50 years later and it still sounds like the future.

So good I listened to it twice in a row. Easily my favorite Wu-Tang related project. GZA sounds so smooth in his flow, everything is kind of lo-fi and straight to the point and I think that's what I like about it. Nothing but great rap songs.

Comparing T. Rex to Bowie is futile because they just weren't going for the same thing. Bowie was using glam rock as a tool in a far wider musical spectrum that he had in mind. T. Rex embodied glam rock with a sense of sensuality and a grittiness akin to Iggy Pop. This guy just rocked with passion and that's precisely why I love him so much.

Mom, can we have David Bowie at home? No, we already have a David Bowie at home The David Bowie at home:

For an album that spawned one of the most vicious music ever created under its name, Black Metal is a lot of fun. Maybe it's because we have a lot of hindsight on it, but it's kind of surprising how seriously this album was taken by the generation that would create the second wave of black metal. To me it's just a fun metal album with great riffs and some clumsy execution. But since BM is my favorite metal subgenre, I can only be thankful that Venom (and Bathory) helped creating some of the best music out there.

The best part about Jane's Addiction is Dave Navarro's eyeliner.

It was a pleasant listen but I don't remember any of it to be honest. I guess I'll have to go back to it to have a real opinion about it. Spoiler altert: I probably won't.

I'm beyond tired of hearing the singles and I felt that the other songs were mostly fillers, but the truth is that I'm not a fan at all. 40 minutes of AC/DC is just way more than I can take. Maybe one day I'll become some 55 years old dude having fights in dive bars and then I'll change my mind about them.

My knowledge of country music is close to none. Even the ones I know and like (Townes Van Zandt, Johnny Cash) has more folk in them than Emmylou. This is country front to back, and while I can't say that I was crazy about it, it's easy to see why people would like that one. Emmylou has a great voice and most of the songs have a bright, uplifting vibe that is comforting. From what I gather this is mostly covers, but I didn't really recognize the originals except for For No One, which was kinda nice.

Meh Charles

Close to perfection. Pink Moon gets all the praise but I'd say that it's just as good in many ways. It has the beautiful arrangements of Bryter Layter and the automnal, introspective mood of Pink Moon. Best of both worlds, really.

Starts and ends in a perfect way. There are some fillers along the way but the good tracks are strong enough to warrant a 4 overall.

Nothing mindblowing, but I understand why it became an important piece of the cultural landscape in hip hop. I'm glad I heard it, but I doubt I'll ever return to it.

Very good and obviously an important record for trip hop, if not the first one. There are a few weaker spots here and there, but it's mostly solid. I'm glad I listened to something else than Mezzanine for once.

Let' get this out of the way: I am an unabashed Radiohead fanboy. So it might not come as a surprise that I'm giving their first classic album a perfect score. But the truth is, how was I supposed to give it a lower score with songs like Fake Plastic Trees and Street Spirit?

I feel that giving it 2 stars might be a bit harsh, but at the same time I thought it was really boring overall, save for one or two songs. They've done much better before and after that album so it's a bit surprising to see this one here.

I can hardly justify whi this album is included in this list when their two previous albums are already featured. It's a good album, but it brings absolutely nothing new to their sound. To me this was a diminishing return and I'm sure there are far more deserving albums that could have been representend in the book instead of this one.

Such a fun and varied album. It loses a bit of steam in the last half but there's no real bad moments here.

I love that kind of music. Nothing truly stands out for me after the first song, but it's all about that nostalgic, deeply American atmosphere anyway.

I love this band and this is a good album, but there's just no reason for it to be included here when Lost Souls exists. There are far more deserving albums out there.

Not a huge fan of live albums in general, but this one feels special.

I get it, it's a pretty daring record for 1985 and I can see why it's praised. But even at under 40 minutes, it got a bit tiring and samey in the second half.

Possibly the best album featuring a toilet seat on its cover. Huge classic nad much more than just California Dreamin'.

Another masterful album by Nick Drake. It's easy to see why he cared deeply about that one. People always rave about Pink Moon (and rightfully so) for its mystique and melancholic feel, but this one's just as important. This is what he wanted to do. The lush arrangements and warm production makes it something really special.

This shouldn't work as much as it does, but it does. What a trip. Playground love is the obvious highlight, very Air-esque in its sexiness, but all the other songs have that hypnotic patterns that are way more dark and anxious than anything else they've ever done. Great stuff.

Those orchestrations are miraculous. No one sounds like Mingus and his blend of experimental big band, classical music and the so-called world music. Most importantly, he kept pushing the jazz genre forward while still bopping hard. This album is a testament to his genius.

Really great stuff. I don't listen to Zappa/Mothers as much as I should. I think that's because I find his vast discography a little bit intimidating. I'll get to it eventually.

The Thing That Should Not Be indeed

I don't know about this being one of their most essential releases, but it's still great. I feel that giving it a 4 is a bit much, but since there's no half stars I feel that it's closer to my appreciation than a 3.

To me, this is the quintessential rock album. This is the album that broke with Zeppelin's epicness and glitters to go back to its basic, more dangerous roots.

A good album with a few real standouts but with some weaker spots here and there. Still, it's easy to see why it's considered a classic.

Jumping Jack Flash with sitar is still Jumping Jack Flash.

Not bad, but as a newcomer I failed to see what is supposed to be so exciting about Alice's music. I'll try again with another album.

First real discovery that I make with this challenge and it's a real good one! Quite atmospheric synthpop with post-punk undertones, I love it and I need it on vinyl now.

All six first Sabbath albums are absolute classics in my book.

Hey, I don't hate Pearl Jam as much as I thought I did!

There's only a few Iggy albums that I really like, and this is one of them. Turn Blue is the only low point here, the rest of the album is filled with bangers!

Not one of my favorite bands by any stretch of the imagination, but there are some really good moments here. The last three songs prevents this from getting a 4.

50 years later and it still sounds like the future.

It was not offensively bad, but it was offensively boring, juste like everything else I've heard from this guy so far.

Not bad, there was some nice songwriting here, but I doubt I'll ever return to it. Still better than Springsteen.

In equal parts quirky and unsettling, this sounded like what I thought industrial music from the early 80's would sound like. I'm not sure if this was an essential listening, but you can't try to get this book's logic.

The White Stripes are the kind of band that a greatest hits would be more than enough for me. Some really great songs mixed with some rather dull ones.

Not my favorite from them, but it's a great feel-good album. Lots of Dylan covers as usual, so that doesn't hurt. Nothing groundbreaking, just great rock music.

I'll have a glass of whiskey with my cigar, please.

AN album that made history blablabla don't let me hear this ever again.

Great, great country album that mixes humor, politics and melancholy without falling into the cheesy category that so many albums of the genre gets trapped in. And to think this was his first album is quite impressive as well. I have to check out his later stuff.

Way better than expected. Shirley Manson has a lot of charisma and Butch Vig does a great production with this more electronic approach. I think it's the kind of album that I would have on rotation if I had known it at the right time, but it's still cool to discover it now.

Rudimentary folk/country music from the late 50's. As a whole, this felt like a mess and even at 30 minutes it was a bit of a drag to get through. Sorry Jack. I do love your 2009 comeback though, so I'm still willing to hear your other albums.

Never really understood why people love that band so much, and I still don't. Some good songles here and there, but mostly boring in the long run. Maybe a greatest hits would be more suited for a casual like me.

I will give this a 4 despite the second half being much weaker than the first. "Girlfriend" and "She's Out of My Life" kills the mood a bit for me, but I have to concede that the first side is some of the best disco pop you'll ever hear in your life.

Our House and 12 Other Boring Songs

One of his best, that's for sure. Mark Garson's playing steals the show on this one, especially on the title track. Honestly, this would be very close to a perfect album if it wasn't for that uneventful Rolling Stones cover.

I guess I'm not the one to judge of her work because I'm not part of her fanbase nor am I a fan of this kind of pop, but I found this album painfully linear. Well produced but very cold in her delivery. It's just not for me, at least I can confirm this now.

Really fun album

Well, I've listened to Stand! a few times and liked it a lot, but I was surprised to see how this one is different, especially considering it only came out two years after it. Riot is much more hypnotic than Stand!, it's also more serious. I'm used to hear funk that's uplifting and optimistic, but this one's feel cynical, and that gives the album an emotional depth that I've rarely heard in that genre before. This is a unique album that is fully deserving its spot in this list.

The thin line between listening to music and falling into a coma.

It sure is a country album made in the 60's.

One of the great "I'm an angry white American young man" albums out there. "I Will Dare", "Unsatisfied", "Androgynous" and "Answering Machine" are absolute classics, but the whole album is great. It was also ahead of its time both for the lyrics and the music. Grunge bands obviously took notes from The Replacements. I could go on for hours about that album, a real gem.

Considering that I've never been a fan on his singles that I would catch on the radio sometimes, that was way better than expected. You can see that this had a lot of influence on Kanye and that he indeed surpassed the master pretty quickly, but the beats are still great for the most part.

Great britpop album with a bit of a theatrical delivery. In that way they are closer to Blur than Oasis, which might explain why I enjoyed it.

Huge classic, there's no doubt about this, but it's never been one of my favorites to be honest. It sounds good obviously and there are some awesome tracks here, but as rappers, Dre et Snoop both sounds a bit too lazy to keep me interested for 1 hours straight.

I wish I enjoyed her music, I really do. But I can't stand her voice. I totally understand why people find it beautiful, like I said I hope I can get my head around it someday, but for now now her tremolo and use of dynamics are just giving me a headache. I'm sorry Joan.

Great voice, subpar songs. Also that laughing guy in One More Dance was unbearable.

Well, that was incredible. I knew other Siouxsie albums and really liked them, but I had never really heard this one before. This has to be her best album, great goth/post-punk with menacing riffs and of course haunting vocals. This one goes in my wantlist.

I don't know what to make of this. This wasn't bad but I already can't remember any of it. I kinda just felt like 40 minutes of Van wailing. I'll get back to it eventually, but my first impression isn't that convincing.

The Byrds are the kind of band that I like but from which there's no albums I'm totally crazy about. This one's a good example, extremely pleasant and a really nice transition from their more psychedelic first years, but in the end nothing from it will really stick with me. I'll be really glad every time I hear it, but it won't become a personal classic.

Shut up Elvis

Better than Elvis Costello

A few good songs here and there, especially on Wilco's side, but I find most of the album to be pleasant but uneventful. The idea of giving old Guthrie songs to younger musicians is really great, and Wilco are obviously having fun with them, while Bragg mostly sticks to his usual serious "union on strike singer" delivery.

Admittedly, I'm not Stevie's biggest fan. I mean I love his music and hearing his big singles is always fun, but on whole albums I tend to find his brand of smooth soul a little too... smooth. Or gentle, let's put it this way. That's why I prefer the tracks that has a little more edge, like Living for the City. But having said that, it's obviously a classic and I can only admire his work even if it's not the first thing I'll want to hear when I want some soul.

Some good tracks, some boring ones. Nothing bad, nothing extraordinary either. Just there.

Great soft rock album full of energy and humor.

That's a cute little blues rock cover band you've got here, do you often get requests for "Freebird" when you play weddings?

Swing the pain away

I've listened to this album 10 000 times and I still can't remember anything about Long, Long, Long.

Much more rhythmically driven than what I remembered. It's crazy to witness how that guy was ahead of its time at such an early stage of its career. He would release a lot more challenging records in the future but this one's too cool to be ignored.

Don't tell Alex I didn't enjoy as much as he wanted me to. I just don't think that the slick production goes really well with the "world music" it wants to incorporate, but maybe it's just me. There are some solid compositions though, but considering its reputation, I gotta say that I was expecting more from that one.

Started really strong but I thought it was quite spotty after that. This is the kind of album where I'll choose 2 or 3 songs to put in playlists and be happy with just that.

Never understood the hype around this one, still don't.

This is not the album that will make me a Who fan, that's for sure. A few good tracks here and there, but also a lot of filler, which is to be expected for an album that long. I guess seeing the film would help, but I'm not in a hurry to hear those songs again.

One of the most consistent Doors albums, I think. But while it has no real filler, it also kinda lacks in truly glorious and magical moments, save for the two first songs.

Pretty good, pretty smooth. I don't have much to say about this. Obviously it's good music it all kind of blends together for me at one point.

Great soul album, incredible soul singer. I should check her other albums one day.

I thought it was better than Supa Dupa Fly. The feats were more interesting and the more modern production by Timbaland suits her music best. But for the love of our Lord the Rock Lobster can you tell me why there are two of her albums in this book? This is ridiculous.

Comparing T. Rex to Bowie is futile because they just weren't going for the same thing. Bowie was using glam rock as a tool in a far wider musical spectrum that he had in mind. T. Rex embodied glam rock with a sense of sensuality and a grittiness akin to Iggy Pop. This guy just rocked with passion and that's precisely why I love him so much.

I'd write something about this album but I'm way too busy dancing to its amazing beats! No ok, I'm not really dancing. I'm not even standing up. I'm on a chair, I'm always on a chair. My back hurts.

For something called "outlaw country" I thought this was pretty soothing, which is not a bad thing. I actually liked it. It started to feel a little bit samey during the last half but the overall mood was really pleasant.

Maybe I'm too harsh with this album? I don't know. Just give us better albums and it won't happen again.

My favourite. Pompous but with a purpose. I think they really did it right with that one. No dead weight like on the other albums that would follow.

The dreamiest of the dream pop albums. The washy guitars hovers over the dreamlike production while Elizabeth Fraser's voice carries the whole thing. I suspect that some compositions would reveal to be weaker than it seems if they weren't drenched in such a soothing atmosphere. But for each song that may be a little less memorable, there is one absolute classic like Cherry-Coloured Funk, Frou-Frou or the title track.

I had high hopes for this, but it turns out that it's just pointless guitar loops drowned in delay. I try to avoid that term when I talk about music but I think this one's massively overrated.

Started really strong and it stays pleasant all the way through but some songs are sadly more uneventful than others.

It's nice to see where Björk comes from and this is rather good but let's be honest, nobody would care about it if it wasn't for her. Musically, this is standard post-punk that owes everything to Björk's fabulous voice and personality. More of a "for fans only" album than an essential one, me thinks.

I don't know what to make of this album. On one hand, I quite like the idea of having a patchy album from Fleetwood Mac. It gives us the chance to hear them stretch out a bit. But on the other hand there are a lot of filler in there, and not the funny filler kind. Maybe I'd enjoy it more with subsequent listens, but I doubt I'll ever return to it.

Great psychedelic pop mixed with britpop. And Gruff Rhys was in that band?! I didn't even know! I will definitely check out their later albums.

Decades might be the saddest song of all-time. Of course I'm giving it a 5.

It was alright I guess. I'm just not a huge fan of that kind of funk.

Entertaining!

I like Parachutes quite a bit, but I never took the time to listen to their followup outside of its singles. One could argue that it's just as good as their first album and I wouldn't say a thing, but I personally prefer the more stripped back version of the band. Not to mention that I am absolutely sick of hearing Clocks, so that doesn't help. I know it's cool to hate on them but this is pretty good for what it is.

I guess it's good for what it is, meaning 90's techno with a larget-than-life bass sound and a sh*tload of breakbeats. But turns out I'm really not a fan of 90's techno with a larget-than-life bass sound and a sh*tload of breakbeats.

I may have been a bit overenthusiastic while listening to that one. It's really good and it makes for a nice surprise since I didn't know Mike Ladd at all, but there are some flaws. The MC is rather generic and the album os too long for its own good. The last 3 tracks were a bit too much for me. Still, there are some really great ideas on that album, the atmosphere is great, really reflective of the 2000's sound but with a jazzy touch, thanks to the cello parts. So yeah, I like it, it's good abstract hip hop that certainly deserves more recognition, but I'm not sure if I would say it's an essential listen.

I really feel like britpop has little to offer outside of the big classics (and Doves' Lost Souls). I mean, this one's not bad, it even has some great tracks. At their best, they channel the baggy sound of the Stone Roses. At their worst, they sound like they're aping Oasis, which is something nobody should ever do under any circumstances.

Very good electric country, really dynamic, thanks to its backbeat.

Yeah, it has that hit that you always hear in your grandmother's basement during Christmas parties. You're probably sick of it, I know I am. But the album as a whole is much more than that. It has really nice grooves and the instrumentals are really impressive. This is pure disco but with some funk and soul undertones. Next time ask your grandma to put another song from that album instead of Le Freak.

Old school hip hop doesn't get any better than this.

First two songs are nice and I suspect they're the only reasons why the album is in that book. The rest of the album is not that bad but most of it sounds really generic and surprisingly limp for a new wave album with so much percussions.

In one hear and out the other

Some nice songs, some boring ones. Johnny Marr and Badalamenti are on this?

They have only made two albums, but it was two perfect ones.

"I got two turntables and a microphone". Iconic line for an iconic album. So much creativity and energy. It still feels fresh more than 25 years later.

There's a few real standouts on this, but certainly not enough to justify its length. Half of the tracks could have been easily removed and it would have made a much stronger album.

One of my most cherished albums. The bittersweet emotions you feel when you're going through a nasty breakup are perfectly balanced on this album, linking it to Dylan's Blood on the Tracks in some ways. The Go-Betweens were one of the greatest jangle pop bands to come out of Australia, and people like Courtney Barnett clearly owes to them. I'm glad this album was included in this book because it's a perfect case of a somewhat less known album that actually deserves attention.

1, 2, 3, 4!

One great album of a genre that I generally despise. There are some undisputed classics on this though, as well as some tasty deep cuts like Nightrain and It's so Easy. But this album has also its fair share of fillers, much more than what I remembered to be honest. The B-side is basically useless, save for the overplayed Sweet Child O' Mine and Rocket Queen. So yeah, it's a classic and it's by far the best Gn'R album, but its impact is greater than its content.

Yeah, take this 3 and get out of my way.

I have a lot of respect for Elvis, but I can't say that I'm a big fan. This is really fun to listen to, but I feel no real connection to his music. It's more like something I will enjoy hearing as background music than an artist that I will obsess over. But yeah, this is pretty good and this is freakin' Elvis so I can't give him less than 4 stars.

Whatever indeed

Great art pop album with a tasteful production that is leaning on the atmospheric side of the spectrum. I was thinking of Arca while listening to it and I wasn't surprised to learn that he produced this. I wish it went harder a little bit and used Arca's weirdness to its full potential, but I get it that it's not what she was going for, so it's a minor complaint. Her second album is even better apparently, so I'll make sure I check it out shortly.

Everybody's first jazz album. And for good reason! That's also how I've discovered Bill Evans, my favourite jazz pianist. This isn't the Miles album I'd put at the top my list, but that's only because he's made so much and that I'm more attracted by his adventurous side. This one feels like a standard now, and its constant mellow rhythms makes for a good introduction to accessible jazz with great dialogues between musicians. This is the quintessential jazz album in many ways

Way, wayyy too long for its own good. Billy must have thought he was a genius after Siamese Dream because he went all in and did a two-hour album about... I don't know about what. Now, I think this album has a lot of great songs. The singles are incredible and shows Billy's talent (see what I did there) for writing engaging songs. Their mix of alternative rock, dream pop and heavy metal is rather bold, especially considering it was rather uncool to be this pompous and metallic at that time. When the magic sticks, this album becomes one of the best of its era. But it's two hour long. Of course there's gonna be fillers. And while there are no really bad moments to be found, there's plenty of unremarkable songs though. Which makes me wonder why Billy thought it was a great idea to put out an album this long. For that reason, I prefer Siamese Dream (and even Adore), but there's no denying this is one of the most iconic alternative rock album of the 90's.

I love Rush. I rarely see a band live more than once but these guys, I've seen them 3 times and I regret not seeing them more often. It's really easy to see why this is this album is one of their biggest hit, if not the biggest. It has an arguably perfect A side filled with immortal classics. I'm not as enthusiastic about the B side to be honest, but it's still very good. Just not as legendary as the first one. Rush forever.

Great mix of post-punk and new wave. It's really dynamic, most of it sounds playful but there's a subtle eerie vibe that goes through it that I really appreciate. Nice discovery, I'll certainly go back to it.

Rednecks was a good song but I kept wishing the album would finally end right after that one.

This one has a bigger sound than I Never Loved a Man the Way I Love You, thanks to the addition of horns and strings, but I think it's really similar in terms of quality. The songs are great and Arethas's voice is phenomenal, what more could you ask for?

Out of the first five Beastie albums, this has to be the one I like the least, but I like it very much nonetheless. This one sets the table for what was to come so yeah it's a bit primitive compared to the incredible talent they would display in the next few albums, but it's still really fun and it's definitely one album everybody should hear once in their lives.

Kanye has never been an impressive MC but man, those beats are great. And this album is so much fun, full of life and ambition. In my book it's way better than anything Jay-Z ever produced, that guy must have been in shock.

As in a lot of revered prog bands/albums, I seem to have a problem with the theatrical and high pitched singers they often end up with. I have to get used to Jon's slick vocals, which are sometimes impressive but they also sound cold to me at times. Anyway, what they do have going for them though are, other than the expected virtuosity, some hard hitting beats that merges so well with the complex song structures they adopt. I find them to be at their best when they let it all out.

An album that I've seen so many times in thrift shops and used record bins but somehow its content never made its way to my ears. I'm glad it's done now. Feel-good soft rock with folk undertones that is just as good as any of the great records of the same genre that were released around that time.

I'm not a swingin' lover and even I could appreciate this album.

Right when big beat was the thing in France and the UK with acts like The Prodigy, The Chemical Brothers and of course Daft Punk with their electro-disco, Air offered a more mellow version of electronic music, more in line with Portishead or Massive Attack without the darkness. It's great, the first half is arguably flawless and even if it gets kind of blurry near the end, it remains enjoyable all the way through. I know this one's their classic, but I personally prefer their Virgin Suicides score and particularly their Premiers Symptômes debut, which remains my favorite.

Have I listened to this? Because if so I already forgot all about it.

Beck is sad so he trades his two turntables and his microhpone for an acoustic guitar and lush string arrangements. Nigel Godrich does an outstanding job behind the board, to the point where his production actually outshines Beck's compositions on some of the last tracks of the album. Up to that point, this was the first time that Beck showed a more personal side of him so Sea Changes is notable for that. Also the songs are mostly really good, particularly the first five.

It has a lot of that tropical instrument that I can't name but that is often featured in comics or whatever.

Born to avoid this album.

In the End is a great single and some other songs has that crossover potential that other bands like Evanescence exploited to great effect, but all in all I think the album is really weak and hasn't aged well at all. I guess you can see value in it if you were into them when you were a teen, but listening to it out of its time context is just awkward.

So good I listened to it twice in a row. Easily my favorite Wu-Tang related project. GZA sounds so smooth in his flow, everything is kind of lo-fi and straight to the point and I think that's what I like about it. Nothing but great rap songs.

Really beautiful indie pop with lively orchestrations. I feel like cutting it to a 45-50 minutes album would have given it much more impact, but maybe a few more spins and I'll get why it needs to be one hour and fifteen minutes long.

Look, I love Afro-Cuban music and percussions in general, but that one in particular got tiring real fast. Sounds like they had a lot of fun doing it, but it also sounds like I had no business listening to it.

Good jazz fusion but it's too damn long. I completely lost interest along the way but it's still quality music.

I love Bob Dylan and I love this album. Very much.

Eternally Good

I'm not sure what the hype is all about for that one. Sure, this is some competent modern glam rock carried by the beautifully melodramatic voice of Brett Anderson, but most of the album feels clogged with syrupy ballads that you can't easily distinguish from one another. Also the last three tracks are weak and that's all I can remember about that album now.

Great old school hip hop album with lyrics charged with politics and anger. The beats and use of samples are also great, it almost sound like industrial hip hop at times. That guy isn't the best rapper around though, his monotonous delivery drives the album a little on the linear side, but all in all this is good stuff.

Probably my favorite album coming from Brazil

Sounds like The Rolling Stones for retired people

Awesome album. Sounds like Talking Heads mixed with Bowie and John Cale. What more could you possibly want?

I actually enjoy Bollywood music and I was excited to hear this because... well, if I'm supposed to hear it before I die it must be good, right? But I was disappointed. The score was good, but it was to a drag to get through the rest of the album.

I liked this a lot, can't believe I didn't listen to this before.

I used to hate this when I was a teenager, but that was just because I was a stupid metalhead that was too stubborn to give it a real chance. This slaps, of course, and this was pretty much my real introduction to hip hop. I think it holds perfectly well to this day, a timeless classic.

Blur goes Pavement, kinda, and like most of their albums, the highs are great but there are too many lows for me to really enjoy this. I think this is the kinda band that owning their greatest hits would be more than enough for me.

French Chanson always gets me nostalgic of an era that I haven't actually known. This music smells like drama and wine, but this particular album didn't do much for me. I mean it's good but this is far from being one of my Brel favorites.

Better than what I remember, but the vocals still grates me. I understand the cultural shock it must have been at the time, but musically speaking I'm more interested in US punk or stuff like Wire and The Clash. But yeah, it sure sounds like a revolution and I respect the album for that.

Really strong first half, more pop but they do it really well, but unfortunately the albums starts to drag in the second half. It felt like I was listening to bonus tracks near the end. Not bad, but clearly not as good as ATLiens and Aquemini

I like The Smiths, but I've never been a huge fan either. Listening to Louder Than Bombs from time to time is more than enough for me. That being said, it's still a great album, no real flops and some incredible highs.

Like most musicians of their generation, Buddy Holly & The Crickets were geared towards singles much more than proper albums and it shows here. Four great timeless singles, some really good deeper cuts and a B side (minus the first song on it) that is still good but far less exciting than the rest of the album. This is still really pleasant to hear, but I'd rather spin my greatest hits than this if I have the choice.

Incredible album, incredible band, incredible everything

Good old school hip hop that gets kind of samey as the album unfolds.

What a badass classic this is. This must have been so exciting to hear this right when it came out. This was, and this is, the pinnacle of NWOBHM, I think. It's not even my favorite album by them, but I recognize it as one of the most important pieces in heavy metal's history

I find Moby to be at his best when it does that atmospheric synth thing over some gospel samples or whatever, but some of these songs are not aging so well, I think. Th emore upbeat stuff sounds out of place for me, and the album is kind of messy because of it.

Graveyard Train kills the momentum built by the first two tracks, but it picks up again for the last two songs. I'm not a huge CCR fan and this isn't one of my favorites by them, but it's still enjoyable.

That was good, thanks.

Out of all his biggest classics, this must be the one I like the least. Let's be honest here: Are You Ready for the Country and There's a World brings this thing down a bit. Also, I'm not the biggest fan of the orchestral tracks, I can see why people like them but songs like A Man Needs a Man ends up getting on my nerves. I'd rather hear acoustic versions of those tracks. This is still a great album obviously, I just don't think it's one of his best.

For a pop album, I thought this one was painfully boring. I have nothing against Beyoncé but holy sh*t that was a chore to get through that one.

I just don't love ska. Just like the other Specials album that we had to listen to from this book, first song was alright and then it got boring until the end.

The Beach Boys are so much more than just Pet Sounds. This one and Sunflower might be less recognized as classics, but I think they both have some of the best music they've ever recorded.

I mean, it's Nick Cave and it's nasty post-punk/punk blues played in the noisiest style, so of course it's good. Not to mention that it largely paved the way to so many bands in Australia so there's no denying that this and Prayers on Fire are essentials. It's not the biggest classic for me but I have a lot of respect for it and when I need dirty post-punk this certainly gets the job done.

Pretty good. Kinda reminds me of Television and Modern Lovers a bit, but in a more new wave way.

I just don't like Aerosmith at all. They have a few good singles here and there, but they don't have an album that I'd recommend listening all the way though

Admittedly, this isn't my favorite Beach Boys release but you have to recognize the genius of it. The vocal layers and sound samples are absolutely magical. Sometimes they overrun the song itself but most of the time it's perfect.

It took me a while before I could appreciate Cohen's work, and this is the album that finally made me a fan. Avalanche is one of my favorite songs of all-time and the whole album has a dark and cynical feeling that I really like.

This is undoubtly one of the album of all-times.

It's all about the first side, of course, but the side B shouldn't be slept on. It has a lot of good moments. Last song is bad and kinda makes me wonder if everything that came before was just a dream, but that's the only real low point.

Yeah, it's good. Pop baroque with some country undertones from time to time. It's not amazing or anything like that but I could see myself returning to it from time to time.

I wasn't expecting anything but this was great. Now I need to check out their other albums.

Tony Dancer is a huge classic obviously but nothing comes even close to it on the album. Levon and the title-track is cool, but that's about it. Nothing bad either, just unremarkable.

Woke up wanting to listen to that album again. That's a good sign. Oh yeah and there's some tasty organ in there.

Mom, can we have David Bowie at home? No, we already have a David Bowie at home The David Bowie at home:

Classy synthpop, not a lot of standouts but I had a good time nonetheless.

Great voice, boring songs. It all blends together in a kinf of unpleasant way in the end.

Yeah, I'm sorry but I can't get into that album at all. The production is surpringly cold for an album that seemingly wants to show a lot of depth. The fretless bass doesn't help with that. I'm still giving it a 3 because it's Joni and the compositions are mostly good, but I hate how this album sounds.

Amy had a great voice obviously and some of these tracks are really outstanding. For something that was clearly meant to showcase Amy's voice, the instrumentation is often impressively deep. Not something I would necessarily return to, but it's a fine album.

hahaha

Some songs are rather nice, if not a bit faceless. Others are deep in generic blues rock structures and that bores be to death. I just dont' care for that genre at all.

Bad blues, bad raggea, bad everything. I honestly can't understand why people actually put up with that guy's solo work. One of the most annoying albums I've ever heard.

Not as bad as I thought it would be. Yes it's blues rock but it's so energic that it finally gets to you.

Nothing fun or lovin' about this, but they sure are criminals for wasting my time like this.

Really intimate americana with a live feel that is pretty engaging. Not something I'll necessarily go back to often, but at least I'm glad I know who she is now.

"Ninwouuuni chaba chaba tolseeeee" Beautiful.

Biggie had a really great flow, really convincing in his stories about death and sex. He also likes to talk about his penis a lot. Unlike it though, the album is just too long and there are 4 or 5 tracks that could have been easily removed to keep the album tight.

This had so much influence on the 80's that I must agree that you have to hear that album at least once in your life. As with most single-driven pop artists, there's a fair share of filler here, mainly in the latter half, but that's part of the game.

World in My Eyes is very good and Enjoy the Silence is a masterpiece, but I gotta say that I didn't really care about that album outside of that. I respect them and all, but I don't really enjoy listening to them that much. Maybe the older albums will be more in line with my taste.

I love Teenage Fanclub. Their updated version of Big Star appeals to me and I just think they're a great power pop band. That being said, this isn't my favorite album by them. Sure, it has The Concept which is a fabulous track, but the rest of the album isn't as strong as Grand Prix, in my opinion. Still a good album, I was glad to see it here.

For an album that spawned one of the most vicious music ever created under its name, Black Metal is a lot of fun. Maybe it's because we have a lot of hindsight on it, but it's kind of surprising how seriously this album was taken by the generation that would create the second wave of black metal. To me it's just a fun metal album with great riffs and some clumsy execution. But since BM is my favorite metal subgenre, I can only be thankful that Venom (and Bathory) helped creating some of the best music out there.

Lots of hits on that one, but I can't stand these guys. Their sound and attitude are annoying me to no end. I kinda enjoy their later albums more, mostly because their blue rock schtick is kept under control. But this one's not it.

The band that put an end to cheesy 80's rock and made things dangerous and funny again. The album takes a dip in quality right after Cactus but the first half is classic after classic. Not my favorite Pixies album, but there's no denying everyone should hear this at least once.

Music from the future, even to this day

Many will say that this is where Björks music started to collapse under the weight of her concepts/character and I can see why, but I think this one still has a lot to offer, both musically and emotionally. The album was made to explore the possibilities of the human voice and as such, I think it succeeds to demonstrate how strong, fragile and diverse our voice can get. It's also less catchy than anything she'd done before, but I think this one is supposed to talk to the heart instead of the feet.

I thought this wa svery good, but a bit too long for my taste. The last 2 remixes are completely useless and they drag the album down a little. But yeah, their sound was really interesting and somewhat innovative when that first album came out. They would do even better with the following one, Demon Days.

I honestly have no idea why this album was included in this book. Is it because Abba were a europop band that "matured" into a more adult contemporary pop trajectory? I don't know. All I know is that it was boring.

Really good neo-soul album that has an excentric edge like Flying Lotus, but much more focused on the grooves. I really like this kind of deconstructed music where parts of many styles are glued together in a more or less chaotic way. This feels highly satisfying to me.

The idea of having a modernized funk album in the early nintenies is rather bold and refreshing for the time. My problem with Jamiroquai is that he sounds phony, you never know if he takes his approach seriously or if he's tongue in cheek, and that bothers me. That and the fact that his compositions gets redundant after a few songs. Always the same melodies, rhythms, this album could use of some dynamics.

You have to take it for what it is, a fun an flashy album yhat doesn't take itself seriously. The title track is the most over the top of the album and by far the best one. There are some other good moments on it too but honestly we're here for that bombastic rock opera schtick

She made good music after that one, but this was her last (and arguably her best) masterpiece. Immensely touching, with a deep, warm and detailed production that makes you go back to it and discover new things after each listen. Vulnicura wishes it was as intimate as this one.

Another great album from Neil, kinda underrated if you ask me. But maybe not since it's included here. Albuquerque, Mellow My Mind and Tired Eyes are my favorite songs on this, they're all really touching, but I also like the rawness of the more rock songs. So yeah, great album.

Music to sell aluminium to.

For some reason, I haven't listened to that one as often as the other big Neil classics of the first half of the 70's. That's certainly not because the album isn't as good. On the contrary. There are no lesser moments on this, this is Neil Young at his absolute best. The onyl reason why I wouldn't spin that one all the time is because he has so much great material to choose from. Flawless.

Trip Hop is a genry that got old pretty quickly and most of it was kind of just forgotten by everybody, except for the real masterpieces that struck out like that first album by Tricky. Like Portishead and Massive Attack there's a certain sexiness to Tricky's music that contrasts with the dark, sometimes industrial beats that goes with it. It's like you're neevr sure if you're on the verge of getting some sexy time or just about to die in a horrible manner. Maybe it's both.

A logical successor to Morrison Hotel, L.A. Woman brings the blues a notch further and adds a more contained, mature sound. There are some absolute gems on that album: The Changeling, Love Her Madly, Hyacinth House and L.A. Woman are all really strong and has nothing to envy to the rest of the Doors' discography, in my opinion. Riders on the Storm is their best album closer since Five to One and still sounds magical after all these years. Unfortunately, some other tracks brings the album down a bit, like Car Hiis By My Window and particularly The WASP with its clunky drum solo. The dark, jazzy live version that can be found on In Concert is way better and would have fitted perfectly on the record.

This ain't Pharcyde

"And you may tell yourself, this is not my beautiful new wave And you may tell yourself, this is not my beautiful afrobeat"

Well that was long

Realy good funk/soul album with some really interesting instrumental parts. I will definitely listen to that one again.

Kind of a crossover between Velvet Underground, The Doors and New York punk from the 70's. Of course it's good! Jonathan Richman sounds like an addicted crooner that longs for its past glorious days. Awesome.

Awesome psychedelic rock album. White Rabbit and Somebody to Love are the biggest tracks on this but it would be a mistake to think that they're the only ones worth hearing.

It's near impossible to listen to this album without thinking where Jeff would have gone from there, had he lived longer. But all we have as a completely finished product is this, and this is frankly enough to give him is place in rock's most important artists. He's been influential for many bands like Radiohead and Coldplay, Jeff himself apparently wanted to go a "dirtier" and more lo-fi road after that first album, so he might have fitted perfectly in the 90's indie rock scene that was shaping up. The album's not perfect, but it does contain some perfect songs, as well as the best Hallelujah cover ever.

Shut up Elvis

This and Liquid Swords are usually regarded as the best Wu-related solo albums. It's really good, but I personally prefer GZA's album over this one. Still good though.

Hating blindly on Courtney is lame, but that being said that album just isn't really good to me. What I liked about Hole is all gone on this one and they went full pop-rock while leaving their edge way behind. You can hear Billy's touch on a lot of these tracks and to be honest some of them are well done, but I just feel like there's no power to them. From a commercial standpoint I guess it was a huge success, but I don't think this is what Hole will be remembered for in the end.

I know it's a classic, I even know it's good. But Jello's voice just gets on my nerves like crazy. Way too theatrical for punk, at least for my taste.

Big hits. Admittedly, the first half (minus Get on Top) is great, but the album takes a DEEP nosedive after the title track. The Red Hot are just incapable of making an album that is good from beginning to end. This isn't an exception. Great singles though.

A lot of things happened

Good for what it is, but definitely not for me.

I know these guys are highly regarded and all, but to my ears it just sounded like polished britpop with hooks that are entertaining but that I ultimately didn't care for.

Without a shadow of a doubt, she has a special and unique voice. However, the music is so generic/average easy listening jazz that it spoils all the emotion behind Billie Holiday's interpretation. So, I don't know... 5 stars for her, -2 stars for what's surrounding her.

One of the very few albums that I consider to be perfect from start to finish. The guitar work bewteen Verlaine and Lloyd is absolutely unique, there's no no other that sounds like that.

She sure has a nice voice, and her intriguing blend of dreamy folk and pop makes for a nice listen. I think it aged quite well actually, maybe it's time to bring back her music to the forefront.

Obviously a great duo but man this music is so easy listening that I can't really say it's a standout or anything. It's there and it's kinda good, now where's my cigar?

Maybe the ultimate nu-metal album? Or is it Toxicity? It's up there with the best of the genre, at the very least. This one dropped like an atomic bomb when it got released, building a bridge between more extreme metal riffs and all the nu-metal characteristics, like a scratch and vocals acrobatics that shifts from agressive to emotional. That spoke a lot to a young and angry generation that weren't finding Marilyn Manson edgy anymore or death metal cool enough.

My favorite Christmas album made by a crazy murderer. Or is it my second favorite?

The system grrrrrrrrr. Some really great songs on this, not all of them being big singles, but unfortunately I get tired of their sound very quickly. Two or three songs at a time is more than enough for me.

Papa Was a Rolling Stone and a bunch of other tracks

It was almost impossible to avoid this album if you went to college in the late 90's. They were playing it in the cafés, you could hear it in partys and that girl that just went back from Barcelona with dreadlocks always had a copy of the CD in her bag with a Che patch on it. I personally never cared for it, but Je ne t'aime plus is really good, almost makes me think of Jean Leloup and I gotta say that it now holds a certain nostalgic value for me. Deep down I hate this, but I can't give it less than 3 anyway.

I started my jazz journey with Bill Evans. His playing was like no other, even if I can't really explain it. Miles Davis said that he was playing "underneath the music" and I can understand what he's saying. He made every standard his own, rendering them more intriguing, almost avant-garde in a way. Each note mattered and when can clearly feel it when we listen to him play. Add Scott LaFaro, surely one of the best bass player around, and you've got an instant classic. I think I prefer Waltz From Debby, which comes from the same concerts, but they're all mandatory as far as I'm concerned.

Truth is, this isn't good

Out of all the piano-driven female artists to come out of the 90's, Fiona Apple must be the most interesting. This album is especially good, it feels intimate while being inventive. The orchestrations are particularly great.

Immensely captivating album with really strong tracks amidst this huge album that can get kind of patchy at some places but we're used to it with double albums, aren't we? I was shocked to enjoy this one as much as I did. I won't get into the music because like most Julian Cope, it's really hard to describe. Like psychedelic rock with some moments sounding like Nick Cave or even The Birthday Party?

I think I liked it but I can't remember much of it to be honest. I'll have to get back to it but yeah, good but unmemorable.

Imagine releasing this as your first album.

I always thought that the Stones were incapable of making an album that was great from beginning to end. This one is no exception. While the first 4 tracks are amazing, it does have some filler here and there. Not as much as on Beggars Banquet, but still. This is a really good album and certainly one of the best for the Stones, but I still maintain that's it better to listen to them via compilations than with proper albums.

Maybe the darkest and, um, dirtiest grunge band/album? I'm not a fan of their blend of stoner/metal and hard rock that would eventually lead to an army of annoying post-grunge bands, but I have to admit that these guys done it right.

I love Judas Priest but this is far from being one of my favorites from them. There are some great track in there, including the classics Breaking the Law, Rapid Fire and Living After Midnight, but there's also some lukewarm moments that prevents it from being a classic in my book. Also United is just terrible, a poor attempt at making an anthem that everybody would shout in concert.

Not bad, but one has to wonder if it's really worthy of being included in this book. This sounds like typical typical trip hop from the early 90's, except it's a little bit more varied (and inconsistent) by including some hip hop and jazzy arrangements. On that front, I have to say that I'd rather listen to a band like Lamb than this, simply because they made it better.

This one was better than the other album we had to listen from him here (One World), but I thought it was still unmemorable for the most part. This one has a jazz/folk feel, sometimes channeling the warm and melancolic moods of Nick Drake, but with a cleaner production and an overall lighter vibe.

Ok for background music while sipping on a daiquiri but I wouldn't see myself listening to this again on purpose.

Even on their biggest hits like I can't understand the hype surrounding them at all. They sound way too gentle for me, they sound tame and emotionless. I just can't get into them.

Admittedly, I only knew EBTG for their mega hit "Missing", which I liked but not enough to make me want to check a full lenght LP. It's done now, thanks to this book. And it's really good! For a genre that is not known for aging so well, I thought this one held the test of time admirably. A really nice and varied mix of downtempo, some drum and bass and some gold ol' late nineties trip hop. I'll have to check out their other albums.

Honestly not bad for the genre, it was rather pleasant all along, but it's just not for me.

Great album, the last I've heard from The Byrds and easily their most country one. They still have that magic touch when they cover Dylan songs, although there's only one of them here.

That album was so important to me in my discovery of metal music. I still think it's an absolute masterpiece to this day. It has a punky and nasty vibe that the rest of the Big Four never had. We can feel that Dave was pissed off and he made the most raging record of his career. Better than anything Metallica has recorded, in my opinion.

It's easy to hear that this one comes from the heart. Joan is obviously passionate about the music she makes and th emessage she wishes to deliver. That being said, it still sounds like generic 70's folk rock that is heavily polished. Not for me.

Really cool old school hip hop with laid back beats and a rapping that manages to stay sharp while being smooth all the way through. Their avantages are also their flaws, because it all can seem a little bit redundant towards the end. At least for a 50+ album. Still great though.

Bob Dylan for Urban Outfitter shoppers.

Look at those smartass with funny hats making some of the most advanced new wave music you will ever hear. I love those guys.

I wasn't expecting to like it as much as I did, but even in the blues numbers they manage to keep that garage vibe which makes the whole thing rather exciting.

Well, you know, they're U2. So you know you're gonna get big pompous choruses, tryhard vocals and The Edge's schtick. If you're a fan it's not a bad thing I guess, but I think I only liked two tracks on this and they were the last two. Everything is big with U2, but it's really annoying to me, there's something fake, or should I say distant, with Bono's presence, almost like if he was concentrating hard to play a rock star instead of being one. Anyway, I'm not a fan and I actually prefer Zooropa over this one.

Check Your Head/Ill Communication will always be the Beastie Boys' golden age for me. They had found the perfect balance between hip hop, punk and tasty jams while toning down their goofy approach just enough to show they were really serious about their craft. What a talented bunch these guys were. As with all of their albums, this one has its fair share of fillers in the second half, but in their case it doesn't really matter because it stays entertaining and fun all the way through. Their energy is infectious and it's hard to imagine someone completely disliking them.

Three really great tracks, five completely forgettable ones. I'm still giving it a 3 because Tuesday's Gone, Simple Man and Free Bird are amazing.

So smooth you'll wish you were in your satin bathrobe

This band has so many masterpieces it's almost unbelievable. This is one of them. Perfectly crafted mood, a nice balance between long atmospheric pieces and more straightforward numbers. This is Pink Floyd at their peak.

They haven't fully developped into the totally alien new wave entity that they would become, but they're getting there. But the songs are strong and Eno's presence already indicated that they would become something really special.

Bummer

Really interesting album, probably the most experimental one I've encountered here so far. It has elements of dark jazz and tape music and it plays like a soundtrack to a movie that never existed.

Sometimes it sounds like Devo if they only made bad decisions. They're trying to be quirky but they end up being irritating in a way that I've rarely felt before. More than one hour of this? F my life.

Incredibly generic pop rock that goes on for way too long. I don't even want to talk about it, I'm too upset you guys made me listen to this.

There are some really good tracks on this one, espacially Starlight, Map of the Problematique and of course Knights of Cydonia. As usual, their ballads are pompous in a cheesy way sadly not really interesting. There are some other hollow moments here, like Exo-Politics and Hoodoo which drags the album down. In retrospect, it marks a transition for Muse, where their energic compositions would lead to their current "big" sound and where the concept would crush the songs themselves.

Imagine being in the studio and say "yeah, let's record Sex Dwarf"

I liked it. Not mindblown or anything, but that was good. Sounded like a 2010 album alright.

This would be a 3.5 but for the purpose of this challenge I'll give it a 4. Note sure if it's an essential but I'm glad I listened to it. Quirky synthpop with lots of irony and... well, synths.

I have a lot of respect for Joni but her music rarely connects with me. I'll be happy to hear her albums whereever they are being played but I likely won't spin one of her records on my own.

Looking back, it's crazy to think about how hyped this band/record was. They were really sold as the future of rock and while I'll admit that this is a pretty solid debut, it's not necessarily the revolution people wanted it to be. Still, it's a fun rock record and I can understand that it gathered nostalgic value for most of its listeners.

Truth is, I've never been a fan of Dan the Automator's work. I mean, it's probably not is fault that this album gets meandering in the second half, but I always find his productions to be cold, almost detached from any emotions. I know it's considered as a classic, it was probably the sh*t in 1996, but I can't say that this has aged very well.

I was really suspicious about this one since I had heard Be a few years ago and didn't like it at all. But this one is a whole lot different, being much closer to jazz rap like The Roots or Mos Def. It really changes my perspective of Common so I'm glad I listened to this.

I normally don't like this type of music, but this one is just sloppy enough to appeal to me. It's closer to Meat Puppets and The Waterboys than it is from The Pogues or whatever, which is a good thing.

Some songs borrows so much from Jeff Buckley it's distracting. Shivers in particular sounds exactly like something that would be on Grace. Anyway, this album was huge when it came out and it marks the turning point where britpop started to fade to become something more atmospheric and, dare I say, Radiohead-esque. Like Doves and all that. Radiohead had left for more experimental pastures and so the indie rock throne was vacant, Coldplay clearly wanted to redeem that spot and it succeeded, they went on to beome one fo the most popular acts of the early 00's.

There are 2 or 3 singles on this that I actually enjoyed a bit, but overall I just never understood the hype around this one. Sounds like pretty standard power pop done in a typical 90's fashion to me, which isn't necessarily a bad thing but everything just kind of blurs together after a while.

Revolution has never been so danceable

To me, this is nothing less than the quintessential 90's album. They've toned down their The Fall influences from the last album and mixed them with that slacker approach that they've come to embody. Malkmus' lyrics, which often sounds like they are improvised, are more concerned by how the words sound than by what they mean, yet he manages to deliver them in a way that makes them sensible and evocative. This is one of my favorite albums of all-time and listening to it never fails to make me happy.

No sir, I don't like it. It's like they took the worst parts of neo-psychedelia and britpop and sewn them together for maximum displeasure.

I've never been a huge fan of Roger's voice but you gotta love those tasty riffs.

Music for people that has a Brad Pitt poster in their room.

I have always seen Lydon as a bonehead that made history by accident more than by talent. But I had to change my mind on him after I discovered PiL because you obviously need a strong artistic vision to come up with that sound. I guess you could classify this as post-punk, but its experimental nature and its blend of dub and repetitive pattern makes it unique. This one has to be the most accessible of the first three but it's still weird af, I love it.

Madonna's take on the whole downtempo/trip hop movement that was going on at the time. I get it that it's considered to be one of her better albums and I'll admit that it's extremely well done, but Madonna's emotionless delivery makes it less exciting than the other great albums of the genre. Still good and if you're a Madonna fan well you're already sold.

I was about to give this guy a 2 until I heard his "I don't fuck around" outro. Yeah, it's better to just know him for his Crazy single with Danger Mouse.

Before Nirvana made it big and finished the job, Sonic Youth had caught the eye of majors and started the death of the glam rock era. The release of Goo made them one of the coolest bands around at that time and it still hold up really well to this day. It may not be as brave as Daydream Nation, but their gentle dip into accessibility definitely helped building the 90's musical landscape.

While I understand the appeal, Tori's music is just not for me. Her vocal gymnastics gets on my nerves pretty quickly and I find the production to be a bit corny now. I guess she's a good songwriter but I'm just not into her art.

I don't know a lot about Prince's music, but I liked listening to this one. I might even come back to it. I still need to figure out why he is considered like a true genius though.

Easily their best album for me and one of my favorite road trip albums. A perfect balance between bittersweet and playful melodies, I just love it.

Look me right in the eye and tell me this is one of the best 1001 albums of all-time. That's right, you can't.

Great rock record. All the songs sounds the same and it's awesome.

My Disdain of Elvis Costello Is True

I try to be open-minded about the choices this book makes that I don't like, but this was a litteral waste of time. There is no way that this album deserved a spot on this list. No chance. This is the bottom of the barrell of generic britpop and my life would have been better if I had never heard it. I hate this book.

Good ol' classic rock. The last 2-3 tracks are mediocre but it's mostly fun.

Understated

Nick Cave let go of his sombre persona for the first time and goes sentimental on us. This marks the second phase of his career, where his music would be increasingly based around piano melodies and a more "mature" approach overall (this is excluding the Grinderman albums of course). This is also his first album with Warren Ellis, which would slowly take the place of Mick Harvey as his sideman. The Seeds would never be the same anymore with him on board, and for the better I think. That being said, this isn't his best album and I think it is slightly overrated mainly because it's some sort of a breakup album. Still, the first half is magnificient and the fact that I'm not including this in my top only goes to show how strong this man's discography is.

I'm not a huge fan of Bob Marley but I will willingly admit that he played a crucial role in putting reggae at the forefront of popular music. It's well done and all, it just does nothing for me.

Disturbing and strangely soothing at the same time. Those looking for songs will be disappointed but as a collection of industrial atmospheres, this does the job really well.

I feel that this is a cliché to say this about Kid A but that album is so important to me. This was my introduction to electronic music, krautrock and experimental music as a whole, genres that means everything to me now. So britpop peaked and while everybody was racing to get to the throne Radiohead just went "f*ck it" and did a 180 by releasing an atmospheric record that wouldn't have a chance to get so much attention if it weren't made by one of the most popular alternative band of its time. As we all know, britpop collapsed soon after and Radiohead went on to have one of the most interesting and fruitful career any band could ever dream of. And it all started with this album in particular. One of the most treasured records of all-time as far as I'm concerned.

A direct sequel to The Soft Bulletin, Yoshimi Battles The Pink Robots keeps the grandiose psychedelic pop approach of its predecessor while being more subtle and atmospheric. As a result, Yoshimi feels less immediate than The Soft Bulletin but it is extremely rewarding with repeated listens. In the end, I think it's just as strong as TSB and has every right to be considered a classic.

Sounds nice enough but it has no staying power outside the first 3-4 tracks. I've never been a fan of this indie folk thing and by the time this got released I was already tired of it. Not bad, not just something I'd ever recommend to someone, let alone put in a book about the 1001 most essentials albums of all-time.

So this is supposed to be a huge live classic and I can understand why: this is a hard-hitting take on what you can find on their studio albums. You can hear the fun they had playing this and you have fun hearing it.

As a glam rock album, I think this is as refined as the genre can get. The melodies doesn't immediately jump at you, you have to let them sink in with repeated listens to fully appreciate the intricate Eno atmospheres and of course Bryan Ferry's eccentric and suave vocals. This is really good, you can hear how influential this band was for the post-Smiths UK rock.

This hasn't aged well and I don't have time for this

This was my soundtrack to my teenage angst so it's hard for me to rate it objectively. It's kind of funny to think how disturbing this album was when it came out, people were shocked by Manson and the little me was heavily drawn to its themes of anti-capitalism, anti-religion, anti-herd mentaly, anti-everything. I think it still holds up fairly well musically speaking, its production is still intriguing, thanks to Trent Reznor, and its spooky vibe is still intact. It is way too long though, this wouls have been a much stronger record if they had cut a good 3-4 songs in the middle of the album. I will rate it high because I can't deny how important that album was to me, even though I still think Mechanical Animals is his best.

Out of all the JLH albums this is the one you choose? You guys are helpless.

I'd drink that

Probably a "you had to be there" situation, because listening to this today, while it has some exciting moments it'a also very long and the whole things sounds dated. Without any nostalgia value attached to it the impact is less apparent.

I just don't think this album is that great to be honest. Salt of the Earth is nice, Sympathy for the Devil obviously and I actually enjoy No Expectation quite a bit, but to me most of this things is no more or less than blues rock that wouldn't even get noticed if it wasn't released by the Stones.

Violet is kinda fun but I didn't care for all the other tracks. Courtney's screaming gets annoying pretty quickly.

While they would soon become more ambitious both in scope and in sound, I think this is where SP peaked as a rock outfit. I love how these guys were influenced by a lot of things that were so unhip in the early 90's, like metal and prog/hard rock. It made for a unique and "big" sound when everything was about seeming modest at the time.

Ok so that's where that Beastie Boys sampling comes from

Two big classic and some great tracks as well. I just love that guitar tone.

That was good but rather linear. The second half didn't grab me as much as the first half did.

I never fail to be mindblown by Igor's drummer. What a beast, easily one of the best from the thrash era. While I really like Arise, I find it to be a bit less memorable than its counterpart, Beneath the Remains. Don't get me wrong, there are still riffs for days in there, but they don't stick with me in the same way Beneath does. First 3 tracks + Altered State are awesome though

Not as cohesive and maybe not a cultural statement as strong as Remain in Light, but Fear of Music makes up for it by throwing us some of the weirdest and most paranoiac new wave you'll ever get to hear. This sounds so fresh even to this day. Life is still as stressful as these songs wanted to portray.

Jump is obviously overplayed and Hot for Teacher is a fun but dumb single that has long lost its charm on me, at least there's still Panama. Rest of the album is juste fillers, I just don't care about that album.

Sublime

Ain't bad mate innit

I forgot all about this even while I was listening to it

Modern hip hop doesn't get much better than this. I'd say it's about as good as TPAB honestly.

The Smiths are always good, but still kind of overrated. This one might be my least favorite (but still good nonetheless).

A few good moments here and there but overall I thought this one sounded dated in a bad way

tssk smooch trrrrrr

Ahhhhhhhhhhhhhhhhhhhhhhhhhhh

Despite being very (very) long, this thing just doesn't let up. Amazingly strong from start to finish, with some Wonder's most adventurous compositions I have heard yet.

Some good moments and not just because of Good Times. This is good disco but was it really necessary to put two of their albums in here?

Ok so Willie goes back to American standards and reinterprets them in the smoothest manner possible. The arrangements are lush and the whole thing feels wholehearted, obviously nothing is groundbreaking here but as a cozy album of countryfied standards it works well.

tries a little bit of everything that was cool in 1989, fails in almost every aspect

They put the fun in "that new wave album is fun"

Bernard Derome titititideedeedou

Your call is very important to us

It's all about you know what song which is good but I'm really tired of hearing it so this album's just useless to me.

It lost me on the last 2-3 tracks but I gotta say that it was generally great. I didn't know Kanye did such a stripped down, industrial hip hop record. Coming right after My Beautiful Dark Twisted Fantasy, I'd say it was a rather bold move to release something so abrasive.

I prefer Off the Wall by a considerable margin but having such big singles in the same album is quite the accomplishment, I'll give it that. Too bad that corny duet with Paul McCartney kills the momentum otherwise that would have been a pop masterpiece.

There is no other album like this. Sure, indie rock with an orchestral edge wasn't new or anything, but the Lips made it sound so genuine, without any sense of the pretension that's often attached to that approach. There's a lot of details but it all seems so effortless, almost as if those sounds were coming on their own. One of the most beautiful albums I know.

Maybe the ultimate pop punk album, at least for my generation. I love how nervous that album is, it sweats the typical teenage energy with its relentless flow of songs. They're also great musicians, we rarely talk about that but they're a really tight unit, Tre and Mike's rythmic section is awesome

Good traditional folk album, albeit a little bit homogeneous but that's to be expected with this genre. Bert's playing is the real draw here, with his impressive fingerpicking and overall dynamic style. Nice but not much more.

Some intricate hooks in the first half, but overall I don't really get why this is so well-regarded.

That was wild

Of course Kids and Time to Pretend holds great nostalgic value for any millenial that went to a house party around 2008. And I gotta say that the rest of the album is mostly good, but nothing touches the 3 mains singles (the other being Electric Feel) and I think I'd rather reach out for those when I need my early 00's indie pop fix instead of the whole thing.

Fun album but not something engaging enough to make me want to come back to it regularly