dominates today definitely took off here, making this quite a noteworthy album from that perspective. The pop music found here isn't really anything different from or groundbreaking when compared to the typical pop music of the time, but Taylor just gets the formula right and has maintained that status quo. In addition, she does a great job here of playing with a lot of different sounds; each song has its own distinct catchiness. While this is what I would call her full unadulterated debut into the pop world, I also feel like it's still her best to date. She clearly had a knack for pop music that was waiting to burst out.

Again with the 90s Britpop. On a base level, I liked this album okay. Most of the songs had a lot of soaring, dreamy instrumental moments along with juxtaposing moments of instrumental chaos. Personally, I did like that sound, even if it did at times feel a bit repetitive across the album. One thing I will acknowledge is that this came out in 1990, which is one of the earliest examples I can think of where this particular Britpop/90s alt rock sound is in play; I would have definitely guessed this album to be a few years older. Maybe for that reason, this album deserves a place on this project. At the end of the day, I think the sounds that this band dabbles in on this album ultimately ended up being used more and better by other bands during the decade, likely resulting in this band falling into some degree of obscurity. I liked this okay, but it started to drag for me the more it went on. A very average, middle-of-the-road 3 for me.

A few artists truly pioneered the outlaw country movement in the late 60s into the 70s, and Merle Haggard was certainly among those; this is true outlaw country representation! While a bit of an oxymoron, Merle Haggard is in the outlaw country elite. Even when compared to country outlaw "founders" Waylon Jennings and Willie Nelson, Merle often came across rougher, grittier, grungier, and overall as a stronger example of the outlaw vibe. While I would say that Waylon and Willie have had some success outside of the outlaw country sphere, Merle didn't see his first major success until this album, arguably his first outlaw country album. Essentially, every song on this album is dripping in that folky, bad boy "outlaw" vibe. The impact here can not be overstated, as outlaw country artists like Merle have inspired countless other country artists that have emerged since to sing about grittier, more rebellious, less "polite society" topics. Listen to just about any country song that emerged after this major outlaw period and you can hear Merle's and other outlaw country artists' influence. Hearing this album leaves no doubt as to why Haggard has had a long-lasting, now immortalized place in outlaw country fame. A great inclusion showing a very specific and very popular movement in country music.

While I might have guessed that Lenny Kravitz would be on this project, I wouldn't have guessed it would be this album. This album contains virtually none of the songs or sounds he's really known for and contains all of the funk/R&B/soul material that by this point in 1989 had already been done time and time again and seemed a bit derivative. Nonetheless, Kravitz is really quite good at embodying the spirit and sound of this era while still giving it a bit of a fresh sound, so it was an enjoyable listen for people who appreciate these timeless sounds in any decade. I will say, if anyone was going to make genres from the 60s and 70s sound cool in what was almost the 1990s, it would be Lenny Kravitz. Not specifically sure why, but "Rosemary" was such a needed Monday morning jam, so props to that, for sure!

The political and social commentary is so important. It's unapologetic and continually relevant. Musically, I just couldn't get into it.

So, I made the mistake of reading that this was acclaimed to be more "mature" in the vein of Tori Amos. As a Tori Amos fan, I then set some expectations that ended up being a bit unfair. In reality, this album ended up kind of boring me and didn't really have a lot of the bizarre highs and lows that a Tori Amos album has; it just kind of stayed mellow and a bit one-note for me. Ultimately, though, this is another first album from an artist where they knew what they wanted to do and they did it, which is cool. Fiona would go on to take this chamber pop template and become a star in that genre, so props to her!

You know, if I were to have a subgenre of jazz that spoke to me, it may very well be west coast/cool jazz. The more mellow aspects of jazz that "Time Out" offers was a pleasant, peaceful, lovely listen. I appreciate how forward the piano is on this album, and its interplay with the also forward trumpet. Again, not a huge jazz fan, but I can't imagine cool jazz getting much cooler than this.

I won't lie, when I saw the album cover art, the decade, and Steve Winwood's involvement, I was hoping this was going to be a yacht rock album. I was unfortunately mistaken. There were various parts of this album that intrigued me at different points...some of the experimentation, the funk sounds, the vocals, Steve Winwood's musical fingerprints. But none of these ever quite fully came together in order to make me like any of these songs, or this album.

Okay, so I enjoy metal music. But I guess I draw the line at thrash metal because for me this album is NOT. This had elements of Metallica's style, but without any kind of discernible beat. That said, this arrived in 1986 and clearly sets a standard for more hardcore thrash metal that would take on a life of its own into the 90s and 2000s.

While this wasn't ultimately my jam, I just love how Fela's music is steeped in cultural heritage. It makes for such a fun and unique listening experience!

Here we are again with what feels like an insignificant inclusion of a live album. Yes they sound good, yes it's fantastic 70s hard rock, but does it seem like a significant live album, enough for its inclusion over other Thin Lizzy albums? Not really. So why not just a greatest hits album, if they were going to include this? I don't know. Anyway, I digress, but I enjoyed this so have your stars.

This album was okay, but it had its interesting moments. There is clearly some rap-rock influence here from groups of the 90s, but they find a way to make it their own. There is definitely a unique, cool funk sound and vibe to this album, too, especially noticeable on "She Wants to Move". These aspects definitely sounds like signature Pharrell Williams, demonstrating that his style goes back further than just his solo career. Speaking of, I had no idea that Pharrell Williams was involved in a band (let alone two bands!) prior to his solo career. That was fun to learn!

This was a fairly unique listen in so much as that it really seemed to live somewhere between the new wave of the 80s and psychedelia of the 60s. It's definitely not bad, but overall, I was pretty underwhelmed with the album. Anyway, this was a fairly unique sound, but without much delivery power.

I was surprised when this album popped up and I saw the Heroes album cover, just slightly different -- I had no idea that The Next Day's album cover was the Heroes album cover from nearly 40 years prior, just intentionally modified. Very "artsy", and seems like a typical Bowie move! Really, this is a good, enjoyable album. Like most Bowie stuff, at the time of release, there was nothing else on the charts that was really quite like this. So even in 2013, he was still unique and in a class of his own. However, holding this to a David Bowie standard, the album does feel a little safe and vanilla. All that said, with so much other Bowie stuff on this project that is superior (in my opinion), I'm not sure why this is on here. At the time that this came out, it was the best album that Bowie had released in many years. So perhaps, overall, this album's inclusion stands as an acknowledgment of a legendary artist's ability to fall and then rise again, all while maintaining a uniqueness about him that seems almost untouchable. This album definitely lands somewhere in the 3s for me, continuing Bowie's inability to learn less than a 3 from me!

I wasn't familiar with most of the songs on this album, so I was surprised to find Stevie Wonder in somewhat of an experimental, progressive form here! This album strikes a very lovely balance between funk and soul and maintains that all throughout. This not quite a 4 for me, but I really want to give this more than a 3. So rounding it on up! This is just an incredibly well done album from start to finish.

Heh. So, here we are. One of the most highly regarded albums of all time...no doubt even the MOST regarded album in many people's opinions. And I don't like it. I fully understand this album's influence on modern pop music, and even its significance in the psychedelic music spaces. But for the most part, this album just drags and is uninteresting. To me, it sounds like an LSD trip, which Wilson cited as a big influence, anyway. I found myself wishing all of the other songs were more like "Wouldn't It Be Nice" and "God Only Knows", as these songs are outstanding and the crown jewels of this album, as well as among the crown jewels of all Beach Boys work. But no, the rest of the album felt a bit disjointed from these songs. I want to love this more, but it's just really not for me. This may be my most controversial score to date, but here it is. It 100% deserves a spot on this project, though, of that there is no doubt.

It was nice to get a "fresh listen" on some of 25 again. Considering Adele was already a superstar following the incredibly well received 21, so many songs from 25 just immediately soared to #1 on radio charts and were just being played nonstop. It's been 7+ years since then, and I'm also someone who has more or less dumped listening to the radio. I have always thought "Hello" was an interesting album opener. It carries with it a lot of emotion and is overall a very powerful and beautiful song. It also seems to convey a bit of a reintroduction to Adele; she's letting the listener know upfront and immediately that she's not the same person as she was on 21. Ultimately, in keeping with elemental descriptor words, I would say 25 when compared to 21, is a more watery, less fiery soul album. It's generally more soft, peaceful, and reflective. As a result, this album ultimately has fewer "bops", but either way, Adele's raw vocal talent and skill are very much intact on what is a very well-crafted and well-sung album.

I knew of the Cocteau Twins, and have heard a couple of songs over a span of years, so I knew more or less what their sound was. I still found myself wowed with this album. This album kind of struck me as a "softer side of Sears" type thing; it has new wave, goth, dark wave, and synth pop aspects, but all of them are mellowed by the overall ambient, ethereal, vibe. You can hear the inspiration from other bands who dominate those genres, and yet Cocteau Twins somehow still make this all very uniquely theirs -- they don't sound quite like anything else. Sometimes on this project, "ambient" can ultimately amount to "put you to sleep", but not here; the ambiance really adds to the vibe and it just works here. Rather than the music putting you to sleep, you already feel like you're IN the bizarre, ethereal dream, which is much preferable! Another thing that keeps the album from being "sleepy" is the fact that songs are not one-note; everything has a distinct vibe and intrigue factor. The way the vocals are sung here are also intriguing. The words are not super clear, but that doesn't hurt the album, in my opinion. Instead, an already rather spectral sound is enhanced by what sounds like lyrics being sung in an alien language. All in all, a lot of weird things just come together here and make this album cool. I really enjoyed this!

Another intro album from a legendary band! They're definitely leaning more into their psychedelic and power pop roots here; they hadn't solidified their hard rock sound yet that they'd ultimately become more famous for. If you listen closely, though, you can hear elements of that sound. I think this is a good, worthy exploration because it shows the solid, talented roots of one of the top rock acts of all time, but ultimately, the music here is just okay.

Oh, the album that really kicked off the solo MJ craze. It's an interesting album from a Michael Jackson perspective, because it's definitely the crossover album between the Michael of yesteryear (think Jackson 5 Michael) and what would become the innovative king of pop who leaned into a lot of different, cutting edge sounds. So, from that perspective, this album is a culturally significant breeding ground. Musically, this album is enjoyable, but it's nothing new. By 1980, the soul, R&B, disco, and funk movements had all been well worked over (partially by the Jackson 5, no less), so while this is well produced and as smooth as butter, it's more of the same. Again, the significance of this album is more around how it finally put a soon-to-be solo phenomenon on the radar. And you do get hints of those famous Michael-isms on this album, but he's still getting his feet wet at this point. But nonetheless, even though this album is not necessarily innovative, Michael was just really GOOD at what he did. This album fuses and plays with all of the above genres and he shows mastery over all of them. It stands as a display of his ability to touch something in the music world, make it his own, and be the best at it. So despite the "nothing new" stance here, this album is great for that reason. Probably a high 3.-something for me, so an easy round up to 4.

The Butthole Surfers surfed too far in and discovered a steaming pile of crap. That's it. That's the review.

I'm not a very big fan of jazz, and my reviews on this project thus far pretty much reflect that. It's just not typically my thing. But man, there is something about Amy Winehouse. She is such a strong vocalist. Despite its improvisational roots, jazz has the tendency to seem so pristine. But beyond just her appearance, Amy was able to bring a little bit of a messy, gritty, raw, unfiltered sound and tone to what is otherwise kind of regarded these days as a "classy" genre. This was a strong debut album during a time when jazz was definitely not the focal point of music. And while this album was mostly setting a stage for the album and the subsequent sensation to come, there is still a clear demonstration here of standout jazz ability in the 2000s.

This was primarily a soul album, but with a significant amount of groove and funk to it. The way that all of the songs flow into the next works incredibly well here considering so many of the songs are topical and addressing social issues. Most of the Marvin Gaye that I have heard is 60s era Martin Gaye, so hearing this was like experiencing a new side of his music for me; I definitely feel like he's moved on to trying something a little different by this point. That said, his music does seem a little bit "darker" at this point, which makes sense, considering the transition from the 60s into the 70s. Marvin Gaye was always very smooth in the 60s, and he shows here that despite a change in genre, topics, and overall mood, he just STAYS smooth.

This was okay. It had the dark energy of goth music, and it definitely has that "haunted" quality that tends to be synonymous with goth music. That said, it just wasn't that entertaining.

I think this KISS album definitely seemed to mark a turning point in the band's work that would ultimately lead to further work that would become bigger standout songs in their discography. This album, however, is not very interesting. "Detroit Rock City" is a fun song, but it really can't carry the whole album. The rest of the album has moments of cool guitar riffs, but the song construction and singing all ultimately feels pretty lackluster. Even "Beth", which is praised for its orchestration, isn't even that good when you look at the rest of the pieces of it. KISS, in my mind, is mostly a spectacle anyway with very little actual substance or intrigue. While this album paved the way for some of their bigger hits, there's virtually none of that here. Just not that interesting.

What stood out the most to me about this album is the fairly unique instrumentation. I couldn't help but listen in for all the musical tidbits that are in this album, leaving me thinking "huh, what an interesting sound!". You can tell where this album would be the predecessor both chronologically and spiritually to Graceland; the music is slightly out of the norm, a little bit experimental, and probably fairly risky for pop music at this time. The instrumentation is definitely what keeps this album from flatlining, but even then, the album really struggles to find any soaring moments. It's not bad by any means, but it's also not outstanding. Probably almost a 3, so I guess I'll round up.

My last remaining PSB album on this project, and easily my favorite of the bunch. The synth here is heavy and yet chill at the same time. It just has such a "cool" about it. The "heaviness" may come from what seems to be a slight lean toward industrial synth on this album. In any case, I really enjoy it. I don't have many thoughts on this album, but it was a great listen! 3.5-ish getting rounded up!

I've lost count of the number of Dylan albums I've heard on this project. Still don't enjoy him. This particular album was a harmonica-filled fever dream.

Listening to this, it is really obvious that Anthrax was inspired by acts like Metallica, Judas Priest, and so on, but that they wanted to take that to a heavier level. In that, they do incredibly well. That said, I don't feel like they reach the same heights as those who inspired them. This was okay, but not great. I think it would come in at a high 2.-something, but I'll make it a weak 3.

This felt very lazy and sunshine-y. Everything about it suggests a warm, relaxing day. It was short and sweet and to the point. Overall, very listenable and chill -- not bad at all! But at the same time, I wasn't wowed by it, either. You don't hear Jamaican/reggae-inspired indie everyday, so it was unique, but not sure it needed to be on this project. And when it comes to things on this project, I expect to be wowed.

My previous album was an indie-reggae album that was okay, but left me questioning its impact and purpose on this project. This album is the complete opposite. Bob Marley's impact on music can't possibly be overstated; he brought attention to the genre and cultivated quite a musical following among Westerners who did not already know of reggae. While he certainly is not the only musician to do reggae, and many go unrecognized, he did a lot for furthering people's exposure to the genre, and many regard him as a king of reggae. I am not informed enough on reggae to comment on that, but he does set a high bar! The music here is exactly what I expect of reggae. I am also not informed enough on Bob Marley as a whole to know his discography, but when I think of him and his music, the contents and overall stylings of this album are exactly what come to mind. Surely this is Bob Marley at his finest. This is the kind of the reggae "required listening" I expect to see on this list!

I found myself very torn on this album. On one hand, I really like the post-grunge, edgy sound that PJ Harvey is playing with here. On the other hand, I just don't quite get what is so great about her songs and her vocals? Despite some good instrumentation, the vocals just come off as anemic and a bit grating. I definitely don't understand why this project has SO MUCH PJ Harvey on it, either. Again, I will mention that she puts a lot of raw emotion into her songs and it comes across strongly, so I can appreciate that. From a variety perspective, this album does have quite a bit of it. There's edgy, there's singer-songwriter, there's piano pop. I think this is a weak 3 for me. It's the best PJ Harvey I've heard on this project, but that also isn't saying a whole lot because I still just don't care about it all that much.

I had never listened to Solomon Burke before! He has a lovely voice and is an incredibly capable singer. At times, I even heard what sounded like Elvis in his voice. This album was a little monotonous and all the same for me. In my opinion, it lacked much variety, sound-wise. But when you're a forefather of soul, I guess there is no reason not to just focus on what you're good at! The lyric writing was excellent.

1001 has been throwing me a lot of soul in the last couple of weeks, not the least of which was another Marvin Gaye album. If I'm being honest, I was kind of bored with this album. It was incredibly smooth, and the soul was there no doubt, but it just didn't have a lot of energy. It makes sense, given the context of this album, but still. While this album had some funk elements to it, even the funk seemed subdued and depressed. Again, he was hit hard by his divorce, so no judgment here.

Here I was thinking Manassas was just the name of the album, but it is actually the name of the band too, fronted by Stephen Stills! I had never heard of this Stills project before, so I was certainly intrigued. I was not surprised to hear the folk, country, blues, and rock influences on this album. What I was surprised to hear was the touch of Latin sounds permeating this album! Speaking of the Latin sounds, Side A on this double album was dedicated heavily to that sound, I noticed, with other sides focusing in other areas. It was a neat way to organize the album by themes, and yet even when considered as a whole the double album sounded altogether cohesive, too. I can see where this album was incredibly influential, too. Arriving in 1971, nearly all of the genres on display here seemed to be in incredibly "mature" forms...all of this sounds like music from much later in the 1970s. It's wild to think that this multi-genre album was likely influencing the future of ALL of the multiple genres represented here. There are a lot of band members here, and they're all great representatives of their particular role in the band. This is a full-sounding, well done album. I'd rate it higher than a 3 for sure, but not quite high enough for a 4.

I'm not a huge fan of hip hop, and I didn't absolutely love this. That said, I appreciated M.I.A.'s take on hip hop here. The first time I ever hear M.I.A., I remember thinking "wow, this is definitely an alternative form of hip-hop". That thought holds up all these years later on this album. Her style is highly influenced by electronica and world sounds, and she does a good job at making those work. Overall, I really loved the style. The execution here is a little bit lackluster for me, though. This (or at least something of hers) definitely deserves a spot on this project for being a part of pioneering this sound, though. Probably around a 2.5 for me, but not wowed enough to round up.

Progressive rock, indeed! I was baffled that this came out in 1971, and yet it seems so ahead of its time. It's experimental, but not in a "trying to be different" kind of way -- more like, they knew and influenced the direction that some rock music would take. Really cool! Many of the songs seemed to contain multiple ideas or "motifs" in one song -- like a separate song within a song. Yet it never felt forced nor out of place. This was a diverse album with lots of interesting stuff to hear; there was certainly never a dull moment!

I was rather indifferent about this album. It reminded me of a few different alt-hip hop/rock/funk and adjacent acts from around the same time...RHCP, Beastie Boys, and even Sublime at times. Mostly I would say this just had kind of a "chill" overall vibe about it, but the lack of overall variety in song pacing and tempo made it rather boring. In any case, none of this really stood out to me. Not necessarily bad, but definitely forgettable for me.

Very chill, jazzy, electronic Latin-infused music here. I wanted to like it more, but I think maybe my appreciation for Latin sounds was overrun by my indifference on this style of jazz and electronic music. Either way, it was interesting, but I didn't really feel blown away by this.

This was a wild ride, unlike anything else I've heard on this project, or anywhere else for that matter. Everything on here is quite bizarre, and yet in a very listenable way. No two tracks were alike...there's just so much uniqueness here. This is yet another album where it seems newer than it really is; it sounds much more recent than 1981. I suppose this only serves to paint a picture of the evolution of funk into new wave, and how new wave likely came to be. What an odd but surprisingly enjoyable slice of music this is!

This album was okay. Definitely was picking up on some mid-90s alternative British rock (Oasis, for instance), but before Oasis. I had never heard of this band, so was intrigued to see a possible inspiration for bands like Oasis. Overall, just okay, and I don't know if it needs a spot on here, but fun to hear some probable history/inspiration. Almost a 3, so might as well.

I remember when this album came out, and it was SO surprising at the time. The revival of alternative garage rock and southern rock sound was so fresh. I have memories of commercials and advertisements using songs from this album because it was just so sonically different than the majority of music at the time; it was ear-catching! These guys would definitely go on to inspire MANY 2000s and onward alternative rock bands. The almost drunken slur of the lead singer of this band is so iconic at this point, making it easy to pick out a Kings of Leon song. There's just a lot of raw grittiness on this album, making it a fun, energetic listen. Even all these years later, after many bands have taken their influence from this album, "Molly's Chambers" is absolutely owns as an example of this genre revival. A great debut from a band that has been a lasting staple on the alternative rock space of the 2000s and beyond.

This album was a turning point for Incubus. This third album officially put them on the map and produced several of their best songs and just generally well known and appreciated rock songs. This album was a turning point for nu metal in general, too. While this is technically nu metal, it is a bit on the softer side than other nu metal acts. This is paramount for Incubus' musical success, because this really allows their funky aspects to show through more. They're like a slightly more metal-leaning Red Hot Chili Peppers. And that is a surprisingly untapped area; it has given Incubus the perfect area to shine in. This band and this album are by no means THE quintessential nu metal act, but they certainly cemented themselves here as a powerhouse act at the forefront of the movement. Songs like "Stellar" and "Pardon Me" are easy 5s in my book, standing as amazing examples of Incubus' best work, and as outstanding examples of alternative rock and nu metal, in general. The rest of the album is good, but just not THAT good. This comes close to a 3.5 for me.

As far as punk goes, I think this is how I like my punk. It has an obvious attitude and feels rebellious in nature, but it's not incoherent. The even less incoherent, even less produced punk is still valid punk, obviously, it's just not for me. I would use the word "energy" to define this album. Each track has a lot of energy and aggressive emotion behind it. I obviously don't need to state how influential this album was. It's wild to think about the level of influence one band with one album had on developing and furthering an entire movement. And unlike other bands that "started" a movement but weren't that great at it, Sex Pistols actually hold up from a punk perspective. It would have been nice to see where they went over the years and how they influenced music further.

I don't think I've ever paid that much attention to the release date of this album, but I was genuinely surprised to find the year 1987. This HAS to be a jumping off point for 90s alternative, without a doubt. It sounds so much like the 90s that it hurts. I'm not overly familiar with them, but R.E.M. does a good job on this album of being eclectic but in an orderly way. There are strange vocals, strange instrumentals, strange tempos, strange lyrics. Things are unique, there's a lot of versatility from song to song, but there's also decent production behind this album. In any case, this is the sound I associate with R.E.M.

Even better than their debut! At this point, Run-D.M.C. has settled into their sound and know exactly what they're doing. The energy is HIGH on this album, and it is simply put, just really fun. Yes, it's a little cheesy, but that's okay. No it doesn't sound brand new, but it still sounds surprisingly fresh to me, all things considered. Where their debut album began the change of course for hip hop and hip hop infused music, this album was the mic drop on that movement. I think this rates a high 3 for me, so it's getting rounded up. Definitely an album that has earned its accolades, regardless of how you feel about the music or the genre.

I know Coldplay gets a bad rap these days, partially due to their music, and partially due to Chris Martin. However, back in 2000, when Parachutes appeared, they were an incredibly unique act. Not only was this their breakthrough album, but they brought the sound of chill, indie rock more into the mainstream and influenced other bands and singers to adopt a similar sound. People's larger appreciation for this sound and Coldplay's major success started here. Back then, Coldplay had an ethereal, surreal quality about them, and Chris Martin's voice was mysterious and a bit haunting. Again, this is on full display in this album on incredibly well known songs such as "Shiver", "Yellow", and "Trouble". I can see where some people might find this to be too chill and ultimately too boring, but I find that they have just the right element and level of oddity to their sound that it keeps me engaged. This may not have been Coldplay at their most famous, but in my opinion, it was Coldplay at their absolute best and most influential. Not quite a 4, but a high enough 3 for me.

I find the blatant rip-off of the "Let It Be" album title to be hilarious, and particularly appropriate for a punk-adjacent band; it's brash and it lacks all sense of decorum and reverence. There is a lot of diversity and styles on display in this album. For instance, as songs, "Tommy Gets His Tonsils Out" and "Androgynous" couldn't be further from each other. One is heavy hitting musically, the other is more like a piano cabaret ballad. The similarity that brings them together still is the fact that both still manage to be rebellious and outspoken; they carry that punk spirit, just in different ways. The Replacements are definitely nothing if not multi-faceted. They find several ways across this entire album to convey that punk spirit. It's diverse and it's clever. I liked this quite a bit! It definitely kept me interested and on my toes!

Probably the most interesting thing about this album is that it's mostly got that typical 60s psychedelic Beatles-y vibe, but then BOOM, all of the sudden you're randomly hit with Groovin' (the song). Groovin' sounds and feels like it could have been released by one of the great soul masters of the time. Supposedly, soul was kind of their "thing", but Groovin' (again, the song) was undeniably their biggest success in the genre. It's a brief 2 minutes and 30 seconds before the album goes back into the previously mentioned psychedelic vibe. You can catch hints of the soul sound in short little moments throughout the other songs that are mostly dominated by that attempt to be more like the Beatles. It's honestly kind of odd how it all shakes out, albeit still baseline enjoyable. Also a brief note on "You Better Run": I had no idea this wasn't a Pat Benatar original song. She has such presence and attitude that lends such believability to the song, it's easy to see it as "her" song. Here, it's really hard to take it as seriously coming from these guys. Do I REALLY need to run? In any case, it's cool to learn something here. Anyway, this album is fine, but pretty average when compared to the abundance of groups and bands that utilized this sound during the time.

When I saw the album title, I was definitely hoping for more Latin samba and less bossa nova. But we don't always get what we want. There was nothing bad about this album, but also nothing particularly noteworthy, in my opinion. In particular, I did not need the marching band song.

So here's the thing: I wasn't particularly wowed by this album. I didn't think it was anything worth "writing home" about. That said, I was very intrigued by the execution here. Everything was incredibly, uniquely done, and I found it surprising that this album came out in 1973. The album itself didn't really do it for me. What I WILL say, is that I am intrigued with this band, looking at some of their work and album covers from across their discography. Despite not being particularly wooed by this album, I AM curious about this band; I think I will check out their greatest hits and get a wider view of who they are. So that's something!

I definitely got Beck vibes from this, so I was glad to read the comments and see other people feeling the same way. This was definitely a curious album that didn't really fit quite into any one genre. This wasn't a bad listen by any stretch, but it was also incredibly average. I was left feeling pretty indifferent about it. I GUESS this is a very middle-of-the-road 3?

Definitely not as bad as some proto-punk I've heard on this project, but still just confirmation that the proto-punk genre is NOT my genre. These guys clearly influenced and inspired the more mainstream, major punk game, but they fail to do much else, at least for me. This album definitely captures the rebellion against maturity aspect of punk pretty well, in my opinion. But yeah, not much else stood out to me about this album.

This is arguably the most popular and maybe the most important "MTV Unplugged" album ever recorded. And with good reason. Unplugged albums were often used as a method to just replay hits, but acoustically. There wasn't always a real purpose in these recordings. Nirvana sought to do something different, so they recreate their songs in a way that was befitting of the "Unplugged" style, and the results were an absolute success. You have these songs which are heavy hitting grunge songs, but they've been stripped down. Beyond that, they've been reimagined, and they're not the same songs anymore, not fully. All of their songs in this format are transformed to somewhat of an eerie, alternative, dark folk rock style. The imperfections (Cobain's voice cracks and struggles, mic feedback, and so on) just seem to complement their work here, rather than detract. Cobain adopts a much more melancholy vocal style, and again, it works well here. The pure emotionality of Cobain's lyrics show through in this format. Overall, the band uses this platform to show that folk can be gritty, too. Another joy of this album is Nirvana's outstanding covers of "The Man Who Sold the World" and "Lake of Fire". These are two songs that they managed to breathe new life into and did both of them justice. These songs were never studio recorded by Nirvana, so they finds ways to give these songs an extra shine in this unplugged format. Not only is this album one of the best examples of an "unplugged" album, it's just an outstanding example of a "live" album in general. It's not just a rehash of their work ad nauseam (this is a common complaint of mine for live album inclusions on this project); they try something new here and it pays off. While Cobain wouldn't live to see the success of this album, or to experiment further with this sound in the band, it undoubtedly shaped alternative rock and grunge, just as Nirvana had done with their studio albums.

This album jumped around a lot, genre-wise, in a way that seemed to lack some cohesion. It was still enjoyable, but I would say the lack of conveyed vision muddied it a bit. I will also say that it was, at the very least, a unique listen; nothing else has shown up on this project quite like this album. Jazz mixed with rock is definitely one way that I prefer my jazz, though! I don't feel compelled enough to give this anything beyond an average score. It wasn't bad, but it also wasn't great. Props for the unique stylings, though!

Generally speaking, I enjoyed this album! I had never heard R.E.M.'s debut studio album before, so I was quite surprised to hear a very clear inspiration for modern indie rock sounds here, way back in 1983. As a fan of 2000s+ indie rock, it's no surprise I found some enjoyment here. R.E.M. would definitely go on to do better things, in my opinion, and some of the rhythms did seem to get repetitive here, but still, the very blatant indie inspiration was probably the most apparent to me here.

After so many David Bowie albums received on this project with more to come, I can say at this point that I'm not even mad that there is so much Bowie on here. Every single one of his albums on this project is well thought out and brings something different to music. Not to mention, none of them have gotten less than a 3 rating from me. It really is like looking into the mind of a genius musician at different phases of music. I love the presence of funk and disco here. Bowie gets it just right on this album. After hearing the entire album, it's no surprise that the incredibly popular "Fame" comes from this album. Anyway, not much to say here, but while Bowie isn't my absolute favorite, I've always admired him, and this project is just increasing that admiration!

What can be said about this album that hasn't been said time and time before? It is one of the best albums of all time, and for good reason. Considering this album sits at the end of The Beatles' group career, it does a really good job of encapsulating their various musical styles from across their career. Some things here are zany, some are dreamy, and some are just pure rock anthems or ballads. But as The Beatles tended to do, each member took turns leading the songs on the album. But each member had grown in such different directions by this point, so the final product are a variety of songs that are all completely different and stylistically unique. And yet, the songs are all still genius because these guys were still geniuses, despite growing apart; they were individually genius. Harrison, McCartney, and Lennon all have some of their best songs ever featured on this album in the forms of "Here Comes the Sun", "Oh! Darling", and "Come Together", respectively. The Beatles, as a group, pushed themselves onward further into greatness until the very end. Every single song on this album is well known, or at the very least, well regarded for its place in and contributions to music. To be able to say that not only an album, but every song on said album, has influenced music, is quite a feat. I am by no means a huge Beatles fan, but I can admit the quality and impact of this album, without any doubt. Every song, down to every vocal, every lyric, every note, is TIGHT here. A masterful achievement in music.

This is my second Suede album, and my critique of them is more or less the same. They remind me of other bands who did this sound better. I actually kind of dug the song "Animal Nitrate", but the vibe of the album didn't keep with this particular sound. Again, I'm left feeling like this was fine, but ultimately nothing remarkable.

Yet another example of an artist making a strong impact right out the gate with their debut. While I wouldn't exactly call this album "punk", I can definitely hear and feel Patti Smith's punk spirit here. She wanted to shake up the music industry after what she perceived as music being "too peaceful" throughout the 60s. Patti Smith has always kind of reminded me of a grittier, less bluesy. Joni Mitchell. Patti's songs are often a bit (or a lot) autobiographical, and her lyrics tend to have a poetic lean to them, as if they were spoken words put to music. While I don't think this is Patti's best album, it is a noteworthy inclusion due to her very specific niche she carved out for herself from the beginning. Patti's rendition of "Gloria" is probably the biggest standout here, the opening track of the album where she very quickly shows people who she is is via a less polished version of this song with both spoken and sung word.

I still remember when this album came out. It truly changed the face of alternative rock by bringing it front and center into the mainstream. Sooo many of these songs dominated the radio waves for weeks, and many are still to this day alt rock "staples". This stands out as a top alternative rock album of the 2000s. It's amazing to return to the whole album all these years later and still find it to be as great as I did then. I can't think of any other 2000s alt rock band that pulled from 80s post punk and new wave sounds quite as much as The Killers did, and it obviously paid off. The Killers have obviously risen to rock stardom in the time since this album, but they have never quite replicated the success they had with this first album. The first half of the album is arguably better than the second half, but the entire thing is still full of slamming, unique instrumentation, engaging lyrics, and unique vocals. An absolutely great listen. I think the weaker second half keeps this from being a 5 for me, but it is certainly in the 4s.

This was an intriguing listen! I found this to be enjoyable music, though I wasn't really moved by it. I would say the highlight of the album for me was the background piano. It always sounded a bit mystical, as if each track had short little piano "themes" dancing across them. This was a creative endeavor, and while not particularly wowed, I never knew what was coming next. Certainly a unique listen! This is one of those albums I'd like to return to for more listens and pick up on new nuances!

This was a good listen, but maybe underwhelming in terms of this project. This psychedelic, folky, Americana indie rock was really easy to listen to. A lot of indie music leans into folk sounds, but it's not everyday that you hear something in the indie space that does Americana and does it well. They're clearly heavily inspired by acts like Bob Dylan and Bruce Springsteen. I found this more pleasant than most Bob Dylan, so there's that, but still not sure on what makes it so special for this project. Liked it, didn't love it, found it interesting, but don't understand why it's on here. Just gonna even it out at a 3.

I will admit, when I saw a solo album from a Beach Boy, I was expecting grabs at fame using the Beach Boys sound. After all, they were one of the most successful recording bands of all time, why not milk it for some more? Well, say what you will about "Pacific Ocean Blue", but a Beach Boys copycat this is not. Dennis Wilson actually does make every effort to do his own thing here. This is some easy to digest pop-rock music, but with a soulful, funky, and slightly folky flair. He uses his gravely voice here to amplify this style. What is found here is, surprisingly, quite varied and unique compared to a lot of the other pop and rock acts of the time. I don't know if this is necessary required listening, but it was a pleasant and unique surprise from someone I expected to just rest on his band's laurels and not offer anything meaningful. Not quite a 4, but pretty close to a 3.5 for me!

I mean, this album was fine. It didn't really do anything for me one way or the other. It was fun to hear something a little different in the form of garage rock mixed with modern indie rock and indie folk. Ultimately, though, not really sure what makes this worthy of a spot on the project. "Okay" and "fine" are basically the main words that come to mind when I reflect on this album.

I will say, it has been interesting to see and observe on this project how several members of Wu Tang Clan have gone on to have successful solo careers. However, I'm already not much of a rap or hip-hop fan, so I find the majority of these works to not really be for me. This album wasn't an exception. In any case, I'm grateful for the continuing education on the breadth of success that the members of WTC have had.

This is definitely Stevie Wonder at the top of his game, and I'd be remiss if I didn't mention that this album truly has something for EVERYONE. There's jazz, soul, funk, pop, R&B, and more here. He fuses everything together so delightfully on this album (again, no doubt due in part to him being at his peak). It's just nearly impossible not to find something (or multiple things!) to enjoy here. It's also truly a marvel and a testament to Stevie Wonder's ability that he could produce content for a double album like this and keep things from dragging or going stale. It felt fresh the entire way through. Simply put, Stevie just expresses such master musicianship here, defying genre and decade. This music is timeless. This was just such a pleasant lesson, all the way through.

This album was really surprising. It's indie/alternative country/folk from 1988, and yet, it would be entirely believable that this album were released today. It sounds current and relevant when compared to alternative music in these spaces being released today! When I looked ahead at the tracklist and saw that this album was a mix of original material and covers, I was definitely partially intrigued, partially concerned. But upon hearing the album, I can say that the covers are done with such intentionality. They didn't just cover these songs for clout, they reinvented the songs in their own image. The covers take on new life of their own. I didn't absolutely love this, as sometimes it was a bit TOO slow and mellow and fell into the background for me. But man, it was interesting and unlike most things I've heard on this project so far, to say the least. Anyone who loves indie/alternative country should not skip this album, an album that came out long before such music was considered "hip".

Such a good album! "Money For Nothing" is definitely one of the main songs that this band is known for, but I would say don't go into this album expecting more of that. Don't get me wrong, that song deserves its accolades and is a real jam, but the rest of this album is much more low key, heavier on the jazz, and overall just has a chill vibe. I don't really have a lot to say about this album, but it was a great listen, and makes for easy, cloudy Monday morning listening. In my mind, this album is definitely among the greatest for jazz rock.

Geez, this guy could drone on. And on. And on. And on. The Spotify listing for this album has a LOT of additional content but I didn't allow it to go on for a moment beyond the original album tracklisting. Some of the music was baseline interesting, but his singing ruined every possible good moment. The album lacked any cohesion.

Noisy and eclectic, but listenable. That said, it didn't do anything for me.

I thought this album started off okay, but it lost my interest before it was halfway through. Not bad, but didn't really stand out. I didn't need to hear this before dying.

Another Britpop/alt rock act. These are becoming a dime a dozen on this project, I gotta say. I've said it before, I'll say it again: a lot were influential in establishing the genre, but that doesn't mean they're prime examples of the genre. A lot of bands did the sound better. More room should be made for those artists and albums, rather than so many of these B and C listers.

I've received a lot of dud albums this week, when I judged this by the band name/title/cover, I was afraid I was in for another. That definitely wasn't the case! This was really just an album full of some simple rock and folk sounds with an Irish twist. At times, I got a bit of a Bob Dylan vibe, which was apparently somewhat intentional, as come to find out they have covered at least one of his songs. That said, I found them way more tolerable than Dylan as far as my personal music tastes go. In any case, this was simply an enjoyable listen. I'm still not quite sure what the defining feature of this album was that made it a selection for this project, but considering I just haven't heard any other simple Irish rock/folk sounds on this project thus far, I'm not going to question it too much.

Not as much of the goth/dark vibes that I think people (including me) associate with The Smiths, but still easily recognizable as The Smiths. It is evident to me that they were starting to lean their sound in a slightly different direction at this point: in the direction of what would become 90s alternative. I still found it enjoyable, though I did miss the darker lean.

I never quite know what to do with Nick Cave. This is very different from the other Nick Cave album I've had on this project, so I can appreciate that. But in both cases, he is just so overly dramatic, melancholy, and deep. His music is almost an exercise to listen to and leaves me feeling exhausted. All of this seems to be for the sake of "art". Fair enough, I guess, but it makes it a bit of a slog to get through. I would like to address something specific, though. Thanks to the musical Hadestown, I understood the song "The Lyre of Orpheus" quite a bit more than I probably would have otherwise. This song actually sounds like it could have come from Hadestown, as "The Lyre of Orpheus" is very bluesy and gospel-y, like Hadestown. Seeing as this song and album came before the musical, though, I wonder if this song was an inspiration for the musical? A longshot to be sure, but almost too on the nose to be coincidence. I guess this will be my little conspiracy theory.

Meh. If you ask me, it definitely didn't need a spot on this project. Music was fine, but nothing noteworthy.

For proto-punk, this was super palatable. It wasn't quite as noisy or discordant as a little of proto-punk is, but it still certainly carried the spirit. It was a very quick album coming in just a bit over 30 minutes; it went hard and left it all on the table in that short period. The production doesn't sound great, but that honestly adds to the punk charm of this album. All in all, I was happy with the listen, which I wasn't expecting, given the genre!

I definitely am not used to a more "low key" sound from The Temptations. That caught me off guard! That said, it was still packed with funk and looooots of soul. It was also surprisingly topical -- props to them for that! I appreciate this album for what it was, but ultimately, it just wasn't really my jam. Even still, the musicianship is undeniable, though!

An interesting and well done electronic endeavor, for sure. But ultimately, it was just kind of boring; it was ambient and never really hooked me. A lot of music has this kind of ambient electronic sound these days, but I remember when this album came out, it was fairly unique and well received! Ultimately, I just don't really think it's my thing, though I can definitely appreciate the strong work that went into it on the production side to keep this electronic album sounding tight and sounding good. For me, this album is more than a 2, but not a 3.

Another hardcore punk album. I guess I still don't really dig hardcore punk. Go figure. In the scheme of things, this wasn't the worst that I have heard, though. But still not really good. This seems to be another piece of early-ish punk history. One thing I can say that I like about hardcore punk is that they're usually quick and to the point.

A quick album, but really quite good! This album is a little bluesy, a little psychedelic, a little hard rock, but it packs a nice punch! I had not heard this album in its entirety, but I'm a long time lover of Faces' song, "Stay With Me". I have always loved how scratchy Rod Stewart sounds on that track, and I was pleased to hear that carry through the whole album. During a transition period between psychedelic and hard rock, this album sits squarely between the two, and just simply makes for good listening. I'd do 3.5 if I could!

JAY Z did for rap and hip-hop what artists like N.W.A. did in the 80s and Dr. Dre, Ice Cube, and Snoop Dogg individually in the 90s: he was paramount in re-imagining it for a new decade. JAY Z was certainly already making groundbreaking, well-received music in the late 90s, but this album, landing at the beginning of a new decade and millennium, certainly stands as a bit of a milestone. It is a culmination of an already strong foundation that JAY Z had laid for the development and progression of the genre, sound-wise. His influence would define another decade or more of rap and hip-hop. This album, which now at this point already clocks in at over 20 years old, doesn't feel nearly as dated as hip-hop albums that are just another 5-10 years older. It really goes to show the length of influence JAY Z has earned. I don't have the knowledge to speak on all of the nuances, but there is likely also something to be said here about this all marking the rise of east coast hip-hop, whereas previously, west coast hip-hop was reigning supreme. Hip-hop can definitely be hit or miss for me; I don't vibe with all of it, or even a lot of it. But all in all, I found this to be a pretty good listen, and certainly a deserving entry!

I mean...meh? Very jangle pop, which I am learning I don't tolerate from just anyone. This also has some VERY early grunge vibes in terms of gritty guitar and what can only be described as that "grunge drawl". But really, nothing felt too special about this album and I was pretty bored by the end of it. I know this project has a ridiculous amount of Costello on it, so I guess I will be waiting to see if I can find anything interesting about his music on a future album. Today was not that day.

This felt unique, and I was certainly fascinated by all the rather uncommon instrumentation. That said, it really didn't do much for me beyond a little bit of curiosity and intrigue. I would have liked to have been wowed more, especially considering this album's place on the project. Interesting, but not THAT interesting.

I can't escape the other reviews calling this "Starbucks music". That is definitely true. That said, I do enjoy Norah Jones' piano jazz vibes. They make for very easy listening, and she has a very calming yet slightly sultry voice. I do remember this album contributing heavily to the furthering of jazz music in the 2000s -- this album was heavily hyped. While it's still easy listening, I don't know that it has necessarily stood any test of time. A pretty average 3 for me, though!

I love music like this. "Devotional Songs" is a perfect title for this, because it is so apparent that there is a lot of spirituality behind this music. I was not really able to discern why this album specifically was included on this project, but simply looking at it through the lens of an "Eastern music inclusion" is enough; what you get here is a very passionate and very strong example of the cultural music of the Indian and Pakistani regions. The chanting alone is ethereal. Looking at the score for this album, I feel like people have been generally unfair, and maybe this type of music just isn't enjoyed by most, but I would certainly recommend this album to people who have the capacity for enjoying Eastern spiritual music like this.

This is a nice folk rock album that doesn't overwhelm you with folk! There are hints of Latin and reggae in this album, already hinting at Paul Simon's love for using world music and other cultural sounds in his music. While this was technically his second solo album, it was his first released in the US, and definitely the album that cemented his solo career, showing that he could excel sans Garfunkel. Somewhere between a 3 and 4 for me, but close enough to a 4 that I think it warrants it!

This album is definitely reflective of the recent, modern trend with R&B and soul music. There was nothing wrong with this, and the album was listenable, but overall I didn't find it remarkable.

This is one of the more surprising albums I've had in a while. I was not familiar with Sparks or this album, so I really didn't know what to expect going into it, and to a certain extent, I still don't know what I just heard. This album is campy, it's glam, it's operatic, it's punk, it's new wave, it's avant-garde...it's just a little bit of everything. The vocals are all done in varying degrees of falsetto, which only adds to its obscurity. With songs like "Thank God It's Not Christmas", "Hasta Manana, Monsieur", and "Barbecutie", the songwriting is incredibly self-aware and is in on the joke as far as the album's campy nature. I can see why this album would be polarizing, but I lean in the direction of a thumbs up here. This album was just weird, intriguing, and fun, and Sparks is in on the chaos. This probably lands at like a 3.5 for me!

This really didn't do anything for me. It was general run-of-the-mill psychedelic stuff from the time with a flair of country. Additionally, the singer often sounded like Bob Dylan (which if you're familiar with my reviews, is not something I consider to be a good thing). In any case, I really don't know what to say about this. It wasn't horrible, but I didn't really get anything from it.

The aspects of Eastern and African music were neat to hear, but even given that, a lot of this album was a bit of a slog. There's definitely a lot of avant-garde inspiration at play here that I'm sure influenced artists throughout the 80s and beyond. This was also an example of sampling in music long before sampling was popular or common. Overall, though, I wouldn't say this album did too much for me. It's higher than a 2, but I wouldn't say it's a 3.

I'd never heard of this band or album, but judging by the playcounts, they're not super obscure. In any case, it was an interesting blend of alternative pop, new wave, and jazz pop. Not a bad listen at all! I won't say it was particularly a favorite or overly impressive listen -- overall, it felt pretty average all around -- but I did enjoy it! As far as things that are easy to listen to, this has aged well!

I will say, psychedelic music sounds even more psychedelic when the words are being sung in a language you don't understand. This album makes it very obvious how exotic/tropical type music can blend into psychedelia, and often did. That said, I liked the parts of the album best that played more heavily on the tropical and exotic aspects. The parts that sounded somewhat like foreign language Beatles weren't my favorites.

While I haven't seen this album categorized as a concept album, it kind of felt like one to me? I don't know, maybe all Nick Cave albums are a bit conceptual. I will also say this: hearing Nick Cave's albums is typically unlike anything else on this project. That said, I didn't love this album, but I didn't hate it. Some of songs really caught my attention, especially the closing track, "Jack the Ripper". This album is a mix of dark and gritty blues, punk, folk, and rock. Certainly a unique entry!

In trying to figure out why this album was included, I'm still left wondering. This was Stewart's sophomore solo album, as well as the foundation for his successful solo career (which would really come into play in the next album or so), but really it feels pretty unremarkable when put up against the greatest in his catalog. It's certainly listenable, and I can't deny my enjoyment of Rod Stewart's absolutely scratchy vocals, but I really just did feel pretty underwhelmed by this album. I was torn between a 2 or a 3, but I guess it's closer to a 3 on my personal scale than it is a 2, so I am going to offer it a 3, albeit a very weak 3.

I was surprised by the sound of this album. This 2000 debut solo album from Ryan Adams has a roots rock, folky country indie sound, a sound that became popular in indie music during the early 2010s or so. But here Ryan Adams is, doing it long before that! The songwriting here is nice, and the vocals and instruments are peaceful and incredibly easy to listen to.

Kraftwerk is a staple and is foundational as far as electronic music goes, no doubt about it. But I'd be lying if I said I had been particularly impressed with their music on this project thus far, and this album wasn't an exception to that. Don't get me wrong, it was interesting, but incredibly repetitive; you can tell this was electronic in its infancy, and it just hasn't aged all that well when compared to the intrigue of more modern electronic music. Barely a 3 for me.

I heard this album for the first time several years ago, and remembered liking it. Listening again, I like it even more. This is such a fun mix of acid-y psychedelic rock, alternative rock, and even a precursor sound to the grungy yet jangly rock/pop that would become popular in the 90s. These guys come out the gate with a debut album and absolutely crush this sound. None of the incorporated sounds are too overdone. It's all very well mixed and makes a pleasant blend. I'm nearly halfway through this project, and I have grown weary of 90s or near 90s British jangle rock/pop. But I am here to say that this album gets it so very right.

This album was, surprisingly and unfortunately, a little bit of a let down. Like so many others, I expected the album to be as much of a banger as "Tainted Love". In reality, it mostly paled in comparison. Of course "Where Did Our Love Go" is the other A-Side track opposite Tainted Love, and is good, but other than that, "Sex Dwarf" oddly enough was a standout. Don't get me wrong, the album wasn't bad, but it wasn't as good as I was expecting. Oh, and did I mention that this band was definitely horny when they made this album? Anyway, high 2, barely getting rounded up to 3.

Chicago is one of those bands that seems ethereal and timeless, like they've just been around forever, a constant staple and sensation. Therefore, it's weird to look at this debut album and look at it as the album that "started it all"; they just feel like they've ALWAYS been huge and larger than life. This is yet another band who came out swinging, knowing their sound immediately and being great at it. This jazz rock sound is so synonymous with Chicago. And while they evolved their sound over the years, it has always kept this core. There is a lot more prog rock and psychedelic presence here than I expected from Chicago, too. It makes sense, considering the album came out in 1969, that it would have those kinds of influences, but I feel like those sounds definitely became more subtle over time in their music as they honed further in on the jazz rock sound. Now, all that said, I will definitely critique and say this album has a place on this project and has good music, but in my opinion is far from their BEST work. I'm kind of bummed that this is the only entry from them.

I actually had never heard this album, despite a decent familiarity with Willie Nelson. Honestly, so many country albums seem a bit conceptual in nature; they often seem to revolve around similar central topics and ideas. In my opinion, it was really clever for Willie to lean into that and go full concept album here. The music here is mostly acoustic and pretty sparse; it allows Willie's voice and lyrics to do most of the work. Considering this is a concept album but a fugitive, I would say it's a pretty on-the-nose example of outlaw country. The album was quite short and never really felt like it took off to me, but that said, it was incredibly listenable and pretty enjoyable!

I remember when this album came out. I still feel like it was probably my introduction, one of my first real exposures, to the grittier side of the 2000s alternative music scene. Karen O has such shaky, imperfect, grating, squealing vocals on this album, which perfectly lend to the edginess of the instrumentation. Like, her vocals are truly and intentionally unhinged at times, but it's outstanding in this environment. This album certainly fulfills the vibe of "garage rock", but it's additionally artsy, dancey, and a bit glam as well. Everything is laced in punk attitude, but they take it steps further to ensure the album has layers. This album finds the Yeah Yeah Yeahs taking garage rock out of just a sit down jam session and turns it into a garage dance party. Many of the tracks on here come in at less than 3 minutes, but they don't sound half baked or too short -- they're truly just right. They're now relatively well known for doing that garage rock dance party vibe, but this studio album debut is where it all took off for them. At the time that this album came out, "Maps" got a fair bit of attention, which is ironic, because I believe it the most low key, most produced and most polished song on the album, and is therefore the least representative of what this album has to offer. It's a great song, but still, the rest of the album is much different! I feel like many people missed out on being exposed to the "real side" of "Fever to Tell". I just don't remember there being anything else quite like "Fever to Tell" at the time that this came out, and 20 years later (!!!!), I still don't think there is anything quite like it. Lots of very random things that seem disastrous just come together here to make a great, cohesive, full album. The ways this album stands out helps make it quite deserving of a place on this project. It's been MANY years since I heard this album fully, and I wasn't sure if I would still like it as much. Well, I do.

My first thought on this album was that Yes has such outstanding harmony on this album! I absolutely love that! It's no wonder why Yes is such a well regarded prog rock group; they definitely know how to do it all while making it approachable for the average prog rock listener. It's hard to tell from the way the tracklisting is laid out on streaming platforms, but 2 of the 6 tracks on this album are actually "movements" within a "suite" -- a very prog rock thing to do. Not the least of which is "I've Seen All Good People", which in my opinion is one of Yes's best tracks -- all 7 minutes of it!

While this is definitely fitting of the genres 'noise rock' and 'post hardcore', two genres I don't typically go for, I was surprised to find that I actually liked this album okay. Part of that being because this album leans more into industrial than I expected. To me, this album definitely sounds like a precursor to a lot of industrial metal sounds that would become popular among other industrial powerhouses like Powerman 5000, White Zombie, and Static-X. A surprising 3 from me!

This was okay! There was a very diverse amount of music on here, in many different genres that are often explored by Black artists, such as R&B, soul, hip hop, and African. It was interesting to hear a lot of that blended into one album. I will say the album started to drag after a bit, and I feel like by not picking one genre to be centered around, Soul II Soul kind of made themselves generic across all of these genres. I would put this at a high enough 2 that I'm going round it up!

Like other people, I definitely got strong David Bowie vibes from this, both in the music and the vocals. That said, they didn't have the gravitas or presence to quite pull it off. It was too late to walk back the Bowie comparisons, though; that persisted in my mind throughout the listening. This came off a lot more like chaotic noise and less like calculated art in comparison to anything anything Bowie did. This was okay at best, and absolutely not an album in my opinion that needs a place on this project, as it really just seems like it doesn't bring anything unique or stellar to the table.

I think Sigur Rós being included on this project is incredibly fitting, and while I'm not an expert on their work, this was an excellent album to include. This is only their second album, and yet the music here is so ambient and so beautiful and has such maturity as far as sound goes. It is haunting and eloquent and moving. From what I do know of this group, I can't imagine there being a better album pick of theirs to be on here. This was probably a 3.5 for me, and I have zero issues bumping it to a 4. Very lovely album.

I don't feel like this album did anything major for me, but I must say that it was super smooth and easy to listen to! By mixing jazz and funk, they created something really enjoyable here! It's definitely pleasant music all around, but it's just average!

A fantastic inclusion, and a type of African music that I was not at all aware of. It feels very ethereal, atmospheric, and spiritual, and sounds heavily inspired by Eastern music, which was quite the awesome mix to hear! The guitar work here is really relaxing, while the percussion stirs something almost tribal and ritualistic into the music, lending itself to the spiritual sound. Definitely a great addition of something I would otherwise probably never stumbled across!

Slipknot is such a staple of the metal scene in the 2000s and onward, and yet I somehow mostly missed them when I was getting into this type of music at that time. So this was a nice album to visit. Since I'm not intimately knowledgable on Slipknot, I don't know for sure what makes this album stand out specifically in terms of their discography, but if I had to guess, I think it's probably the slower, not quite as hard route that they take here. This album does a good job of still being metal, but showing off amazing guitar and percussion work, and definitely lets Corey Taylor's smoky vocals shine beyond just metal "growl" vocals. "Snuff", in particular, highlights all of these things, and as a result, probably stands as the best song on the album. "Psychosocial" is among the best that the album has to offer as well, and while heavier than "Snuff", it still finds places to show off Corey's voice.

Like many others, I got a hell of a lot of Beatles vibes from this. I wouldn’t say they have quite the magic that The Beatles have when it comes to hooking people, though. Not a bad listen by any means, but I wasn’t really hooked. Not sure this quite warrants a 3 from me, so gonna leave it at a 2.

When I think more modern blues rock, sooo many of the songs on this album come to mind. Half this album was successful singles that have played on the radio over the years. And yes, in that vein, they're also overplayed bar songs, but they're also just genuinely good, catchy, and fun to listen to. This was an underrepresented genre of music during this time, and I think The Black Crowes did a great job of capturing that market. Blues rock, in my opinion, can really lull quite a bit as an album drones on, but this just slaps from start to finish.

I was actually pretty surprised when I started this album and looked over the tracklist, realizing I knew virtually none of these songs, save for "In My Life", which, let me just quickly add, is a jewel of a song and probably the best on the album. First thought: what a difference a year makes! "Hard Day's Night" was a major album of theirs in 1964, and in 1965, this album rolls around, sounding much more sophisticated and less "bubblegummy". It's also psychedelic, but not overly so; there's a lot of folk here, which I dug. This album really has no skips, either. Every song is well done, flows well, and is cohesive with the rest of the album. Now that I've heard the album, I'm not sure how I went so long not specifically hearing this album. I am excited to listen to this again!

What an odd, but pleasant album! It's relatively short (4 tracks totaling in at roughly 40 minutes) and each song is incredibly different from the next. I didn't think the vocals added anything of value; but the instrumentals were particularly noteworthy. The parts without the vocals really allowed the weird but beautiful music to shine. "Persian Love", in particular, sets such a beautiful and ambient scene.

I liked this album quite a bit more than I was expecting to! Had I looked at the year and genre, I probably could have figured out that I'd enjoy this, as there really isn't much 2010s alternative-dance stuff that I DON'T like. Honestly, I have never even heard of this band, which is interesting, considering my infatuation with said genre-decade combination. It was fun to discover something new! Like most albums in this space, it's not necessarily packed with a lot of revolutionary sound and depth (a lot of stuff in this space sounds the same across the many artists who dabble here), but it is certainly a fun listen!

Well, this was every bit as exhausting as I thought it would be. From a creative expression perspective, I can absolutely appreciate the creative endeavor of making 69 love songs, all of which seem to be short poems narrating the various aspects of love. The compositions are all fairly unique, but also seem to be fairly subdued, if not simplistic, almost as if to convey this idea of modern minstrel music. But being forced to LISTEN to 3 hours of this is an absolute chore.

The Cardigans' "Lovefool" has a special place in my music-loving heart. This song was HUGE on the radio at around the time I discovered pop radio in my youth, and it played all the time. It didn't take me long to think that the song was incredibly unique among what was being played. Still today, I stand by that. The indie-ness of this album seems very ahead of its time in 1996. "Lovefool" is far and away the best song on the album and still stands out today, but the entire album is noteworthy and unique from track to track. This lands pretty close to a 3.5 for me!

I feel like my experience with a-ha up until now is probably similar to many people's experiences: have only heard (and shamelessly love) "Take on Me". That said, this album demonstrated a wide array of ability in a-ha that goes beyond "Take on Me". They explore many of the aspects of new wave music across each unique track, and do masterfully. No track feels repetitive when compared to the others, and no tracks feel like filler. The 40 minute length is used wisely. Genuinely, this has gone from being an unknown album to me to being one I would name as a "must listen" for new wave enjoyment. Very pleasantly surprised!

In terms of the over-saturation of Britpop on this project, this was better than a lot of it has been. But even this grew old as the album went on. I liked the diverse, gritty, lo-fi sound that is present here. Parts of the album seemed clearly inspired by 90s Britpop kings such as Oasis, whereas other parts of the album definitely seemed to pave a unique path. Each song was pretty unique in comparison to the others, too. So yeah, in any case, I thought this was an okay album.

Jefferson Airplane hits quite a few genres on this album, keeping things diverse! There's folk rock, there's psychedelic rock, and there's blues rock! I genuinely didn't know that Jefferson Airplane had two fronting vocalists -- I do feel as if Grace Slick was the best aspect of the band's vocals, and I think they could have benefitted from having her sing the entire album. Overall, "Somebody to Love" and "White Rabbit" are two of my all time favorite songs, but the rest of this album does not quite hold up in the same way for me. This is undoubtedly an iconic album that is 5 stars worthy of its place here, as it was paramount in the development of the counterculture movement, but it's one of those albums where my own personal enjoyment of the album is not quite as highly ranked.

This album was pretty average...nothing bad, but nothing revolutionary. That said, it did a decent job at mixing in a lot more active psychedelic vibes than are typically heard in new wave music. It makes for an interesting spin on new wave, but it's still not enough to bring this album up from its extreme averageness. I wish I had more to say, but...yeah. Again, the word of the day here is "average", so I think an unenthusiastic 3 is probably fitting.

A very unique and ambient album! As far as the type of ambient music I was expecting to hear from an album put out in the 70s, it certainly defied my expectations! The slow, haunting build up of the opening of the first track piqued my interest almost immediately. While it didn't necessarily blow me away, I found it to be a fascinating album!

This was a nicely produced, smooth, enjoyable example of R&B and soul with plenty of funk attached! I don't know what quite made it stand out to be included here. It's inclusion may very well come down to the general opinion that there are just no weak songs on this relatively brief album, an opinion that I am in agreement on! While I wouldn't say I was wowed by this, it was definitely listenable and enjoyable!

What needs to be said about this album has already been said, so I'm going to keep it brief. This is a low quality live album. There is nothing special about the production. You can't even really make out any audience engagement (and again, what is there is low quality). As far as the way I feel about live albums on this project goes, that's already three strikes. Now, about Motorhead's actual music. The songs all sound the same. "Ace of Spades" is their ace song -- pun intended. Everything else just sounds like a rehashing of that song. This album is definitely not a necessary inclusion. If anything, it's a tiresome inclusion.

Based on my limited exposure to Dexys Midnight Runners, I was expecting "new wave". And the album is labeled "new wave" on Wikipedia and such. But a few songs in, it was evident to me that this was more like a slightly new wave-infused soul and jazz album. Honestly, perhaps the most honest genre classification that can be given here is "proto-ska". Wholly not what I was expecting. Overall, this wasn't bad at all. I don't really feel like it did a WHOLE lot for me personally, though. Nonetheless, I was glad to hear a bit more from this band beyond their very obvious hit, "Come On Eileen".

Violator is such a fascinating album. On one hand, it stands as one of the best composed and most memorable examples of new wave music. On the other hand, this album completely defies the new wave genre and makes it so much more. At the turning point from the 80s into the 90s, this album manages to also accomplish the feat of being an incredible dark wave, goth, alt rock, and industrial album. Depeche Mode was at the forefront of that transition period with this deliciously edgy, dark album. Even today, there isn't another electronic album quite like Violator. The production on this album is also incredibly crisp. There are a lot of electronic elements at play, and they're all incredibly well mixed and yet distinguishable and audible. The depth here is truly impressive. I would also be remiss if I didn't mention how outstanding Martin Gore's vocals are on this album. The perfect mix of genres that Violator achieved is also the perfect intersection for Gore's vocals. Dark wave, new wave, goth, industrial, alternative...it matters not; his voice is primed for it all, and it really shows on this album. This album just combines so many of the things I enjoy musically, and I can't not give it a 5.

For some reason, the 1001 algorithm saw fit to give me Dexys Midnight Runners almost back to back, separated by only one album between them. I definitely wanted to churn out a listen and a review for this album while the previous album, "Searching for the Young Soul Rebels", was still fresh in my mind. This album was fine; I'd even go as far as to say "pretty good". But for me, it didn't live up to the hype of "Come on Eileen". The rest of the album just kind of blended into the same general sound. While definitely not unpleasant, it still felt relatively one-note. "Come on Eileen" finishes out the album with a bang...a bang that the entirety of the album fails to nail up until this point. Once again the album is described as new wave, but this album feels a bit more bluesy, a bit more folky, and again, a bit more proto-ska. I know there is yet one more Dexys Midnight Runners album on this project...to which I ask...why? They're fine, but arguably do not need to be on this project three times.

I had heard of Anita Baker before, but I don't think I had ever heard any of her music before. Now that I have, I am here to tell you, this album is SMOOTH. AS. BUTTER. Anita hits and holds beautiful notes effortlessly and with precision here, against a backdrop of R&B and soul music. I think what makes this album a worthy inclusion is the little known 'quiet storm' genre -- essentially, R&B that is infused with some sensual-sounding, easy listening jazz. Most divas with this kind of voice belt in very dramatic ways, but Anita's approach on this album is incredibly subtle but effective...quite fitting of the genre. In addition, this genre had historically been mostly dominated by men, with women dabbled in. So while Anita Baker was not the originator of this genre, she certainly low-key mastered it from a female vocalist perspective! Furthermore, I can think of many female vocalists who came after this period who would mimic this style, no doubt inspired by Baker's performance here! Definitely baffled by the underperformance of this album on this project. For me, it falls at about a 3.5, so I definitely feel comfortable rounding up!

This album was just okay. It was kind of quirky, kind of happy, kind of dreamy, but VERY repetitive. I think the song that I probably liked the most was "Nothing Can Stop Us", but the rest of the album kind of bled together for me into an ambient noise. I don't really feel like this was a necessary inclusion on this project, different though it may be.

This was an odd little country album. It seems to be pretty obscure, and I definitely hadn't heard of it. In country music, I often speak of late 80s country that is giving way to that 90s country sound...well, this album very clearly a 70s album giving way to the 80s country sound. This was a strange album; a lot of the lyrics were campy as hell, but the musicianship definitely felt solid. I can't say that I loved this album, but I didn't hate it, either. It straddled a fine line between "quirky" and "ridiculous".

You know, I always liked Eric's cover of "I Shot the Sheriff" just okay, but definitely didn't think it was all that great when done by him. Nevermind that he took this from a black artist, all while also being racist and thinking black people are inferior (what else is new?). Well, imagine the sense of clarity that I got, discovering that Clapton's "I Shot the Sheriff" came off this album, a fairly mediocre album of mostly mediocre Clapton covers. Despite him being a downright shithead, I can admit that Clapton has some musical skills. But this album doesn't really show those skills. Even the guitar work here is nothing to write home about.

Kendrick Lamar has left his signature on hip hop music by bringing a unique take and flavor all his own to the genre, and this album is what really kicked that off for him and got him the recognition he deserved. There is still an immaturity here where you see Kendrick following in the steps of others who came before him more than leading (the typical misogynistic bullshit, for instance). But on other tracks, you can see and hear what Kendrick is capable of in terms of changing and progressing the genre, especially in the beats. In my opinion, this album is an imperfect but very strong and notable step in Kendrick's path of greatness.

This was a really strange album, bordering on bonkers. It is definitely a product of the 60s, but not quite anything I have heard. You can really hear the rumbling and stirring of the beginnings of proto-punk and psychedelia in here. I didn't really enjoy the album a whole lot, but it was an interesting history lesson.

This album is chock full of such great Smashing Pumpkins songs, some of which are hits, others not. There's still plenty of grunge here to love, but this album has given way a lot more to the art rock side of the band. The two genres seem as if they would clash in almost every situation, but it somehow works here. It's not incredibly surprising that they make it work here; from their inception, they had a knack for blending grunge with more "melodic" music. That said, this was probably their last grunge album, before they transitioned away from that sound for more electronic rock sounds. I know a lot of people complain that Billy Corgan can't sing. I don't argue that, but I just feel like it doesn't end up mattering. Again, it is something else that simply works for these guys. I absolutely dug this album, don't get me wrong. But it was too long, felt a bit self-indulgent, and some of the art rock tracks just dragged a little too much. And sure, it's a double album so the length is "justified", but I rarely have the listening patience for a double album of any kind. I was definitely ready to be done by the time it was finished.

This is undoubtedly an incredibly influential hip-hop album. As someone who isn't even much of a fan of hip-hop and rap music, I recognized a few of these songs or lyrics from these songs that have long-time significance in pop culture. That said, the album just didn't do much for me. Biggie can definitely rap, no doubt about it, but I just didn't find myself really personally appreciating the content.

This album was so boring, even with all of its quirkiness and diversity from track to track. There's too much damn Elvis Costello on this project. There just was nothing inspired about this. It just felt very blah.

Man, I am not a Frank Zappa fan, and I dreaded having to listen to this. But really, this wasn't half bad! Frank Zappa was known partially throughout his career as a "composer", and this album shows off some of those chops. There are definitely hints of what is arguably more classical compositions with jazz fused over it, and then even further psychedelic shenanigans sprinkled on top of that. Zappa never took anything seriously, least of all himself, and so the song and album titles are definitely in defiance of and contrast to the pretty decent musical output that this album provides. Fortunately, he keeps his use of vocals to a minimum on this album, but even the vocals here are clearly for satire. I'm definitely nowhere near, nor will probably ever be ready to jump over into being a Frank Zappa fan, but I was really surprised to find myself even halfway enjoying this album.

It always baffles me to remember that this was Tori Amos' first solo album. It has such a confidence about it, a strong sense of self. This album would become the basis for her entire musical career, and is pretty much reflective of how she continues to conduct her musical style still today. First, Tori Amos was a surreal lyricist out the gate; all of the songs here have poetic wording and phrasing, but there are certain things said that cause you to raise an intrigued eyebrow. Much of the material is derived from her own personal life experiences, which she clearly has some extremely vibrant and bizarre reflections about. This is all presented with a beautiful voice that she often twists into wails and hollers. Second, Tori Amos was piano-forward out the gate. She took a natural passion and a talent and drove it directly into her music and allowed it to shine. What you get as a result is music that exists somewhere between singer-songwriter, bizarre cabaret, and alternative pop/rock. So rooted is her songwriting and her musicianship in her piano playing, that the sound of the piano is an extension of her voice, from discordant slams to quiet tickling of the keys. Throughout the album, Tori keeps things sounding fresh; she manages to take her concept and be consistent across the entire album, all while allowing each song to sound unique and individual when compared to the others. This is a beautifully done album that feels powerful from start to finish, but it is also an album that deliberately leaves a bit of uneasiness with the listener. Again, this album is somewhat autobiographical, and up to this point, Tori has not always had the easiest life, and on this album, that uneasiness masterfully weaves in and out of the forefront, much in the same way that life's difficulties come and go. This album is probably around a 4.5 for me, but I'm going to round up for the pure impact of this album, whether it's recognized or not. People across reviews have said things implying that Tori Amos is a wannabe Fiona Apple or Alanis Morissette, when in fact Tori was a groundbreaker that helped make room for artists like them to succeed.

I've said it before, but here it is again: psychedelic and blues rock are not my forte areas by any means, but The Doors just get it sooo right for me; they define the blend of the two genres for me. I don't think this album has as many iconic tracks as some other Doors albums might have, but the flow of songs here just works and makes for a great overall entire album listen, regardless of "singles" potential. That said, "Waiting for the Sun" is one of my favorite Doors songs. I am not a Doors expert by any means, but I noticed that this album is touted as a "return to form". What I do know is that their best form was immediately present on their debut album, so I can agree that they sound as good here as they did on their debut album.

I don't think this is the best Aerosmith album, but it did come at an interesting time. Aerosmith spent much of the 70s being top rockers, but then dwindled significantly in the 80s, failing to produce much that would be considered noteworthy. It wasn't until the end of the 80s that they would make a surprising comeback, and this album was a major part of that. They would see their fame revitalized through the 90s, into the 2000s. Many rock bands from the 70s and 80s found it difficult to push into the 90s, but Aerosmith managed to come back into the scene in the 90s. While overall, I find the album to be pretty average, some of their best songs can undoubtedly be found on this album. And song quality aside, this album showed that Aerosmith was still around and ready to smash the rock scene. Similarly, they showed that there was still a place for glam rock in music. While it was undoubtedly a dying genre (at least in its then current form) at this point in time, Aerosmith showed that glam still had a place in music, and this was something that they would continue to push and not give up on, into the 90s and 2000s.

I didn't find this album to be necessarily groundbreaking, but it definitely captures an interesting niche at the time. It's still relatively grungy, and in 1997, that was certainly late to the game, but that said, they mix enough psychedelic rock in here to make it just different enough, existing somewhere between the 60s and the 90s. I found myself appreciating the sound, as well as their tendency to be cheeky and overtly satirical at times. While this may not be their most revered album, it seems as if this is likely the point where they broke out with this sound, making it significant from that perspective.

This was really surprising. Somewhere between indie and alternative country and Mexican. It felt incredibly unique; not something you hear every day. This eclectic mix kept things interesting from track to track, as I never quite knew where to expect things to go. For me, I think there is a sense of nostalgia mixed in with all of this, but even still, it's a nice listening experience!

During a time period when rap and hip hop were starting to lean very heavy in the "gangsta" sub-genre, it's cool to hear A Tribe Called Quest coming out the gate with a debut album that was doing something a little different. Not only is the music very clearly an alternative hip-hop expression, with some very unique beats and instrumentation that are generally upbeat and funky, but the choice of subject matter and lyrics are largely different compared to what gangsta rap was bringing to the table around this time. At times, the lyrics even border on downright strange for hip-hop music. My enjoyment of this came in at about a 3 (hip-hop is always hit or miss for me), but this trailblazing album is one of those that definitely deserves a place on this project, regardless of my and other people's reactions to it.

This was completely listenable, but not really impressive in any way. It was eclectic and unfocused as far as genre goes, not really conveying a clear mastery of any specific genres. Rather, it just sort of conveyed a message of an ability to vaguely and generically dabble in many genres, which may lend to its inability to leave an impression.

Ultimately, this was a chill, ambient easy pop album. Nothing about it was particularly exciting, though, and again, it didn't feel revolutionary in any way. I would say I enjoyed this at about a 2.5, but the lack of anything substantial is causing me not to really want to round it up.

There's too damn much Bob Dylan on this project. His music does nothing for me and his voice drives me up a wall. I'm tired of finding different ways to say these things in my reviews.

I'll admit, when I saw the "psychedelic" genre and didn't recognize the band name, I had pretty low expectations. But in actuality, Love's "Forever Changes" was a pretty nice surprise! As far as the psychedelic genre goes, it sounded mature and well done, and it wasn't just a rehash of other psychedelic groups. This album also throws a bit of a curve ball with the addition of some orchestra pop sounds. Really, the orchestral arrangements here are one of the standout points of this album. I can understand this album not being for everyone, but for those who enjoy psychedelic music, this is definitely a lesser-known gem! I'd put this higher than a 3, but I don't think it hits 4 territory for me.

I found it funny that this is classified as "post-britpop". I read that genre as "okay, all the britpop wind has been knocked out of our sails, and this is what we are left with". And the funny thing is that this album essentially listens exactly like that. It's pretty bland and beige, all around. The perpetual softness of the album is fine, but when mixed with all the blandness and beigeness, it's just so...dull. This is certainly listenable, but it's also very unremarkable. Sidenote: Britpop and britpop-adjacent albums are probably some of the most represented on this project while simultaneously being among the least deserving of so much representation. So many of these albums could have been excluded in favor of so many other music legends that aren't included at all.

Really love the album title. But that's about it. Definitely got the "post-punk" vibes here; the punky attitude is there, but the music itself is leaning toward the 80s. The album really didn't do much for me at all, though.

This was very smooth and easy to listen to. It still has a "cool" factor to it, but I can only imagine how cool this would have seemed in the 90s when it was released. This album does a great job of being ambient and chill, while also staying engaging; it doesn't fade into background music like ambient music can sometimes do. I would also say the genre listed on Wikipedia ("trip hop") is incredibly misleading; Massive Attack dabbles and spans across many genres here. No two songs sound the same. All this said, I'm still unsure if this album needs to be on this project. In any case, this album is probably a high 2 for me, so rounding up to 3.

This debut album from Missy Elliott is fine. Not great, but fine. The music is listenable, but this is definitely not where you will find Missy's most influential work. To me, this is an entry that could have been replaced with a more iconic Missy Elliott album, but this was instead chosen for its historical significance. Missy was part of a movement of validating and legitimizing the existence of female rappers in the mainstream, and this debut album represents that big push. That said, this album relies heavily on features and in my opinion, doesn't show off Missy's true prowess that she developed following this album. Missy's inclusion in this project is absolutely warranted. But I question the choice of this album. A weak 3.

I found the album name to be clever, and I really dug the album art for some reason. But that's about where my "love" ended. This album is basically just one giant psychedelic jam session. But I'm using the word "jam" here liberally, as nothing about this is a jam so much as it is just some guys dicking around on their instruments. It is just kind of a drawl that goes on and on, a lot of which is nearly incoherent. What they're playing just isn't even good or interesting, and if you're going to "jam", that's kind of a requirement in my opinion. Also, the fact that this live album isn't all one "cut" and basically just handpicks songs from various live shows kind of detracts from its legitimacy as a live album. Just overall not an impressive album, or an impressive representation of a band that has been deemed legendary (like it or not).

I'm mad. I'm mad that this project wanted me to listen to this album. I'm mad that it wasn't on Spotify or Apple Music and that I had to waste time looking for it elsewhere. I'm mad that it's a fucking double album. I can appreciate that there's some complexity and originality to this. But just because it is complex and original doesn't mean it's good, or that it is much beyond cacophonous noise -- noise can be "complex" and "original", too, but that doesn't mean it's good. I can't believe Rolling Stone and the National Recording Registry think this album is noteworthy. It really does go to show that things are objective, even at that level. People talk about having to listen to this multiple times for the "genius" of it to "click". Well, I'm just not willing to test that theory. I shouldn't have to Stockholm Syndrome myself into liking music. Anyway, I think I'm done ranting.

Not at all unpleasant, but not very remarkable. Another addition on this project that I feel is kind of a waste. This is basically 80s new wave, but really dulled down; most of the things that make new wave exciting are not present here. When the music is incredibly mellow, more emphasis ends up going on the vocals -- and the vocalist is not very good. I don't really have any other thoughts, as this album just didn't leave much of an impression.

Slipknot was not only a key player in the nu-metal wave, but one of the longer lasting acts; whereas many of the nu-metal bands more or less faded from popularity, Slipknot has managed to stay relevant and in the spotlight. They had their schtick (both musically and visually) down pat from this debut album, and while I feel like they have some more polished work that I tend to favor over this album, this album still has some of their most iconic work on it, notably "Wait and Bleed" and "Spit It Out". I feel like the mixing/production on this album could have been more polished, but I'll chock it up to humble beginnings, even for a band that has developed as much renown as Slipknot has. A fun listen, either way!

Note: I had to go to YouTube to find this. Also, Throwing Muses has a newer album ALSO titled Throwing Muses (2003). It is not the same as their debut album titled Throwing Muses (1986). Confusing, I know. Now that said, I was actually pleasantly surprised by this album. The music is absolutely very post-punk with surprising, zany elements, and I definitely got post-punk Siouxsie Sioux and even Kate Bush from this with the particular style of vocalization. I can even hear what may have served as inspiration for Courtney Love in Hole, too. In any case, I love these female driven punky sounds, so needless to say, this combination found on this album strikes a specific niche I have for music, making me really dig this. Does this album need to be on this project? I don't really feel like it does, no. But I won't look a gift album in the mouth.

I enjoy Lana's slightly haunting vocals, her self-harmonizing, and her vaguely dark and off-kilter musical and lyrical take on the Americana genre. She takes a very classic genre and breathes new life into it. Even the album cover and album title reflect that bizarre musical point of view. That said, all of Lana's songs on this album are pretty much slow, croony ballads. The songs individually are all well done, but an entire album of this particular style with little variation from it does start to drag a bit. I don't know enough about Lana's discography to know why this album specifically might be deserving of a place on this project over her other albums, but I do believe Lana deserves a spot on here, if for nothing else than taking a genre not often seen in popular music today and doing something fresh with it. I think this is probably about a 3.5 for me, but the one-trick pony aspect of it keeps me from wanting to round up to 4. Nonetheless, a good album!

I had never heard this particular White Stripes album in full, but was excited to dive in, considering it happens to hold my favorite Stripes song (Blue Orchid)! I wouldn't say I was disappointed with what the album held, but it was ultimately less interesting to me than the previous two albums, Elephant and White Blood Cells, both of which are found on this project. The White Stripes are still excellently creative on this album, but they've definitely shed a lot of the garage rock and even blues rock sounds that made them so interesting to me. Don't get me wrong, the sounds are still there, albeit more subtle and stripped. Things feel and sound a lot more generally indie on this album, and at times, even a bit avant-garde. This is about a 3 in my book, which is what I have rated their other albums on this project. That said, this album is probably the weakest of the three inclusions, in my opinion.

I can understand and see why this album was so influential for electronic music. I can imagine this album and albums like this were a huge influence for works like Daft Punk's Tron Legacy soundtrack. But again, this particular album is a prototypal sound that is relevant to music history, but isn't all that enjoyable to actually listen to.

Sometimes the inclusions on this project confuse me. I absolutely understand Christina Aguilera's inclusion, as she was very influential in the 90s pop diva movement. That said, the album that the author has chosen to include is the album where Aguilera's influence is not really on display, as it mostly pays tribute to those who came before -- namely, jazz and R&B artists of the 1950s and earlier. Now, I will say, it is impressive that Christina was able to pay this kind of tribute with an album full of original work. Most artists attempting this kind of album would rely somewhat, if not heavily, upon covers. But there is not a single cover to be seen on this album. This really isn't my preferred Christina Aguilera "form", but she does a good job at it.

This is a really REALLY smooth album. It's easy enough to listen to. It didn't really leave any kind of impression, though; it just faded into background music for me.

I liked aspects of this album, and I like Sonic Youth's take on noise rock. It was certainly a big contributor to a lot of bands that included noise rock in their sound. However, I found that 1 hour and 10 minutes of Sonic Youth's noise rock was more than I really wanted. Also, I like the side of Sonic Youth that uses more Kim Gordon, but that's just me.

I really enjoyed this album; it's just downright pleasant! This album is incredibly smooth and easy to listen to, without being boring. The guitar work here is beautiful, and all of the accompanying music gives what I only know how to describe as a "desert-y, country-esque flamenco vibe", but African style! In that vein, this music is very clearly folk-oriented, and I feel like it does a good job of conveying that; I feel as if I've heard something regionally unique, something that I can assume is regionally well-representative of Mali. Anyway, I thought this was beautiful and well done, and it apparently hit just right on this sunny Friday morning.

I mean, this album just wasn't very moving for me? It was like lo-fi, somewhat ethereal, somewhat ambient, somewhat grungy noise rock. I liked it okay, and it was fine for background noise, but not really worthy of this project, in my opinion.

As I began this album and hit the first couple of songs, I was questioning if I would like it quite as much as the other Creedence albums on this project (I didn't look ahead at this album's tracklist). By track 3, things picked up, and it was almost consistently a barrage of Creedence hit after Creedence hit. "Lookin' Out My Back Door", "Run Through the Jungle", "Up Around the Bend", and "Who'll Stop the Rain" are ALL found on this album, among other hits. So not only was this album a great listen after all, it may very well have the largest concentration of CCR hits of any of the band's albums! CCR finds ways to dabble and explore new sounds on this album, but they do so all while staying true to their swamp rock roots that earned them their fame, and I certainly can appreciate that. Creedence Clearwater Revival is an American institution that stands as a very firm example of music that ran against the typical psychedelic and acid sounds of the 60s. And this album is probably their magnum opus in that movement. This is so close to a 5 at this point that splitting hairs wouldn't even matter. This is just a stellar album. What a way to go out with my last CCR album on this project!

Physical Graffiti is such an interesting Led Zeppelin album. While they've still very much got their unique "groove" on this 1975 album, you can hear their sound generally shifting away from what they were using in 1969/1970. And on Physical Graffiti, that shift definitely seems to be experimental; so many different sounds and styles are at play on this album. Generally speaking, I would say the first half of the album, with Kashmir serving as a grand finale of sorts, is very strong Led Zeppelin that rivals any of their other earlier work. It's a bit different and exploratory in places, but again, has that Led Zeppelin gravitas. The second half of the album feels wholly more experimental and eclectic. Nonetheless, they still prove themselves to be a powerhouse of a band; even the most experimental songs on this album demonstrate unmatched songwriting. I don't think I'm someone who loves this album as much as their earlier work, but I appreciate that it shows off the genius of Led Zeppelin in a different way. That said, this album probably scores lower for me than the others, but based on the 5 star system, it still comes in closer to a 4 for me.

As someone who is a more casual enjoyer of Prince, this album definitely stood out to me as experimental. Granted, Prince always did have an element of experimentation to his music, which is one of many things that made him so unique, but this album strikes me as MORE experimental than I have heard Prince sound in previous albums. But when it comes to Prince, production is not sacrificed in the name of experimentation here; there is a lot of genre diversity and playing around from track to track, but every song sounds polished, complete, and overall well-executed. To me, this album represents a celebration of all things good in music: rock, pop, R&B, soul, funk, but all on Prince's terms, and all with a flare of experimentation. Prince and this album are an example of what happens when someone who is genuinely a musical genius is allowed to be creatively unrestricted.

Liz Phair definitely falls into that 90s gritty women vocals "bucket" that I enjoy so very much. Unlike most of these women, though, Liz really didn't try to fit squarely into the grunge genre, the rock genre, or the pop genre. She kind of bounces around and does her own thing. She is categorized by some as "indie", and that may very well be the best fit for her. To me, that indie quality makes her a little less interesting than many of her early 90s gravely voiced female, more rock-oriented cohorts. There is still a baseline enjoyment that takes place here, for me. At times, the songs even sounds a bit like 90s women folk, but with the dichotomy of the gritty vocals. Overall, I do think this album is a worthy inclusion. But I don't think it's as hard-hitting as it could be.

Before Adele was the mainstream powerhouse that she is, Amy Winehouse was bringing amazingly soulful vocals to listeners in a style reminiscent of times and years gone by. And Back to Black is the album where she broke through to mainstream listeners and got so much recognition for her talent. Adele and other contemporary soul artists like her in the current mainstream had the road paved for them by Amy Winehouse, who chose to do this kind of music unapologetically, even when it was far out of fashion. Amy is so good at what she does, and this album was her peak. She demonstrates such control over her vocals, seemingly achieving those soulful and jazzy affectations with no effort. She conveys the pure energy and liveliness that this type of music was known for in the 50s and 60s. I've always thought "Back to Black" was such a perfect title for this album. While Amy is definitely modeling her work after and singing in that 50s/60s soul style, the soul found here isn't your mama's soul music. She covers a lot of darker topics here including drugs, alcohol, infidelity, and trauma, much of which is spurred on by her relationship turmoil that she was facing at the time. It's still got that "classy" sound associated with soul and jazz, but the lyrical content is just a little bit grittier and darker; it's stuff you don't hear from similar sounding artists of past decades. This album is definitely an important one in the progression of music and the reintroduction of this particular type of soul music into the mainstream, and deserves its spot on this project!

Morrissey is such a dick, and I feel slightly guilty, but I really do dig his voice and his music, especially on this album. To me, this album is among the best of his solo work, and sounds like a hint at what The Smiths could have been had they continued into the 90s, and as a fan of The Smiths, I couldn't help but enjoy this album as a "what if" scenario. I found "Speedway" to be such a strong album closer. The song itself swells into such commanding instrumentals ends with those heavy drums, it feels like ending the album on a high note.

On one hand, I didn't find this album to be incredibly interesting. On the other hand, I was intrigued by the quirkiness of it -- an 80s new wave type album that is also dabbling in 60s psychedelic. Not quite a 3 for me.

This is an interesting Queen album to include, as it does not include any of their hits. Instead, it really hones in on the art rock, hard rock, and prog rock side of Queen. These are aspects of the band that get to shine brightly with this inclusion that otherwise don't show up as strongly in their more mainstream hits. Even though none of these songs were hits, ultimately resulting in this being a lesser known Queen album, the irresistible magic of Queen is still incredibly present here.

Considering the Britpop mediocrity on this project, I was expecting worse. This album suffers from what a lot of Britpop suffers from -- most songs are just guitar forward and ultimately blend together. That said, this album in general was pleasantly different sounding than a lot of the Britpop on this project. All in all, I didn't hate it, but I didn't love it, either. But I did like it.

THIS is how I like my folk music. Actual singing ability, and much-less-to-no harmonica. "Lonesome Tears" was definitely a highlight of the album for me. The forlorn folk song is carried by some soaring, very haunting orchestrals that literally left goosebumps. In general, I think the folk music found here is elevated by the chamber pop aspect, and they go nicely together. There is a lot of variety found here, which keeps things fresh and unique -- everything bleeding together is often one of my complaints about music in folk and folk-adjacent spaces. Beck is definitely a multi-faceted artist, based not only on what I know about him but also just the differences between this album and another on this project, "Odelay". I appreciate that diversity in an artist!

While it's not his first album, "The Slim Shady LP" really stands as Eminem's breakout point. A fitting coincidence, this album opens with the iconic "My Name Is", which not only serves as an introduction to Eminem but also an introduction to his particular brand of hip-hop that he would become so very known for. And while this album is reflective of Eminem's breakout style and was considered iconic at the time, it has been long enough since this album came out that I think when compared to much of his catalog, this album seems weak by comparison and is eclipsed by much of his later work. It's ultimately less polished and less realized. That said, this album definitely started a revolution of sorts. It made rap and hip-hop accessible for white folks, and in turn, caused a lot of pearl clutching from parents of young white kids. I can distinctly remember the very mention of Eminem by any white kid to be synonymous with the assumption that said kid was on an irredeemable delinquent path of drugs, sex, crime, and gang activity. White people literally didn't know what to do with themselves or with Eminem. So again, we have an album included on this project that is significant in terms of music history, but nonetheless an album that likely could have been replaced with another by the same artist that is more MUSICALLY significant ("The Eminem Show" comes to mind).

This was a super intriguing album! I can't think of a better album title, since it's all very electronica in nature, while also having some very dark wave, sci-fi undertones. Both the title and the artist name immediately intrigued me. To that point, the "additional production" provided by Portishead is very apparent to me. I don't know how involved they were overall, but I can hear their sound all over this album. I won't necessarily say I loved this album, but it did catch my attention and keep me entertained! That's more than I can say for some things on this project. Definitely an obscure, intriguing inclusion!

A band I had never heard of before. This was fine, average blues rock. They reminded me a lot of the Rolling Stones in their sound. Overall, this just didn't really hit me in any kind of special way. Not offense, but not great.

I am usually such a sucker for dark, morose, and slightly haunting music. Even more so if it all driven with some slightly orchestral sounds, such as what is found here. So I WANTED to like this. But Nico...girl. You made it really hard. She's not very good at singing and yet she chooses to stretch every note that she possibly can. As if that isn't enough, she seems to sing nearly the entire album in what sounds like a fake, deep "chest voice". She does occasionally go into some vague soprano moans and calls, too. Yeah, this definitely didn't land well with me.

Mariah Carey has an unbelievably beautiful voice and a phenomenal range...the type of thing you only see a few times in a generation of musicians. That said, much of this album feels like generic R&B; it's listenable, and it's baseline "good", but most of the songs are not memorable and most of the songs don't allow her skills to actually shine through. I may be in the minority here, though, as many people (including Mariah herself) regarded this album as a turning point in her career that projected her further into stardom. In any case, Mariah does deserve a spot on this project, but in my mind, it would be one where her talents are better represented.

I actually kind of liked the opening track (Soul and Fire), but things tapered off quite a bit after this. Another album where I didn't hate it, but it also didn't really do anything for me. When I am not familiar with a band and am hearing their work for the first time, I often associate them with something I know. In this case, these guys gave me Nirvana vibes for days. That said, they lacked the Nirvana gravitas; the vocals and music both didn't have quite the same catch as Kurt Cobain and the rest of the Nirvana band, respectively.

What can I say about this album? It really deserves its accolades; it delivers all around, from lyrics to music to graphics. It is psychedelic in nature as one would except from The Beatles, but also true to the nature of The Beatles, it is forward-facing and goes beyond just typical psychedelic, dabbling in other areas not limited to but including world music, Vaudevillian soundscapes, and avant-garde. While not strictly a concept album, I do feel like this album has enough of a world built around the fictional Lonely Hearts Club Band that it loosely qualifies as a concept album. Not to mention, this album was another that was at the forefront of the counterculture movement, due to its topics and style. So much dedication, thought, and artistry went into this album that result in this expert craftsmanship, truly making it is a piece of art, and a fine piece of art at that.

I know that the low quality sound and recordings is kind of "part of the gig" when it comes to punk albums, but in the age of high fidelity music streaming at our fingertips, it really makes things like this unpleasant to listen back to. If you can get past the quality issue, the mixing doesn't seem too bad, though. I don't know, each track mostly sounded the same to me, and I just didn't get anything out of it.

I got strong Rufus Wainwright vibes from this artist and album, from the orchestral pop motif down to the sultry, crooning vocals. This wasn't bad by any means. From a composition perspective, it actually seems quite well done and deeply emotional, with an air of tragedy. I am not quite sure if this falls closer to a 2 or a 3 for me, honestly. But it's somewhere in between. I will err on the side of positivity because unlike some albums on this project, this intrigued me.

This is such a weird album, and I think I'm kind of here for it? It's like Billy Idol meets Oingo Boingo, and he's throwing in a pretty heavy New Wave sound, and also, surprise -- there's some funk elements, too! There's lots of diversity from track to track; I never really knew what was going to happen next. Needless to say, this album is bizarrely unique, but it is the kind of bizarre uniqueness that I often find myself going for. This album is not going to appeal to everyone, but if you're someone who likes their 80s alternative "the weirder the better", then this is for you. Will I listen again? I don't know. But I was entertained and intrigued.

Joni Mitchell is already a perfect example of someone who sings directly to your soul while giving you a big window into hers, but this album is arguably her magnum opus, and those soul-gazing qualities are amplified here. A lot of people complain about Joni's lack of poetic structure, but who cares? Those structures are meant to help people form a decent poem, but they're rather limiting and not needed when you are essentially channeling pure artistic and poetic expression in the way that Joni does. Her words and singing seem to come intuitively on this album, rather than prescriptively. It's hard to explain what exactly makes this album a cut above her others, but its true, and I think many people would agree. Honestly, having "River" and "A Case of You" back to back on this album is enough to be heart-wrenching. The latter, in my opinion, is the finest song that Joni ever wrote and a gorgeous listen that I never grow tired of. I also really dig Joni's playing of the dulcimer on this album. It persists here and there throughout the album and offers a unique sound to the album. A lot of dulcimer music almost sounds medieval or "renaissance" in nature, but Joni manages to find a way to integrate what gets construed as "old world folk" with this 1970s folk. Overall, this is just a gift of an album.

I found myself thinking "man, this isn't half bad for yet another Britpop album". Funny enough, I was thinking that same thing just a few albums ago for Manic Street Preachers, and it turns out they're somewhat similar bands, sound-wise and era-wise. I guess the key for me is to take Britpop and mash it up with hard rock and/or punk rock.

What a fantastic salsa album! The production here is so well done for the 1970s; you can hear the musicians and the vocalists crisply and cleanly. Speaking of both the musicians and the vocalists, salsa music requires that both of these sets of people be electrifying in their performance, and this album has that quality in abundance, without question. This album sets a high bar for salsa music and it's no wonder that it became the best selling salsa album of all time.

I actually dug this quite a bit. It has similarities to alternative, punk, and metal rock genres that are popular in the United States, and yet, the configuration that Skunk Anansie achieves here is pretty much unlike anything that is popular here. This leads the album to sound slightly familiar, but also rather unique. No two songs on the album are alike, either, which just further lends to the diversity of sound that can be found on this album. Skin, the vocalist for Skunk Anansie, has an incredibly versatile voice. She's skilled at singing fast, slow, high, and low. I'm such a sucker for women of rock, and so while this band was new to me, I was ultimately right at home with this album. I struggled with deciding where to rank this album, as it is probably around a 3.5 for me. I ultimately decided to lean in the direction of a 4, as I believe this album is deserving of more than the 2.9 average score that it has.

I had literally never heard anything by Crowded House aside from "Don't Dream It's Over", which is far and away their greatest hit (not featured on this album). In any case, these guys surprised by showing a lot of versatility and talent on Woodface! Aspects of this album include alternative rock, blues rock, and even a bit of singer-songwriter type crooning. This album was not anything groundbreaking in my opinion, but it was diverse and enjoyable. And really, a song about chocolate cake is in and of itself a winner to me.

This might be kind of sacrilege, but I think the addition of pop to punk is a lot of fun! While I am no expert on the pop-punk timeline, I feel like the 1980 Undertones occurrence of pop-punk is a pretty early example that likely had lasting effects for decades to come. I won't say I was completely wowed by this album, but I found it to be a fun listen from start to finish, and from a band I had never heard of!

I'm no hip-hop expert, but it was fun to hear what was largely a positive and upbeat hip hop album. Misogyny is often so present in hip hop music, even songs that are supposedly "praising" women, and so the song "Black Woman" was a refreshing, truly positive listen. While all of hip-hop maybe didn't maintain that "positive" sound that this album reflects, I do feel like this is a standout of that era, musically!

This album was okay. But seeing as this was Daft Punk's first album, it definitely felt a bit primitive and a LOT repetitive. And considering how long the album is, that really is a lot of repetitiveness. There's only so much of this you can take. Definitely not the best that Daft Punk has to offer. I realize this has Daft Punk's hit "Around the World" on it, but even that is incredibly repetitive. I don't disagree with Daft Punk being on this project, as they are probably one of the most mainstream recognizable house acts in music. Seeing as this is the only Daft Punk album on the project, I feel like this slot would have been better put to use on their "Discovery" or "Random Access Memories" albums. Both are definitely less repetitive and more realized albums and are ultimately better reflections of Daft Punk's impact. This album gets a very low 3 from me, because though it is horribly repetitive, the beats are bops.

This was a fantastic surprise of an album, from a band I had never heard of before! These guys are not well known, but they're quite good at what they do, which I would say at the time would have been alt-country. This album took country music and infused it with rock, folk rock, gospel, soul, psychedelia, and more. At the time, that was virtually unheard of. Furthermore, I would go as far as to say that this album is extremely influential to music moving forward, due to the time that it came out and the genres it intersected. First, the country side of things. Country was incredibly stagnant during the 60s. Going into the 70s and into the 80s, country music would hugely benefit from a revitalization as the mainstream bands in the genre began to incorporate these same genres and sounds found on this album into their country music. These country artists were no doubt inspired by this album. It's wild to think that The Flying Burrito Brothers, an obscure band that never experienced much commercial success, could change the trajectory of an entire genre for decades to come. And similarly, I can see where rock artists were also likely influenced by the sounds here, as the 1970s gave rise to a large amount of folk rock artists and groups. This album possesses the blueprint for that type of music, as well. Honestly, a lot of alt-country, indie folk, and other musical acts of today have styles that sound similar to this album. They were no doubt ALSO inspired by this album. The unlikely fusion of country with so many other genres birthed a musical revolution. And these fairly unknown gents had the foresight to see that those genres could successfully exist and thrive together during a time when these genres were all existing wildly apart from each other. Probably a 3.5 for me, but I feel justified in bumping it up to a 4 for the creativity and influence shown here.

I love the band name. I love the album name. I love the song titles. I love the overarching witchcraft theme and concept surrounding the album. But I didn't love much else. As far as noise rock on this project goes, this was more interesting than most noise rock and some parts of it were more listenable for sure. Overall, it was still pretty difficult to get through.

I'm not sure I've ever heard quite as strong of a mix of samba and psychedelia as what is present on this album. This particular sound combination made this album run very close to being "exotica", which I have yet to hear much of on this project, so props for that! Largely, this album wasn't really my thing, but I did baseline enjoy the listen!

I learned a couple of things in listening to this album. First, I learned that "OK Computer" is regarded as the album that more or less began Radiohead's transition into heavier experimental and progressive sounds, rather than just "typical" alternative music. By listening to the music, this fact is pretty obvious. Second, I learned that I'm not very into this era of Radiohead. Don't get me wrong, the musicality and concept for this album are strong, and exactly of the caliber that you would expect from Radiohead. But I'm just not that into it. A very weak 3 from me.

Another beautifully ambient, new age-y album from Brian Eno! I was intrigued to learn that this was the first album that he ever released in which he called it "ambient music". I had never known Eno to be anything BUT an ambient/new age artist in his solo career. Like many ambient albums of the time, this has many hints of that "space age" to it, but I would say it does not overtake the entire album. There is plenty of non-spacey ambience to be heard here! Overall, this is simply peaceful, but with a touch of mystery.

I made the mistake of listening to this strange, ambient album right after listening to a strange, ambient Brian Eno album. So I think i was already all ambient-ed out. In any case, this didn't resonate with me as much, unfortunately. Love the album cover, though.

Honestly, I give The B-52s so many kudos for this album. On their debut album, they managed to do something so conceptually unique. They took new wave music (which was itself still in its infancy) and turned it on its head by injecting it it with surf rock and other general kitschy "atomic age" motifs. And with some clever guitar-driven moments, but mostly through the art of really just not giving a fuck, they project an element of offbeat punk into their style and music as well (another big genre of the time). This album is honestly not just weird as hell, it's fun as hell! They defy all expectations and create something that is really just so unique to them. Probably a 3.5, but rounding up.

This was an incredibly interesting album inclusion! I think for people to understand the significance of this, they'd have to understand a little bit more about Emmylou's musical style and the typical "expectations" around country music artists crossing over between genres. Emmylou's music has always kind of straddled a line between country and folk, this much is true. But many country music fans have a very specific expectation of their country music, and crossovers aren't always successful. Around this general time, other country artists were pushing the country-pop crossover successfully. But what Emmylou is pushing here is a crossover into more world-oriented folk music; this country-folk album is laden with many Eastern folk sounds if you listen closely. At the time, this was a virtually untapped crossover space (and potentially career suicide) for a country artist. And yet, Emmylou Harris absolutely shines in this crossover space. Always a talented artist, she somehow seems even more at home here; her vocals are more warbly, emotionally charged, and soulful, her guitar is more warm and gentle. Additionally, Emmylou had not historically written her albums, but this album, save for one song, is completely written by her. This is absolutely wild, as her lyrics are so poetic and well written that it makes this sound like she's been a lifelong songwriter. This isn't a typical Emmylou Harris album, but even though it's her nineteenth studio album, 30+ years into her career, it may reflect the purest form of Emmylou Harris. And while this type of crossover was not typical in the country space at the time, this has likely inspired country artists since, just as Emmylou was inspiring the work of country artists in the 1970s. This album was very peaceful and could have lulled me into hearing it as background noise, but between the beautiful vocals, lyrics, harmonies, and overall warmth of it all, it kept drawing me back in to listen to and appreciate its intricacies more actively. Even from the opening song, "The Pearl", I was feeling this gravitas. Pleasantly surprised by this album! To me, this album speaks of mid to later stage career shifts that can give way to beautiful and surprising results.

This was another Neil Young album that I really found myself enjoying! I just know a portion of that enjoyment had to do with the pre-grunge sounds that this album is absolutely dripping with; Young and Crazy Horse were clearly inspired by the “messy” guitar punk sounds of the time and utilized that here, but of course they found ways to make it their own and in so doing alluded to a genre that was still about 10 years away still. The album feels balanced in terms of keeping a theme while also allowing some eclecticism to shine through. And having the album capped at both ends with “My My, Hey Hey” and “Hey Hey, My My” just further cements it.

I can't believe the perfect tracks that are "Take It Easy" and "Witchy Woman" came from the Eagles' first album. They are yet another example of a band who really had their musical niche down from the beginning. That said, the album does slump a bit in the middle and just kind of lulls and blurs into a general Eagles sound. It's still pleasant listening, but just not very standout. The album recovers in the end with another very strong Eagles song, "Peaceful Easy Feeling". Overall, this is a consistent but okay album, peppered in with a few examples of the songs that truly define what the Eagles excelled at.

Aerosmith enjoyed some relative success in the two albums prior to this, but it really feels like this is the album where they landed on their distinctive sound. Finding that sound on this album brought about two of the band's biggest hits, period: "Walk This Way" and "Sweet Emotion". There's a reason why both of these are regarded as quintessential Aerosmith songs; sure there are other, earlier, Aerosmith songs that are popular, but these became synonymous with that Aerosmith sound. Aside from that big, notable step for the band, most of this album didn't really stand out to me, but it and the songs were baseline enjoyable!

What stood out about this album is the addition of the horns; in addition to its punk roots, the horns give this album a very proto-ska sound, as well. That said, the sound was most obvious and standout on the first track, "Know Your Product", and then faded more into the background as the album progressed. So while the horns was a notable occurrence, it wasn't a prevailing one. Otherwise, this was pretty standard punk for this particular era. It was fine, but it didn't really offer anything that stood out to me.

This was an interesting inclusion. Screaming Trees are not super popular, and this album came along after the height of grunge music. Additionally, it doesn't really seem to do much to enhance, change, or otherwise further the grunge genre. I could maybe venture a guess that their dilution of grunge music into some more general hard rock themes may have influenced some late 90s and early 2000s hard rock acts that carried a bit of grunge sound, but I just don't know. For all intents and purposes, this seems like a somewhat insignificant inclusion. That said, I'm a sucker for grunge and there's nothing offensive or off-putting here. Just nothing monumental, either.

Mixing blues rock and psychedelic rock in this particular configuration sure made for a pretty unique sound! It felt very eclectic. Overall, this is okay, but I didn't really get much from it. Probably around a 2.5 for me.

Like my friend who also does this project, I heard the vocals of Giant Sand and was immediately reminded of the likes of Leonard Cohen. They're often dark, often gritty, and often delivered in a half-sung, half-spoken manner. Also, there's some occasional piano tinkering that also feels reminiscent of Cohen. The fact that they even mention Leonard Cohen in one of their songs leads me to believe they very much know and acknowledge that he is an inspiration. This album sounds to me like the standard indie folk that became popular in the early 2000s, and I'm not quite sure what is special about this inclusion in particular. I will say that all of the Leonard Cohen-isms make this album stand out a bit from the other indie folk of the time, but I still just wasn't particularly captured by this.

The 1990s alternative scene was overrun with men, so I can really appreciate the presence of another female 90s alternative act on this project, this time in the form of an indie punk type sound. As a result of the male domination, 90s female bands were steeped in feminism, and this album is no exception. Delicious! As someone who really likes 90s alternative music, I feel like my personal enjoyment of punk music is yet another thing that is increased as a result of it getting blended into the 90s soundscape. The guitar work here is KILLER. Also, the warbly vocals? That really does it for me when paired with this particular overall sound. Maybe I don't have the "ear" for punk music, but a lot of it sounds the same to me (and a lot of it sounds unlistenable to me); Sleater-Kinney finds a way to both stand out AND be listenable in the punk space. Sleater-Kinney is definitely known for being among the top female-led punk acts of all time, and hearing this album makes it obvious as to why. Great inclusion! (Also, Carrie Brownstein is fantastic in general.)

I had never listened to pre-disco era Bee Gees. And now I understand why. It's just not nearly as thrilling or exciting. Though the vocals are obviously those of the Gibbs brothers, they sound lifeless compared to their amazing harmonies and vocals in their disco era. From what I can tell, there is no disco era Bee Gees on this project. What an incredibly ridiculous miss. Do yourself a favor and go out on your own and check out these additional listenings for a better taste of the Bee Gees: -Saturday Night Fever soundtrack -Main Course -Spirits Having Flown -Hell, even "Greatest" is a worthy endeavor of all of their hits (containing, of course, their DISCO songs). I'm all for some music history on this project, but if you want to experience something that truly changed the landscape of music at the time, something that should be experienced by anyone taking on a listening project like this, it's Bee Gees' disco music, not this. This album could have been sung by virtually any other soft rock act of the time. Disco is what set Bee Gees apart and made them so special.

As far as rap goes, 2Pac is incredibly easy to listen to on this album. The lyrics are still as topical as what someone might expect from 90s rap and hip hop, but the delivery is as smooth as butter. 2Pac is another artist who was often an incredibly troubled and problematic individual, but his musical talent in his space is undeniable. It would have been interesting to see him live longer and develop his career. But in the time that he was alive and active, he left quite the impression.

Very folky, and also very boring. The lyrics felt very contemplative, pensive, and deep, but I just couldn't get into it.

Unhinged and nightmare-ish -- and not in a good way. Don't get me wrong, I can normally go for these qualities in music, but I need the music to actually be, you know, good. The Residents genuinely seem to go out of their way to make this album as unpleasant and uncomfortable as possible. In any case, I realize they didn't intend to be taken seriously, but when "unpleasant" is your goal AND you are able to achieve it with flying colors, you're not going to get a very positive review from someone who is listening for pleasure. I can appreciate this as art, but I just don't appreciate it as music.

I mean, there's a reason that Mavin Gaye's "Let's Get It On" is featured in every spicy, sexy scene in every movie. It oozes pure sexuality and sensuality. But honestly, that can be said of this entire album. It is absolutely smooth and soulful from start to finish. Marvin Gaye clearly had some very deeply held, soulful ideas about sexual expression. And he is in expert form on this album when it comes to channeling those ideas into song.

Another good example of good singer-songwriter/folk music from this era that fits a certain style (for example, this felt very in the vein of Nick Drake). That said, I didn't enjoy this quite as much as Nick Drake. All in all, I found this album to be very relaxing while still being engaging, which is not always an easy balance to strike. The bluesy and even jazzy aspects of the folk sound were unexpected, but went well with the overall sound! Martyn's slurred vocal style somehow lends to the easy listening aspect of this album, too. The amount of gravely voice he came out with at the end of the album with "The Easy Blues" was quite surprising, too! Definitely a man of many talents. A pleasant listen for sure that I probably never would have heard about, let alone listened to, without this project!

This album feels like such an anachronism! From the music, to the album cover, even down to the name "Gillian Welch", this album sounds, looks, and feels much older than it is. This album is referred to as "alternative country", but at its heart, it seems to harness the spirit of country from the 50s/60s. Isn't it funny how things loop back around and what was once the de-facto standard is now the alternative? The album is very peaceful and ultimately very simple, musically; it's just Gillian's voice, a guitar, and a banjo. It is relaxing, easy to listen to, and lets the unique instrument that is Gillian's voice shine through.

The vocals on this album were hit or miss for me. But the music and instrumentation was spot on, great stuff. Also, some of the topics on this album are lyrically outstanding. I think I like their other album on this project better ("Roots"), but that said, I think it's very apparent that whether tackling the genres of thrash metal or nu metal, Sepultura is excellent at encompassing a unique and often cultural sound into their music.

Listening to this album now, it is interesting to me just how deviated U2 was from the typical music scene of 1982/1983. This album is labeled as post-punk, and that is pretty much true, but as a whole, it sounds incredibly progressive for the 80s and sets them apart from what most other bands were doing around this time. I do regard this as the album that pretty much put U2 on the map for the first time, put them on the road to super-stardom, and and generally began people associating them with this general sound; I think songs like "Sunday Bloody Sunday" and "New Year's Day" are synonymous with the U2 sound and these hits definitely informed their later works. And while it is a great album, I don't think it's necessarily their best. This lands at about a 3.5 for me, but rounding up.

This was such a fun album! It certainly defies genre expectations. There is tons of Latin flare in here, mixed with rock and even hip-hop! And really, the "Latin flare" exhibited here is more than that -- it's mastery over MANY Latin styles. The opening track, "Believe" mixes in a handful of other unexpected genres, notably a very South Asian sound! I also really appreciated the mixed-language lyrics as it added a layer of complexity and intrigue to the album. Ozomatli gives us something rather unorthodox. There is just so much going on here, and honestly, all of it is good!

I have had a mixed relationship with punk found on this project, but there is just something about Dead Kennedys that get it right for me. Yes, they're slamming on their instruments, but there's actually some rhythm there that makes their songs kind of catchy. It seems like quite a feat that a punk band would achieve such a good balance of punk spirit vs album production value on their first album. I would say that these guys definitely mastered using shock value as a way to communicate their message. Many of the song titles and lyrics draw you in with little hooks that are meant to cause a stir, only for you to realize that they're incredibly socially conscious. In fact, on social consciousness, I would say they rival most other major punk acts. By the end of the album, their cover of Elvis's "Viva Las Vegas" even seems sarcastic and tongue-in-cheek. Also, I laughed when I discovered that these guys were American. I always assumed by the way that they sing that they were British or Irish.

At first, I was kind of surprised to see this album pop up on this project. But then I reflected on it a little bit and it started to make more sense. Really, this album was at the forefront of the indie pop movement that began to pick up traction around this time, in the late 2000s. The atmospheric, dreamy, electronic qualities found here would go on to be incredibly popular devices within the genre as it rose more into the mainstream. The dynamic between the two vocalists (a male and a female, both sounding rather depressed, harmonizing and singing many of the songs in somewhat of a call and response) was also quite the draw for this album, and again would be another motif utilized heavily in this genre. I'm not saying The xx invented these styles, but they did them well, and got a lot of attention for the way that they did it on this album. A few years later, when indie rock REALLY took off, this album was still a staple for listeners. That said, this album makes for a nice listen, but I wasn't overly wowed by it then, and I'm still not wowed by it. Just a little too sleepy-dreamy all the way through for me to go from liking it to loving it.

Seeing as this is another album within the "Berlin Trilogy", and another one that I had not heard before, I couldn't help but compare it to "Low". Well, in my opinion, this album is just not as good as "Low". But it's still so good. Again, this album and project reminds me of just how far-reaching David Bowie's career was. Each album included here was influential for one reason or another, and each one sounds unique and formed in its own bubble. It's true artistry. I was actually weirdly surprised by the final three tracks on the album: "Moss Garden", which then segued into "Neukolon", which segued into "The Secret Life of Arabia". They has very clear Asian influences, but there's a sense of electronic and ambient Bowie-isms dancing under the surface of these songs. They're felt very "old meets new". I was caught off guard by how intriguing this trio of songs was.

As I have said time and again in my reviews, jazz is not my forte, nor my preferred genre. But Nina Simone makes such a compelling case for it. Her vocals are somehow perfectly smooth and yet perfectly sultry; incredibly chill and relaxing, and yet keeps you on the edge of your seat to her her next note. Also, what I assume to be her playing piano on the album is simply divine, as well. She does it so gracefully and delicately. This one album is enough to show why Nina Simone was a force and a legend among jazz legends. There is just something absolutely powerful about her.

While I don't hate this album as much as others do, I can agree that it is a really tame, watered down version of U2. I think the album starts off very strong with "Beautiful Day" and "Stuck in a Moment You Can't Get Out Of". From there, things seem to fade into a generic territory a little bit more, more so than I would expect from U2. There is a bit of an ambient quality to this album, which made a lot more sense when I noticed that it was produced by Brian Eno. It's not an unpleasant album, but it also doesn't stand out or come across as trailblazing as their earlier stuff. And yet, I would say this album still succeeded in cementing U2 as a top rock act in the new millennium after having faded a bit into the background as the 90s progressed. An okay effort, but ultimately U2's other albums on this project are stronger representations of both their band and the project overall.

For what its worth, this album is somehow much more accessible than the other Beefheart album on this project, Trout Mask Replica. But don't get me wrong, this album is still Captain Beefheart at it's core, in every sense of the word. It's very bluesy and very folky, but is overlayed with a thick layer of garage, acid, and psychedelic weirdness and plenty of weird vocalizations and lyrics. And with these genres, they manage to achieve quite a bit of diversity on the album. I still don't think I liked this quite enough to make it a 3, but was surprised that I was able to tolerate it and even had moments where I kind of liked it.

Okay. Why is this album on here? It was listenable, but that's about all I have to say. It's so generic and underwhelming.

If I had to try to pin this album down, I would say it's like a British singer's attempt at and take on American style folk-rock, country-rock, and blues-rock. At the same time, it also feels like a bit of a precursor to some alternative rock sounds of the 90s. I thought this was enjoyable and diverse, though maybe not groundbreaking. It was also an easy listening experience; it was very chill, but engaging.

I'm not too much of a reggae person, but if I were going to listen to it, this would be a fantastic option. It is interesting to hear reggae music and associate it so easily with beaches and chilling out and relaxation, and yet, the lyrics found here are anything but relaxing and light-hearted. Taking some time to read about Marcus Garvey, who the album is named after, tells you all you need to know about what kind of album this is, despite how "beachy" it might sound. An informative and significant inclusion, even if it isn't exactly in my wheelhouse!

I thought this album was okay. As I have alluded to in previous reviews, I absolutely adore Crosby, Stills, Nash, and Young together, but have struggled with their respective solo careers. Granted, Neil Young has had an illustrious enough career and many of his albums are on this project and have since won me over. But between the lack of harmonies that CSNY can produce and the originality and depth that Neil Young can produce, this Stephen Stills solo album comes off as rather conventional and ordinary. As far as Stills' solo career goes, I even found his work on and with Manassas to be better overall. This was generally enjoyable, but didn't win me over in any kind of significant way.

If "Hunky Dory" put David Bowie on the map of stardom, "Ziggy Stardust" is what cemented things for decades to come. This album is an exciting exploration of glam rock, hard rock, proto-punk, and more. In the best way possible, a first time listener wouldn't be sure what to expect from song to song. Like David Bowie himself, "Ziggy Stardust" kind of exists in between the lines of definition; it is loosely a concept album and loosely a rock opera, but it's not firmly in either of those camps. The album also works perfectly outside of the concept that it plays around with. David Bowie was known for his many stage personas, but Ziggy Stardust may be his most famous persona. David Bowie wasn't the first to adopt a persona on stage, but he's among the most influential to do so, without a doubt. He would go on to do it many times throughout his career, continually inspiring artists through the decades who wanted to incorporate personas, alter-egos and loose concepts in their work. Again, Ziggy wasn't the first, but Ziggy was among the most influential here. There really just isn't a level where this album doesn't succeed; it succeeds on defying and pushing genres; it succeeds as a concept album; it succeeds as a musical album in general; it succeeds in having outstanding individual songs that all stand on their own, from vocals to production to lyrics; it succeeds at being an early example of a singer being thrust into pop/rock stardom. Bowie would be an absolute force for his entire life, constantly pushing creative boundaries, but this album may be him at his finest.

I can see where modern funky, jazzy music that is touched with a bit of hip-hop is a worthy inclusion in this project. That said, this album really wasn't my thing. My initial thought about two songs into this album was "Man, if Kendrick Lamar did music more in these genres, this is what it would sound like", only for him to be featured later on in the album. Guess there's some truth to that thought.

I didn't like this Steely Dan album as much as the other two that I have heard on this project thus far, but even so, I still enjoyed it! These guys consistently put out quality music that was a little bit different than what the rest of their peers were putting out, making them consistent standouts. One of the highlights of this album was definitely the song "My Old School", which sounds very upbeat and jammy, but touches on a very odd topic once you listen to the lyrics -- a drug bust. Despite that, the song answers the question: "Does a 70s rock song really need four saxophones?" And the answer is "Yes, absolutely."

This album really fucked with me. There would be a good, solid grunge song that would have me feeling like this album was going in a good direction, followed by several much more experimental noise rock songs that were absolutely not my jam. I swear this back and forth happened at least three times. This is yet another case where I feel like the wrong Sonic Youth album was chosen for this project. Or maybe I only just like a very, very small slice of what they have to offer. Ultimately, the good points of the album just weren't enough to make up for the lows for me.

This album felt experimental and playful while still being pretty approachable! They explore a lot of different types of music here and do so well! The Kinks seem to have followed suit of other British Invasion type bands. "You Really Got Me" was their breakaway hit, which was still fairly different (and punk-y) compared to other British Invasion bands, but the composition felt pretty standard. By this album, they have deepened their craft a bit with good songwriting and genre experimentaiton; this album kind of feels like it could be their "Pet Sounds" or "Sergeant Pepper's". Not a bad listen at all!

I really can appreciate PJ Harvey's presence in and impact on alternative rock during the 90s. And I absolutely love a lot of her peer bands (Hole, anyone?). But for some reason, I find it difficult to really get into PJ Harvey. I find myself listening to the songs on this album and struggle to really get into them. So much of her music sounds incredibly dissonant to me. In any case, I'm coming to understand her place in alt rock a little bit better and can appreciate that. She's just apparently not for me.

I feel like the song "Sweet Dreams" is pretty ubiquitous in music culture, but I don't know that a lot of people are as versed on the rest of the album. Well, I'm here to say that this album is excellent and every bit as excellent as "Sweet Dreams"! It's new wave, but with an added focus on dance pop and synth pop sounds. Based on what I read, it took Eurythmics a bit to find some success, and that this was the album that finally accomplished that success. Additionally, not all new wave acts went as heavy on incorporating these dance and synth sounds, and thus I feel like this strategy further helped Eurythmics stand out all the more on this breakthrough album. Aside from outstanding lyrics throughout the album, Annie Lennox uses a gender-bending singing style throughout much of this album (to accompany her gender-bending physical aesthetic); a dark, ethereal harmonization between masculine and feminine vocals is being mixed on this album to produce a gender nonconforming vocal sound. It's also wild to consider that nearly all of the work done for this very fleshed out and realized album was done by only two people: Lennox and the other half of the Eurythmics duo, David Stewart. Just a great listen and a very solid example of new wave intersecting with synth-pop in a positive and exciting way!

Very tolerable punk, some of the easiest to listen to that I've heard on this project. Yet I've somehow never heard of this band! The album didn't change my life, but it was a good listen. High 2 or low 3 for me!

Wasn't into this. Some of the instrumental aspects were good, but the constantly angry growling French vocals kind of ruined it. I liked the creepy and macabre atmospheric aspects of the music, but not much else.

I learned a new term today, regarding genres: grime. It's essentially a fusion of hip-hop and EDM, with emphasis on very heavy, "dirty" beats on the EDM part. Hence, grime. I think it's a combination of the grime genre and the fact that this is UK hip hop, but in any case, this is unlike any other hip-hop on this album, hands down. Still, this album and genre didn't really resonate with me much.

So much of this album sounds unfocused and unfinished. The tracks are like snippets of various ideas of songs across many different genres without anything to really tie them together. Not only do virtually all the songs feel incomplete, but the snippets that are there are incredibly unpolished. And there are 28 of these tracks, by the way, resulting in all of this just sounding like a demo tape of a demo tape. I'm really not sure what supposedly makes this album so special or worthy of inclusion. If anything, it's a bit of a bummer imagining what the album might have been with a bit more time spent on it.

I'm not usually one for noise rock, but something about this album just does it for me! Yes, it's very shoegaze-y, but I think part of the reason I like this is because they incorporate a dark, kind of goth sound to their vocals and style; there is an added layer to the spacey, dreamy qualities. I would say that the album loses traction towards the end, but the majority is great! And honestly, "Just Like Honey" could pass for a modern track from one of those indie bands -- you know the ones -- where the man sings kind of low and melancholic and the woman harmonizes/repeats in a higher voice. There's definitely been some inspiration being taken from The Jesus and Mary Chain! All in all, a really strong debut from this band!

YES to girl punk bands! X-Ray Spex brings a lot of new wave and even ska sounds to their punk while still keeping things very punky -- this was a bit of a change I enjoyed compared to a lot of the hardcore punk acts on this project. The ska sound comes through heavily on this album in the form of horn instruments and saxophone. Additionally, they're one of those quirky, weird bands (a la B-52s) and that weirdness just works really well for them. Honestly, I'm here for all of it. I just find it quite interesting how this group elevated (in my opinion) the punk sound to the next level by dabbling in sounds and styles of the coming decades. Not necessarily a favorite album on this project, but I would consider this a hidden gem of an album that I didn't previously know about, from a band I had not heard of before!

Another album where shoegaze meets goth, and I am absolutely here for it! The Cocteau Twins excelled at dreamy and ethereal sounds from instrumentation to vocals, and this album is no exception to that. It is said that this is the album where Cocteau Twins really found their footing, and while they themselves regard this album as not being good, it is highly regarded by fans as among the best, if not the best. Speaking of juxtapositions, the juxtaposition of song titles with the lyrics is an interesting one. On surface level, several of the song titles make it seem as if these songs are going to be mythological in topic. And of course the celestial sounds of the album lend to this assumption as well. But upon listening and hearing the actual lyrics, that doesn't really end up being the case. Even lead singer Elizabeth Fraser would go on to say that the songs are not about mythology. That said, I think it tends to take on a life of its own, because too many traits of the songs and the music line up and attract new age and pagan-adjacent listeners. I was aware of Cocteau Twins prior to this project, but the project has brought them back into my mind and left me wanting to explore more of their discography! When albums on this project accomplish that, it's always a win, in my opinion. This album comes in around a 3.5 for me; I didn't love it quite as much as their other album on this project. That said, it hooked me and highly intrigued me and that's worth something to me, so I'm giving it the round up!

Another Bee Gees album on this project, and yet again, absolutely zero disco Bee Gees. This really does seem like a crime. Their non-disco music is just SO generic, whereas their disco music is just so iconic. I am just going to copy/paste the majority of my review from the previous album, because my feelings are mostly the same and I really do feel passionate about this: There is no disco era Bee Gees on this project. What an incredibly ridiculous miss. Do yourself a favor and go out on your own and check out these additional listenings for a better taste of the Bee Gees: -Saturday Night Fever soundtrack -Main Course -Spirits Having Flown -Hell, even "Greatest" is a worthy endeavor of all of their hits (containing, of course, their DISCO songs, NOT songs from the albums found on 1001). I'm all for some music history on this project, but if you want to experience something that truly changed the landscape of music at the time, something that should be experienced by anyone taking on a listening project like this, it's Bee Gees' disco music, not this. This album could have been sung by virtually any other soft rock act of the time. Disco is what set Bee Gees apart and made them so special.

Most of what I know from Earth, Wind & Fire is stuff from a bit later in their career. It was interesting to hear more of what they sounded like before they took on disco! Granted, I seem to like their disco stuff better, but this was still a good education and a good album! One thing that was evident to me is that EW&F was already being fairly progressive with their music at this time! This isn't just standard funk or soul; it's got a progressive edge to it, and you can hear the initial bits of disco peaking out around the corner.

This album marks McCartney's first album as a solo/non-Beatles artist, so there's certainly a bit of history attached to this. While McCartney would become (arguably) the most famous Beatle from a non-Beatles career perspective, his first post-Beatles album was definitely not the strongest of the first post-Beatles albums (if you must know, it's George Harrison's "All Things Must Pass", and I won't be explaining myself at this time). This album may seem a little bit too simple or even unfinished, but it's a bit more impressive when you consider that Paul did ALL of the instrumentation himself. And while the album may be lacking, it has one of McCartney's most famous and heralded solo songs: Maybe I'm Amazed. This song deserves its accolades, but most of the album does not match this song's caliber. Another thing to consider is that this album is essentially the first indie rock album, as the lo-fi, "homemade" qualities are what the album is most known for and what indie artists would go on to chase. Paul would definitely go on to do much better things with his post-Beatles career, but if nothing else, this album demonstrated that he had plenty of ideas coming out the gate.

So excited to finally get some Kate Bush on this project! A lot is owed to her in terms of eclectic/alternative/progressive pop music among women solo artists. She pushed the standard a lot and inspired many women in this corner of the music world. This album dabbles a lot in Celtic sounds; in some songs, the sounds are more overt, and in others, it's a little bit more discreet. But nonetheless, it is present across most of the album. It is a sound that definitely works and layers well with Bush's mysterious, ethereal, new wave-y style. Arriving in 1989, this album came around during Bush's transition into her 30s, and seems to reflect a more focused, more mature oddity than some of her previous works. This album also came toward the end of Bush's major surge of popularity. Whether intentional or not, it seems well timed, as the 90s would bring about a lot more "hard" alternative sounds outside of what Bush was really known for. But still, the point stands, Bush's fearlessness in letting her musical freak flag fly informed much of what would come. She still impacts artists today.

This album marks the formation of one of rock music's longest standing institutions: The Rolling Stones. These guys have been around through every phase of rock music since the early 1960s, and at the time of writing this review, are STILL rocking. That is a big deal, and it all started with this album! Now that the historical significance has been laid out, it's worth noting that this album is "okay" at best. While it was relatively successful upon release, it was more or less like everything else on the music market at the time: still very reminiscent of 50s rock and roll sounds. And even among those sounds, this album is certainly not the best. Mick Jagger's iconic vocals are a lot less eccentrically forward here, and there's nothing hard or driving about the music. All the things that The Rolling Stones are known and famous for are lacking from this album -- they hadn't really found any of that footing yet. This album stands as a piece of history for a legendary band, but if these guys hadn't gone on to be SO successful, this would be an incredibly pointless inclusion, as the album itself, when considered on its own, doesn't really doesn't bring anything interesting to the table. As a sidenote, this project has taught me that even though I have enjoyed a LOT of Stones songs over the years, I'm apparently not really a Stones album lover; I have yet to find an entire album of theirs that I actually really like.

Wow. This was...incredibly boring. Repetitive and even the beats lacked any kind of draw or appeal. There was a super funky song called "Rought Out Here", and it was about the only thing that pulled me out of the lull this album was dragging me into. I wish I had something more to say, but this was just very underwhelming for me. And yet, it wasn't unpleasant, grating, or otherwise completely intolerable, so have a 2, I guess.

Literally two days ago, 1001 gave me the Stones' first album. Now this. And what a stark contrast this album is! Exile on Main Street was the Stones' tenth studio album. By this point, they have not only established themselves but released several fairly-consecutive albums where they are fully leaning into what I would call their "true Rolling Stones" sound: more removed from the late 50s/early 60s "rock and roll" sound, bluesy but hard, and very forward Jagger vocal quirkiness. And here's the thing: I would only call two, maybe three of the songs on this album "major hits" for the Stones. Their hits tend to be scattered all over the place and there isn't a big concentration of them on any one album. But that said, when you look at this album as a cohesive product and piece, it is clear to see why this album is so revered; it is no doubt among the best albums that they made, if not THE best album that they made. When most people think of The Rolling Stones, the version of them that is present on this album from start to finish is who they are thinking of.

I was pleasantly surprised by this album. Was it mostly just instrumental, funky, bongo-oriented covers? Yes. But it was done well, and in whatever case, it really did show off the art of drum-based percussion in an incredibly lively and exciting way. There are a couple of things that make this album significant, in my mind: First, it has been sampled many MANY times over the years. The work on this album is so good that others have used it time and time again for their own albums. And second, there is some degree of beauty in the fact that this album was recorded with a bunch of unknown musicians who still remain more or less unknown today. How is it that such a well-regarded bongo album be created by unknown musicians? Well, here we are. To me, this speaks to people all over the world having immense amounts of talent in an area and never really being identified or recognized for it. Overall, a somewhat mysterious album that despite its humble roots, persists today as a heavily influential work.

This is another fine example of a band who came out the gate swinging with a style of their own, and nailed it! Nobody else was doing anything else quite like this at the time. This album immediately defied the idea that this time period was setting around punk music. It demonstrates that punk didn't need to be "hardcore" to be relevant. Violent Femmes were definitely ahead of the times with this album, too; it puts a very 90s alternative spin on things, almost 8 years before the 90s even arrived. In fact, certain elements of the album even sound like 2000s indie music. I guess this just goes to show how influential this album was to the alternative/indie scene into the coming decades. Honestly, if I had been asked to guess when this album was released, I probably would have been about ten years off. Another thing that is kind of surprising about this album is how it is mostly acoustic (there are exceptions here and there) or acoustic-forward; in any case, the instrumentation is somewhat at a minimum, and yet they're still able to capture a punk and alternative sound so well. In my mind, that's no easy feat. The lead vocals also really help set the scene, though; Gordon Gano does a fantastic job of sounding edgy, strained, weird, creepy, and intriguing, all in one. It's a perfect voice for straddling the line between 80s punk and 90s alternative music; you can hear Gano taking vocal inspiration from those who came before, and you can hear what would inspire other artists moving forward. All in all, a cool, unique, and gritty album!

If there were any question as to why Nine Inch Nails is regarded among industrial royalty, "The Downward Spiral" is the answer to that question. Many NIN fans argue about whether this is or isn't their best album, but most agree that it is among their best. And it goes without saying that it is definitely home to their biggest hit, "Closer". The music here is expertly layered with so much sound, you almost have to listen more than once to hear all the delicate nuances. It is crafted in such a way that it not only conveys but brings out the most raw, raging emotions. Trent Reznor and NIN is absolutely a legend in this regard, and in pioneering industrial rock in general. I would put this at about 3.5, but I am pretty sure this is the only NIN album on this project, which seems wild to me considering some of the people who are on here more than once. So I'm rounding up for the sheer impact and uniqueness that NIN has brought to the music scene over the years.

Nothing inherently wrong with this album, but I just found the entire thing to be very mid. It seemed like The Byrds' attempt to break into more psychedelic, astral, cosmic sounding music. Maybe it works for some listeners, but I didn't care much for it.

Given the year (1981) and the fact that this band and album are relatively unknown, I am going to assume this album is on this project due to it being a progenitor of new wave. But really, this album is a little too eclectic and a little too unfocused. It comes off as experimenting with the idea of new wave and not really mastering new wave, and thus in my opinion doesn't quite get it right. One thing that really amuses me is that two members of The Human League would separate from that band to form Heaven 17 and release this album, both to very little fanfare. In the same year, only a month later, The Human League, sans these two members, would release their "Dare" album, home of their iconic song "Don't You Want Me", which ironically had more of a lasting footprint on new wave than this album did. Anyway, this was just okay -- it's another inclusion that is a music history lesson, not really an inclusion that must be heard.

This album genuinely surprised me as not only being good, but also being pretty unique. It definitely fits the bill of "progressive rock" well; it manages to take a lot of the psychedelic and soft/folk rock sounds of the time and give it a little bit of a twist...enough so that as I'm listening to this, I'm thinking "huh! that's interesting!" There's rock, jazz, psychedelic, all intermingling and arranged in unexpected fashions. The guitar work is superb, the additional instrumentation that makes the album sound so progressive shines through clearly, and the vocal harmonies are tight. This album was not super popular when it came out, but looking back on it all these years later, it seems like it straddles the 60s and 70s super well as far as music style goes. I love a good surprise! This is definitely somewhere in the 3+ range for me!

Another solid Joni Mitchell album! I couldn't help but compare this album to "Blue"; "Court and Spark" was written not long after "Blue", and the project is giving me this album not long after I got "Blue". This is maybe the most lively I have heard her, as she leans more than usual into jazz rock, folk rock, and heavier pop sounds. It is still incredibly poetically written and expressively sung, but it somehow feels less introspective than "Blue". It's still a bit sad in its own way -- I think that's just how Joni Mitchell sounds -- but there is a tint of happiness and hopefulness to this particular album that seems a bit absent in "Blue". No matter what, there is just always something special to pick up on on Joni Mitchell albums. At this point, I have listened to all of her albums found on this project, and after being unable to help myself in comparing it so closely to "Blue", I still found this one landing as a nice close second favorite to "Blue". "Court and Spark" somehow feels like light as "Blue" is to dark. "Blue" is the moon, "Court and Spark" is the sun. Anyway, it was a nice way to wrap up touring Joni's presence on this project. She is a musician who won't easily be replicated and could never be replaced.

I'm not the biggest hip-hop fan anyway, so I just thought that I was missing key information around knowing who this artist was and what this album was. But turns out, Nas' Illmatic never really got a lot of radio play, and therefore was not as big of a mainstream hit. I can see where this album was likely incredibly influential to the hip-hop scene moving forward; it seems to be a blueprint for hip hop artists as to what constitutes the perfect hip hop album. The lyrics are also sharp witted. But as someone who already has a weak relationship with this type of music, I found the album to be pretty standard 90s hip hop.

Kacey Musgraves is kind of like if Taylor Swift had never left the country scene and had kept maturing primarily in that space, with a bit of dabbling in folk and pop. As a result, she has definitely had a huge part in leading the charge of country pop in the modern age. Many female artists pioneered a 90s-2000s country pop sound, but pop music has changed since then; indie music style kind of bled into pop and therefore into country pop, and Kacey has now taken on that 2010+ period of country pop. What results is an album that is heavily influenced by the songwriting and music styles of country with the easy listening, chillness of indie type music. And while this particular country-indie-pop combination has grown a lot in popularity in recent years, Kacey Musgraves was among some of the first artists really pushing this sound out to a general population. A good, inoffensive listen!

Imagine Renaissance Faire-loving art school students who have a band. Half of them like jazz music and half of them like space age ambient music and they can't decide which sound is a better fit for their band. They get together and noodle and experiment regularly in a paint-fumed garage. None of them are really vocalists, but that doesn't stop them; they certainly like to strain their way through some discordant vocal noise and mumbles, anyway. They take every psychedelic drug available to them and then proceed to make an album. That is what this album is. And really, I don't know what else to say about it. I don't know about rock bottom, but we are definitely scratching near the bottom of the barrel with this one, aren't we?

This album sounds really dated by today's standards, but there's still something about that to be enjoyed. Namely, the hard-hitting drums and synth create such a fun atmosphere -- despite this being a distinctly 80s sound, this particular sound didn't see really heavy use before the music scene moved on into the 90s. But that's not the only thing that this album offers; Janet shows a lot of range on this album, dabbling in a few different areas and creating a diverse album. In fact, Michael would go on to be inspired by a lot of the sounds on this album. Again, this album is no doubt a product of the times, but it was certainly a defining moment for Janet, pushing her into stardom outside of the shadow of Michael -- no doubt an important moment when you are his sibling and seeking fame of your own.

This is an interesting album in that it arrived smack dab in the middle of the 90s but sounds like a 70s folk/chamber pop album. On many of the 70s albums that have cropped up on this project, I've talked about how those very sounds informed the indie movement for the 90s and beyond, and this album is a direct example of that. In fact, this album does a good job at tackling a lot of 70s sounds and really almost just comes off as a 70s tribute album, which I'm not mad about. Not only is this album an example of indie music being inspired by 70s music, it's an incredibly early and successful example. Indie music didn't take off in full force until the early 2000s, and yet Belle and Sebastian are found in 1996 being early progenitors of the sound as an indie movement. Not the most jamming album, and it does lull in spots, but then again, so did a lot of 70s chamber pop. Ultimately, this album is a noteworthy one when looking at the history of music, though arguably not a must listen album in general.

I laughed when I saw one of the genres for this album on Wikipedia: "progressive folk". I guess that's one term for it. But it's also simultaneously the opposite of progressive, as it certainly seems to be a take on medieval-era folk. Other reviewers have touched on the idea that this album is almost interesting in places, but those things are outweighed by the utter dissonance, caterwauling, and lack of cohesion that dominates this album.

This was an incredibly diverse album in sound, and something that was similar and yet still not quite like anything else that has been featured on this project, but still not one I really enjoyed all that much. It didn't grate on my nerves necessarily, but I also wasn't excited by it. I was just very indifferent about it. Probably a 2.5, but don't really feel like it earned a round up from me.

I love the story behind this album! In short, Nora Guthrie (daughter of Woody Guthrie) provided Billy Bragg with her father's lyrics for unreleased songs, and together Bragg and the band Wilco partnered to breathe life into these songs. Bragg and Wilco do a very good job, in my opinion, of honoring the spirit of Guthrie while also breathing their own unique life into these songs. Truly, Bragg made a good choice when he sought out Wilco to include on this album, as they were pioneers of the early 2000s indie sound, which was highly alt-folk driven (this album would arrive just a couple of years before their acclaimed Yankee Hotel Foxtrot album, which really put them on the map). The idea of finding trusted people to continue a legacy is an interesting one, and in this case, I think it was well worth it; I believe Guthrie would have been proud of the work that Billy Bragg and Wilco did here!

Am I tired of hearing Elvis on this project? Or was this one just really extra boring when compared to some of the other Elvis albums on the project? Maybe both. But seriously, I think this is the most bland and sleepy Elvis album that I've had on this project so far, and that really doesn't help when someone already doesn't like Elvis. There just really wasn't a standout on this album for me to speak of.

It's hard to believe that Mike Oldfield is not only capable of playing so many instruments, but that he did so on this album -- and at such a young age! This was truly a beautiful album, as well as extremely innovative. Dating back all the way to 1973, this album seems to be a very early example of new age music, a mostly-instrumental, relaxing, and typically celestial-sounding genre that saw a big rise in popularity in the 90s. In fact, this may very well be THE first album to exist under the "new age" genre term. The second half of part 2 changes fairly drastically and suddenly into a much more progressive rock sound, complete with throat growls that sound straight out of the metal scene. While jarring, this transition is not exactly unwelcome (at least not for me)! Something that is noteworthy about this album is that it holds up quite well by today's standards of the new-age genre, which is definitely not something you can say about every album that has ever crossed any specific genre, let alone an album that may be the starting point of a genre.

This is such a quick album, it flies by before you know it. It's an incredibly mellow album that maintains the same kind of tone throughout the majority of the album. The album opens with the incomparable "Scarborough Fair/Canticle", a traditional medieval period song that has definitely seen its most famous incarnation in the form of Simon and Garfunkel's version. The end of the album comes with a bit of a shake-up in the form of "7 O'clock News/Silent Night", in which a very well known Christmas carol is sung opposite some news recordings from the Vietnam War period. Incredibly thought-provoking and a harrowing way to end the album. And truly, when you consider the first track and the final track of the album, it seems like two very opposite poles of the folk music world: one song that is representative of very traditional, old world, and classic folk, and the other in which a traditional old world song is being modernized with elements of protest and political controversy. The in-between material is pleasant and an incredibly easy listen, but it is these bookends of the album that, in my mind, speak the loudest.

This album made me realize how little Frampton I knew. I know and generally like "Show Me the Way" and "Baby, I Love Your Way", so I figured, how bad could the rest of it be? Well, after listening, I feel like I can say "not bad, but pretty darn average at best". Most of these songs sound like generic 70s soft rock, a genre that I baseline enjoy, but none of this really pushed me beyond that baseline. Also, outside of those couple of hits of his I mentioned before, I never realized that Peter Frampton is a pretty poor vocalist. There are many cringey vocal moments on this album. Truly, this is a live album where I don't really understand how it is one of the best selling live albums of all time. I also don't really understand what it was about this album that caused Peter Frampton to finally take off after four lackluster studio albums. To my ears, there isn't really anything noteworthy about this album in particular that would cause people to finally notice him.

I have become glaringly aware of the fact that this project is chock full of average britpop/90s alt brit stuff. I would argue that this is the first decent inclusion I've seen on that front in a while. Moving out of the 90s and into the 2000s, the Arctic Monkeys were at the forefront of this particular alt rock movement; America was very into "emo" type alt at the time, so the Brits were definitely holding down this particular style of alt rock, carrying the spirit of bands like The Strokes into the 2000s. I don't think American bands ever circled back around to producing this particular sound in earnest, but the lasting legacy of the Arctic Monkeys has shown that there is still an appetite for this sound. While I do think this album is a strong debut for the Arctic Monkeys, I don't believe this is the best album they have to offer, and it would not be my pick for a "must listen" from them. But once again, as I have become more and more aware of the fact that the author of this project has tried to balance music history and music significance, I guess I understand why this album would be chosen above others to represent this band.

Ladysmith Black Mambazo are legendary, and it was a real treat to see them included on this project! They may be one of the most well known African groups in the Western world, and certainly the most well known choral African group. Their fame and success gave rise to other groups like them being acknowledged and appreciated by western listeners. And it all started with this album, as it was the first of theirs to gain that level of international success. Their harmonies and vocalizations on this album are outstanding. I find this to be very approachable and easy to listen to as someone who does not understand the cultural significance of this type of music, let alone any of the lyrics. It is the type of album that can be enjoyed both in an active listening mode and in a more relaxed mode. This is a real treat to have on this project -- it was the West's initial window into unadulterated South African music, and it is fitting that this project would be a window into that music and this album for a whole new generation.

I. love. gritty. 90s. alt. rock. women. groups. I was not familiar with Elastica, and I wasn't surprised by that fact. So many 90s alt women acts fell off the radar and were not appreciated to the extent that they should have been, and have continued to be somewhat unknown by comparison to a lot of similar male acts of the time. They immediately read like somewhat of a British version of Hole or Garbage. And in my mind, that is not a bad thing at all. While I don't think they succeeded as sounding as sonically standout as the aforementioned bands, they still have good presence on this album. It's another album that I'm not sure needed to be included, but I'm not mad that it was.

This album is probably one of the most eclectic and most genre-defying album I've heard on this project. Honestly, without even trying very hard, I can count about eight different genres represented on this album, and I'm sure I could come up with more if I try. There is honestly so much here to unpack, and so many unexpected twists and turns. This is the second and last Super Furry Animals album on this project, but in just two albums I have seen that this band does what they want and they do it well. Like on their previous album, I didn't hear anything that just blew me away, but nonetheless, I was impressed by their ability to dabble across so many different sounds coherently and interestingly.

Meh. Just a bunch of beats on loop. It was okay, but it felt very repetitive and incomplete.

You know, The Velvet Underground gets hyped a LOT by today's standards, but in listening to them, I feel like they're just your average rock band of the time. I can appreciate, though, how they're kind of folk adjacent without being too folky; it makes for a chill listen but keeps things interesting. In any case, nothing bad here, but also nothing too great. It was interesting enough, but not too exciting.

I think FIVE albums by The Byrds on this project is way too damn much. At this point, I'm really quite tired of it. This album doesn't bring anything to the table that the other four did not bring. It's the same ol', same ol', and average at best. My reviews have slowly begun to taper in a direction supporting my above statement too, as they have gotten increasingly shorter, less patient, and lower rated. Again, this album and the majority of the other four are just fine, bordering on simply okay, but ultimately such a big Byrds footprint is unnecessary. If sources can be trusted, this is the last of their albums on here, and I am not upset about that.

What can I say about this album? From the music to the songwriting to the album cover to what he is WEARING in the album cover, this entire thing feels like a blueprint for the modern day indie folk rock act, and George Harrison was pioneering it and mastering it in 1970. Iconic. This album was a creative breakthrough for George, as he was not nearly as creatively involved in the Beatles' work, at least not front and center. And yet, from a whole-album perspective, I have said before and will say again that "All Things Must Pass" is the most noteworthy and best solo Beatles album -- and many would agree. What he delivers on his own is unlike anything else the solo Beatles members produced, and it is also arguably some of the most timeless. There really isn't a skip on the album, and that is coming from someone that tends to groan at the sight of double albums on this project who is simultaneously taking into consideration that this is a TRIPLE album. Granted, I found the Apple Jam sessions to be a little bit much and rather jarring when compared to the context of the core album, but it is still generally good music. I wish I had more words for what is genuinely an outstanding album, but sometimes the music just speaks for itself. Many have musically followed in the footsteps of George, and while he certainly dabbled in other sounds throughout his career, there is something poetic in the fact that "All Things Must Pass" has circled back around to modern relevance. Indeed, all things must pass, but when you leave a legacy like George that influences folk rock and music in general so much, all things may circle back around, too.

The Beatles are one of few bands that I feel like have earned so many spots on this project, as many of their albums just raise the bar time after time and are musically significant. All that said, in terms of this project, I would argue that this album is maybe the most unnecessary Beatles inclusion. Is it okay musically? Yes, sure. But is it musically significant enough to be included on this project? Meh. Sure, they were a sensation from the very beginning (this album makes me wonder how if I'm being completely honest), but their album significance did not start or continue here, in my opinion. And I honestly was not aware that they had an album (let alone multiple albums) where half of the album was covers. All in all, you can see hints of who The Beatles would become peaking out in certain songs, but overall, the album is not quite at that level yet. An okay album, but I definitely feel like it wouldn't be on here if it weren't The Beatles.

Another grunge top tier staple, check. There are some excellent displays of guitar riffs and songwriting on this album. Plus, Chris Cornell was just a stellar grunge vocalist, and really, a stellar rock vocalist in general -- it's grating, it's deep, it's howling. His voice hits all the right points. The combination of music, vocals, and songwriting is important in grunge; it should all be done with a dark edge that leaves the listener feeling a bit grimy. I think Chris Cornell and Soundgarden understood that intimately, and it is what makes them one of the grunge greats. This album in particular nails all of that. There really isn't a single song that drags this album down; it is banger from start to finish.

I don't particularly love Randy Newman's style, but I can appreciate his songwriting! I didn't recognize his name either, but his voice is unmistakable; the moment he started singing I said to myself "Oh! The Toy Story 'You've Got A Friend in Me' guy!" And from there, I even recognized a few of the songs on this album. This guy certainly has a knack for songwriting that goes along with that distinct voice. While I wasn't blown away, I will say that this made for an easy listening experience!

Yesterday, I got the Toy Story guy (Randy Newman) and today I got the Jungle Book guy! Well, this album isn't called "The Wildest!" for nothing! In my opinion, Louis Prima not only has a very unmistakable and recognizable voice, but he embodies the quirkiest and most playful aspects of jazz and swing, and especially so on this album. His energy, the ecstatic music and the often cheeky lyrics all combine to create this perfect environment. Louis Prima's unique stylings definitely have not been represented thus far on this project even among jazz artists, so I'm happy to see him finally pop up! Also, "(I'll Be Glad When You're Dead) You Rascal You" is my new go-to song to send to my enemies. So if I ever offer you this song, that's how you know you've really done it.

This is an album that I've been waiting for! This is the type of music that a city-dwelling, party-loving vampire would listen to. And I'm here for it. It's dark, it's moody, it's broody, it's sexy, it's weighty. This album is the gold standard embodiment of dark wave, the marriage of new wave and goth. It is also a delicious intersection between said dark wave and industrial. And while this combination of stuff might sound like a "I've heard one song, I've heard them all" situation, The Sisters of Mercy manage to fit a lot of variation into this album. This album also uses its time well; not a moment is wasted here. Anyway, I hardly have any real notes here, other than repeating that this album is peak dark wave. Period.

Chic has quite the reputation when it comes to "Le Freak", their most well known song. That song seems to be synonymous with campy disco and nearly defines the entire genre altogether in a lot of people's minds. And campy though "Le Freak" may be, it's still a hands down jam. But really, this album offers a lot more than just "Le Freak". It is a stellar disco album that also straddles a line between exceptional funk and R&B. And while I consider all disco music pretty easy to listen to and get into, I find this album to be extra smooth and polished. If I had to recommend disco to someone for the first time, this album would be up there. Probably about a 3.5 for me, gonna round it up!

I truly do understand Velvet Underground's impact on psychedelic and art rock, but for the life of me, I've never really been able to fully get into them. I will say though, they're probably essentially responsible for the birth of art rock via this album. This album is also chock full of other proto genres that were no doubt influences for the bands that would take them as inspirations and improve upon them. In this regard, this album is among one of the most influential in modern music.

This is a genuinely good country album, albeit a very relaxed one! During the late 1980s, country was beginning to take on a different kind of sound that would really take off in the 1990s...sort of a rock/country/pop sound. Some artists, however, were going in a different direction at this time -- more of a folky country sound (think Emmylou Harris). Country-folk-pop type artists would see their own type of success in the 1990s among singer songwriters, although mostly outside of the country genre mainstream. This album by Nanci Griffith is reflective of that path. I found the entire album charming, but I was particularly captured by "The Last of the True Believers" and "Fly By Night". Nanci Griffith seems to be rather unknown even in the country space, and after listening to this, I feel like she is an underrated country artist!

This album came out when I was in my youth, and was among my early exposure to nu metal, so some of these songs live rent free in my head and I can't help but still bop to some of them. That said, I think another reviewer hit the nail on the head when they mention that Limp Bizkit, though somewhat of an early adopter in the nu metal and rap metal space, is ultimately just a less talented and impressive band than a lot of the nu metal talent of the time. Also, Fred Durst's voice is pretty annoying throughout the majority of the album and detracts from any banger quality that the music itself might have. This album didn't really need to be included. There are other nu metal albums that would have been much more deserving of a listen.

This project has taught me that I am not the most patient when it comes to true progressive rock. A lot of it draws on too much for my liking and ends up sounding like glorified jam sessions. I know some of the more mainstream hits by Genesis, and enjoy those quite a bit. I also enjoy Peter Gabriel and Phil Collins individually as artists. Therefore, I expected to enjoy this a bit more. But in the end, my impatience for prog rock won out. I ultimately found this album to be okay, but pretty difficult to get into. I guess just leave me with the mainstream Genesis stuff that the "not so hardcore" fans listen to.

Well this is an odd album. I had not heard much 10cc before, let alone an entire 10cc album. What I had heard before did not prepare me for this; I had no idea they were so zany! They know how to bring out all the weirdest aspects of the 70s. Truly, it's like a clash of some of the most notorious acts of the decade, cranked up. Overall, I found this to be fun, light listening. But when considering the album as a whole, they had a LOT of different ideas going on here; I don't want to say the album lacks cohesion, but...I'm not sure how else to describe it. Some of the ideas work here and some of them don't.

Not bad for something in the punk space! It was coherent, wasn't too hardcore, and had a mix of new wave in it (which is a win in my book). As I have come to realize, a lot of punk is quick, short, and to the point, and this album is pretty much the same; it clocks in at just over 35 minutes. The longest song on the album (also the last) occupies nearly a fifth of that time, clocking in at 7 minutes. The majority of it is an epic closing jam, but the last 2 minutes are occupied by some silence and weird beeping. So...there's that. Really, it's too bad that this album is relatively unknown, because it's a great intersection of punk and new wave.

I'm really not a big ska person, but I found this to be pretty enjoyable. Honestly, the majority of ska that I am familiar with is from the late 90s to early 2000s, and you could have convinced me that this album was from that time period too. They definitely nailed that modern ska sound and the album was very well produced. Speaking of production, my partner in crime on this project brought it to my attention that Elvis Costello produced this album, and honestly that made a lot of sense. The album cover and a lot of the music have an underlying Costello-ness to them, complete with dabbling a bit in those new wave and punk spaces.

I will admit, when I read "samba" and "jazz" as genres for this album, I was definitely expecting something a lot more uptempo and with Latin flair. This album leans a bit more ambient and the samba and jazz influences aren't nearly as prominent. There was nothing wrong with this album, but the "must hear before you die" aspect came into question for me for sure. It was okay, but definitely not that good. A high 2.-something; it kind of just faded into the background for me.

Karen Carpenter had such an angelic voice! This album really shows that voice off, too. All of the music here is incredibly mellow and very easy going pop with some subtle orchestral-type backing. It is an incredible melodic match for Karen's vocals and allows those vocals to shine through. That said, the music doesn't feel "one note"; there's a lot of variety on display here within the vocal pop genre.

I mean, I wasn't completely sure what to expect from a afro-blues rock band from Timbuktu; I only knew how to think of it from the perspective of an American band performing that genre. Turns out, I wasn't too far off! Without being able to understand the language of the lyrics, I feel like I can at least say the voices and vocal stylings of Songhoy Blues is well suited for this genre! The album title -- "Music in Exile" -- is quite impactful, considering the story behind the members of Songhoy Blues being forced to leave their homes due to socio-political conflict. Even the band name "Songhoy Blues" alludes to the suffering and struggles faced by the Songhoy people in this situation. But seeing as this was their first album, it is obvious that the situations they were facing drove and influenced their music. There is truly some great guitar work at play on this album, and despite the white world's tendency to refer to anything by non-English bands as "world music", this is not really world music. There are aspects of traditional African music at play here, but it is definitely not the most forward part of their music. Being this far into the project, questions continue to arise in me like "do I really need to listen to this before I die?", but I digress. It was a good listen. Not a great one, but a good one.

Sometimes I question this project's choices of albums, but I do feel like the Eagles were an appropriate inclusion, and I also feel like "Hotel California", along with the other Eagles album on this project, their self-titled, make up the best Eagles inclusions. This album represents the Eagles in their prime, for sure. Look, I think this entire album is good. But even if it wasn't, "Hotel California", the song, is almost worth the album's inclusion just by itself. It's an iconic, super well-known song, representing stellar songwriting and amazing music work. This song is somehow synonymous with the American bar scene -- it's the kind of song you hear at the peak of the night when everyone is feeling good and everyone sings along. Even in Italy, when I passed by a self proclaimed American-themed bar, the locals were inside blaring and singing a karaoke rendition of "Hotel California". Furthermore, opening the album with "Hotel California" seems so simple, but in the context of the entire album, it feels like such an eerie opener, and I love it. But seriously, the Eagles had the niche at the time on that kind of mostly-rock-but-a-touch-of-country genre, and this album is them at their peak in that space. Every song on this album hits and just makes such a cohesive, interesting work.

You know, I had heard of Emerson, Lake & Palmer but I don't think I had ever heard a song from them. If you had asked me to guess what to expect from them, it would not have been this. Even with the progressive aspect, I just found this to be messy and dull. I did NOT like this.

I can only imagine when this album was released. In the same way that we are seeing an electronic dance pop renaissance in 2024, Prince no doubt dropped this album in 1982 like a breath of fresh, freaky air in the funk genre. This album is so very forward-thinking; it no doubt served as a blueprint for many artists in the 80s seeking a funky dancey sound, and yet it still sounds so unique and incomparable to anything else. While this was not Prince's first great work, it was arguably his first great work where he pushes the creative envelope so much, jumps into uncharted music territory, and sticks the landing. This album would turn out to be a game changer for him as he moved forward in his career and continued to take this approach.

Damn, this album sucked me right in. I am moderately familiar with Peter Gabriel, including a song or two on this album, but I really didn't know he did anything like this. The art-rock and post-punk vibes present here were immediately reminiscent of Bowie, but with a very obvious Peter Gabriel twist. And this is my own opinion, but this album absolutely reads like proto-industrial; it has all the makings and sounds of that genre. This album came in at around a 3.5 for me, so rounding it up due to the uniqueness of it all!

I couldn't remember if I had ever heard the Tusk album in full before or not. At first, I wasn't sure how it could be that I either hadn't and/or didn't remember having done it. After listening, it all makes more sense. This album is pretty eclectic and while I can appreciate what is here, it is incredibly lacking on cohesion. This is very reflective of the rocky state of the group at the time. Personally, my favorite track on the album is "Sisters of the Moon"; it's maybe one of the more Rumours-reminiscent tracks on the album, but still forward-thinking. I would not have been mad if the entire album was more like this song. In general, out of all the competing "vibes" on this album from Lindsey, Christine, and Stevie, I think I dig Stevie's vibe the most. This album is enjoyable to me, but I do have to wonder if it would be as well regarded if it had been released in more of a vacuum -- in other words, if it had not been the follow-up to one of the greatest albums of all time, Rumours. All that said, I still generally enjoy this album quite a bit, and thus feel comfortable giving it a 4 without further scrutiny.

I don't know why, but when I think about a concept album involving the growth from a child to an adult, I feel like Simon & Garfunkel are the perfect duo to convey such a concept. That said, I am not sure if I just wasn't in the mood or what, but I mostly just found this album to be okay. The songs were good, but most of them felt forgettable to me. Either way, I did enjoy it, so we will split the difference with a 3.

This album was a delight! There was a lot of Latin flair here that felt familiar and that I welcomed. There also were dabblings of other genres that I was familiar with, like jazz, exotica, psychedelia, folk, and more. And yet, there was still an exciting unfamiliarity here -- like something interesting and foreign that you didn't know existed. This album manages to fit a LOT of that in, with various sounds and experiences. This was an incredibly atmospheric album that kept me intrigued!

I was conflicted when this album came up. On one hand, I really do like Siouxsie and the Banshees, but on the other hand, knowing that this was their first album had me contemplating if their debut really was a must listen. At this stage, Siouxsie and the Banshees are definitely more punk and post-punk and haven't leaned as much into their goth sound yet. Siouxsie has an unmistakable voice either way, but it's just better paired with their goth era. They were never exactly a band that preferred a "polished" sound, but they eventually got more melodic, something that this album lacks. An okay album that will get a good rating from me, but again, I already like Siouxsie and the Banshees. I don't think this is all that great of an inclusion on this project, and if this was my first exposure to Siouxsie, I wouldn't probably be giving it as good of a rating.

I had heard of Traffic, but didn't think I knew anything by them. For the most part, that proved to be true, except I did know "Feelin' Alright?" without knowing that it was Traffic that sang that song. These guys have a very intriguing take on folk rock, definitely very progressive rock-oriented. Honestly, it works pretty well and makes for one of the more enjoyable progressive rock listening experiences I've had on this project (I don't typically enjoy the genre very much). Another thing that was evident to me about this Traffic album as a first time listener was the Steve Winwood-ness of it all. His knack for musical jazzy melody really shows on this album. An enjoyable first time whole album exposure to Traffic! I really was intrigued with the musical niche they created for themselves!

Another debut album that just hits it out of the park! This album is just sooo easy to listen to, all while having great lyrics, solid instrument work, and a unique take on blues rock. It's just such a great example of an album that straight up grooves, but not in that 60s psychedelic way. And don't even get me started on "Sultans of Swing"; they came up with that song, again, on their debut album?! Absolutely fantastic, legendary song. This falls somewhere between a 3 and a 4 for me, but close enough to a 4!

"We Are Family" is just one of those disco songs that everyone knows -- in fact, I would go as far as to say that it is one of THE most well-known and regarded disco songs of all time. And as good as that song is, Sister Sledge shows on this album that they are so much more than just that one song. The album is full of sweet, soulful vocals and harmonies and the funkiest disco beats. There are parallels that can be drawn between this album and CHIC's "C'est Chic", not the least of which is the fact that Nile Rodgers is at the helm of both albums. That album also contains one of the most well-known disco songs, and certainly CHIC's most famous song ("Le Freak"), but truly the entire album is elevated by Rodgers' work. So much like on "C'est Chic", his writing, production, and playing on this album takes things to the next level and really just further cements him as a disco god.

Before starting this album, I reflected on whether or not I actually KNEW any of Sinead's music, beyond her very well-known cover of "Nothing Compares 2 U". And I was pretty sure I hadn't. So I was looking forward to diving in. With her fairly recent death and the background context I had surrounding her past few decades spent ostracized as a result of calling out the abuses perpetrated by the Catholic Church, I was even more ready to listen to with open ears. This woman never got the collective apology from the world that she deserved. The absolute bare minimum that people can do now is listen to her music in memoriam and consider how we (often wrongly) protect and continue to uphold harmful institutions. Regarding the album itself, it's everything I love in 90s female singer songwriter types. The vocals and the instrumentation are edgy and gritty at times. The songwriting is topical and doesn't shy away from hard topics. There's folky aspects without it being TOO folky. At times, Sinead leans into an overall dark, haunting quality (see "I Am Stretched on Your Grave" as a prime example); she is incredibly good at doing so and I absolutely was living for it. Going back to "Nothing Compares 2 U": many have covered his songs, but rarely is Prince outshined on his own source material. But who managed to accomplish that? Sinead did. Her version soars and earns its laurels, without a doubt. And still, the album achieves a lot of diversity in sound, style, and genre. Combined with the fact that she wrote, played on, arranged, and produced much of this album herself, it just cements her as a musical force, excelling beyond just her cover of "Nothing Compares 2 U".

"The Score" is just so unlike all the other hip-hop that was trending at the time. I guess that's why it's called alternative hip-hop. But in any case, there's an easiness about this hip-hop; it's oddly chill and easy to listen to. Each Fugees member brings something to the table, but it is my opinion that Lauryn Hill is the standout of the group, at least on this album. I feel like this is only supported by the general population due to the fact that two of her heavy features, "Ready or Not" and "Killing Me Softly with His Song" are far and away the group's most popular songs. Coming in at only their second album, it is so strange that such a successful album (one of THE most successful hip-hop albums of all time) would never get a follow-up. Nonetheless, all three members would go on to have their own relative solo success, a testament to their individual skills. I was pleasantly surprised by this album, and have no trouble understanding how this would go on to influence hip-hop artists for decades.

...Meh? It was mostly cacophonous to me. I have lots of albums to catch up on and don't really feel like putting in the work to elaborate.

Let me at least say that I have always dug Björk's physical aesthetic, and the particular style she's exhibiting on the cover of Vulnicura is CHEF'S KISS. Now to talk about the actual music here, I didn't care for it. I even like Björk's music sometimes -- I think her other two inclusions that I've reviewed thus far (Debut and Vespertine) are worthy inclusions from her 90s heyday, but this is one of her heavier experimental albums put out in the 2010s where the music and vocals just seem to drone on ambiently, and it just doesn't do anything for me. Honestly, if this album was included and not "Post", I'll be raising an eyebrow. Anyway, not Björk's finest work, and a weird inclusion. I guess it shows that the weird can always get weirder.

I am a bit torn on this album. Yes, I found myself enjoying it, as I do generally like glam and heavy metal of the 1980s. That said, these guys were more or less reinvented to fit this trending sound, and it shows; they don't sound nearly as passionate or "into it" as many of the 80s glam metal bands who were truly made for the genre. Again, I enjoy it, but it sounds a bit generic if I'm being honest. I feel like one of the most obvious displays of this is their cover of "Born to be Wild" -- it's just anemic compared to the original. Now all that said, I am also a fan of goth rock, which is what made these guys famous on their previous album, "Love". Most of what I knew and enjoyed by The Cult is from that goth rock era. It's a bit odd to hear them forced into this new bubble, and to have that represented on this project rather than what they were actually most known and praised for. As I mentioned, I couldn't help but enjoy this, and further, I can't help but stan The Cult's vocals. So this still comes out okay in the wash, in my book.

As I near a 75% completion of this project, I am just tired of all the very similar Britpop. And...a third Blur album on this project? Seems unnecessary and further lends to the assumption that many make about the creator of this list being overly horny for Britpop, but whatever. Turns out, yes, I liked this at least okay -- like I do most of the Britpop on here. But still. The album didn't really have any memorable moments, though. It was all just very mid. I'd give this about a 2.5.

Another Aerosmith inclusion from their 70s golden years, and it just feels correct; they cranked out several albums throughout that decade which make up the majority of their greatest hits, and this album contains a fair few of those. What to say? This album utilizes that quintessential Aerosmith formula that made them so formidable and so unique among a sea of 70s rockers. And again as has been the case with their other albums featured on this project: if I was being scrutinous, I'd draw attention to the fact that Aerosmith may not have really been much of an "album band"; every song is baseline enjoyable, but there are definite standout tracks that have survived the tests of time whereas others are a bit forgettable. But despite it all, Aerosmith is iconic (and a long lasting icon at that) and deserves representation on this project.

Yes, this is mostly a covers album, but Otis Redding does such a fantastic job of doing his own spin and making these songs his own. Every song is beautifully and masterfully sung in a way that only he could do. And most of these are well-known songs too; he wasn't covering obscure songs, he was covering songs that were already iconic. And yet, he manages to still stand out with his renditions. It's kind of funny that this album of mostly covers would have the Otis original, "Respect" on it, which he would definitely not go on to be known for, and would instead be completely eclipsed as this became a huge hit being covered by Aretha Franklin.

This album was not hard to listen to, and yet somehow still underwhelming. The chaotic state of the band and the unwell mental state of the lead singer shows, in my opinion. Most of the album seemed to be pervaded by a general lack of interest from the band. Even though the band was falling apart, figuratively and mentally, some people seem to like this album for that very reason. Looking at this album as an art study case, I can understand the draw to this , but actually liking it BECAUSE it's a train wreck of an album seems a bit foolish.

One thing I really enjoy about this project is discovering other bands'/singers' influences. And upon hearing the punky bluesy combination, there is no doubt in my mind that this group was a major influence on Jack White. Now, to the album. That visceral screaming right out the gate of the first song did not set a good tone. Maybe prime people a bit before you start with that. Like a lot of punk had a tendency to do, this sounded a lot like garage jam sessions that were never actually really finished or put into cohesive songs. Per that formula (or lack thereof), songs start, change, and end quite abruptly. Some of the tracks even sound straight up like dog barking? Anyway, it was interesting, but not interesting enough.

I saw some other reviews that really talk about how this album runs all together. I do not disagree with that statement one bit. That said, I did find myself generally enjoying the music on this album quite a bit more than I thought I would. "Pretty in Pink", is definitely the highlight of the album, but other songs on the album definitely stand on their own, even if they do all more or less sound like "Pretty in Pink". I definitely hear the post-punk entering new-wave era at play here. There's also a bit of gritty glam to this, as well. Overall, not an amazing album, but one that I enjoyed well enough.

Tina Turner just slays and leaves no survivors on this album. "Private Dancer" marks a very stark departure from her previous R&B sound. In this rebirth, she creates what is no doubt the musical form that she is most known for. Her gravelly voice is a perfect fit for this pop-rock/rock and roll style. And speaking of style, the album cover is simple and yet iconic, and it captures Tina's new physical appearance that she would become known for too, including her iconic "mullet". Don't get me wrong, not every song is a "What's Love Got To Do With It", but they come damn close. For me, there were no skips on this album; her voice and the music do a fantastic job of driving this album beyond just this one particular hit. No other notes -- just a legendary album by a legendary woman.

This album was...okay. It didn't really do much for me. LL Cool J's early 90s arrival definitely positioned him to become one of the first successful hip hop acts in the general public's eye. That said, I'm of the opinion that he quickly became eclipsed by other 90s hip hop acts that would ultimately go on to be lasting powerhouse legends in the industry. Props to the album name, though. It made me laugh. I'd put this at about a 2.5, but don't really feel like I liked it enough for a round up.

I was dragging my feet a bit going into this one. I am getting a little burnt out on 90s hip hop on this project, as I'm already not the biggest fan of the genre, and this is the third entry (so far) that I've had from Public Enemy. That said, I do very much understand and appreciate the representation that the genre has on the project. Not to mention, everything from Public Enemy thus far had hit hard in the socio-political space. I was actually pleasantly surprised by this album and felt like it may have been Public Enemy's best entry on this project thus far. Not only was it chock full of relevant political commentary, but the particular flavor (flav) of hip hop on display here was pretty catchy! The closing track, a duet with Anthrax, seems particularly monumental; this mashup of the hip hop and metal sounds would go on to be a big thing in 1990 and beyond. Not to mention, this track just generally goes HARD. In general, I also had to laugh a bit when I saw the "hardcore hip hop" genre label on this album. I'm sure this was pretty hardcore for the time, but man, how times change!

I typically don't like when live albums appear on this project, as they tend to not really add anything of substance that a studio album wouldn't. Still though, I try to look for possibilities. One thing I will say about "Live At Leeds" is that this particular live album gives them a little bit more wiggle room to just do some unadulterated hard rock jamming. And I will say, they're good at doing that. It's raw and yet expertly executed. I wasn't blown away by this, and I still don't know that I care enough about what is mentioned above to prioritize this album on this project, but it was enjoyable enough.

I won't lie, I was definitely hesitant about this album. Not being able to find an album on streaming services and song titles that are nonsensical and look like they were conceptualized on the worst kind of acid trips usually don't bode well. I mean, who can even blame me for seeing the title "Promentalshitbackwashpsychosis / Enema Squad (The Doo Doo Chasers)" and assuming the absolute worst? But I'll be damned, this is one of THE best funk albums I have ever listened to. Don't get me wrong, it was still very bizarre in places. But this album caused me to think: like a lot of music genres, the spirit of "funk" isn't just in the music itself. It's in the song titles, the lyrics, the delivery. Yes, the song titles and lyrics here are absolutely bonkers, but THAT is funk. And it certainly helps that the music here is absolutely killer; again, it's among the best funk I've heard. The winning combination of all these things make this a tough album to put down, and an easy album to embrace for its pure weirdness.

Not amazing, but also not bad at all! I guess that's what we can "average" or "mid"? It was a lot better than I expected it to be, in any case! Anyway, Bowie's influence on this band is very apparent on this album. There's lots of funky glam on here, very reminiscent of Bowie from this era. Not bad from a band that I've never heard of, but I can definitely see where flying too close to the influence of Bowie is just going to result in you getting burned -- at the end of the day, a lot of people are just going to see you as a poor imitation. But I appreciated it for what it was.