I'm going to be frank- I hate Jack White's nasally voice. I don't love his composition or guitar skills much more, either. I can't even be very objective about this, but practically everything he touches just irritates the hell out of me, and I had no fun here. At least it's brief- 40 minutes in the CD era is basically EP material. I'll try to meet half way for those who see the appeal and give this an extra star, but it's an F for me, dog.

I try to hold out on giving out fives, especially so soon to each other, but man, I love this album. Some insane compositions throughout. A

One of my favorite things about doing this is discovering new stuff, especially when it's pretty good like this. It's solid post-punk and he's a great singer and songwriter, but it's definitely a little too long. Unless this is a compilation of non-album tracks, no post-punk album needs to be over 40 minutes. But I also don't know if I'd cut anything out? Will likely come back. B

I don't get reggae, never did. But at least with Marley, I get that he's the real deal and a pioneer. UB40 just sound fake and lame. This is what I imagine my personal hell sounds like. F

I used to find Kanye as a whole, and this album in particular, highly overrated. Despite his numerous attempts to make me discredit him over the years, though, I have really grown to appreciate his earlier work. I still struggle a little with this one, though, but I’ll admit that it’s mostly overhype. But there are definitely tracks here that I think stand among his best, ie Monster, All of the Lights. I remember being bugged by him sampling King Crimson and Sabbath, but those also work very well. Gonna go with a C. It’s a little all over the place for me.

Mark Knopfler's songwriting skills cannot be overstated. Obviously the guy can shred like nobody's business, but he has just as strong of an ear for hooks and melody. Even songs that seem as simple and quiet as "Why Worry" have a couple little surprises that make them stand out. But what really make an impact are when Knopfler and co go big, like when he turns up the guitar in "The Man's Too Strong" or the all-timer riff on "Money for Nothing". It's funny that I keep mentioning the guitar work on this album, because this is otherwise quite synth-heavy. I personally preferred the band's earlier work which focused more on Knopfler's passion for blues and jazz. There are still hints of that here, but you can otherwise hear plenty of compromises for the MTV era, ie all of "Walk of Life", which I understand is beloved by many, but I've never been able to stomach. But when the band goes all out, they really hit. The last two songs, "One World" and the title track, I think are near-perfect, and I would have loved if the whole album sounded like those. Still, this is a fun 80's classic, one I enjoy coming back to even if it's hardly a first choice. B

I'm a Dylan fan, but not a Dylan stan. He has some works I really like beyond just their reputation, but Petty has always been my Traveling Wilbury of choice. So I have heard this concert performance before once or twice, but it's not exactly what I'd call a fun time, it's honestly more of a history lesson. A history lesson with some incredible songs, including a couple of my favorite Dylan tracks, but I don't see much need to listen to this other than to understand this point in his career. As a historical artifact, it's terrific. As a recording of this particular setlist, it's still quite good, but I'd honestly take this out for something a little more daring instead. And I find both halves pretty equal. B

On the one hand, I'm already growing weary of getting so many boomer rock LPs in a row. I'm ready to hit basically anything else next. On the other, I think that Paul Simon's compositions and Art Garfunkel's angelic voice are as perfect of a musical pairing as will ever exist. I have too much love for their music to be very objective, but I'll admit that the album peaks with "The Boxer", and that last third mostly kind of coasts. That's not great for such a short album, but at the same time, I wouldn't call anything on here remotely bad. And at its best, this is pop folk at its highest form. A

I'm going to be frank- I hate Jack White's nasally voice. I don't love his composition or guitar skills much more, either. I can't even be very objective about this, but practically everything he touches just irritates the hell out of me, and I had no fun here. At least it's brief- 40 minutes in the CD era is basically EP material. I'll try to meet half way for those who see the appeal and give this an extra star, but it's an F for me, dog.

This defied my expectations in a way I seriously didn't expect- it really started picking up steam as it went along. I thought that the last few songs were the best and most exciting, and honestly wouldn't have minded a couple more like that. The rest of the album is fine, but not really my thing. Jones has a very nice voice, but she's not the commanding force that Sinatra was that makes this kind of music sound as appealing to me as his does. But I can understand why this caught on as much as it did- it's the perfect album for a mid-American mom to play when she needs "alone time". C-

Pantera are one of the first metal bands I really fell for. I skipped past the nu metal scene, which was really fading out at that point, and went for Texas' finest after becoming acquainted with the classics, but just before discovering death metal. So I know this album pretty well. But at the same time, while my devotion for Sabbath and Maiden will never die, Pantera do little for me nowadays. Part of that comes from recognizing their problematic elements, primarily with racism. Anselmo is by far the guiltiest, but Dime and Vinnie did love the Confederate flag... And I'm southern, yet I have no defense for said love. Even before that, I just realized that the songwriting just isn't there. They're all fine musicians- I do have a lot of respect for Dime being a one-man guitar team and making the band sound just as full as your average twin attack in metal- but this all feels too juvenile to resonate for me beyond, like, 10th grade. I'll always go back to Beavis and Butthead's take down on the "This Love" video- "You treat your stepmother with respect, Pantera, or you'll be sleeping in the street." I laugh despite that track being a highlight for me. Cowboys would probably rate higher for me, but even when I was all aboard the Pantera train, I always found Vulgar a little overrated. Current grade would be a C-, but 15-year-old me would easily be in the B range.

Like Pantera, Pink Floyd are a band who I really liked when first getting into music, but have seldom use for. While I give them credit for introducing me to odder time signatures and elements of progressive and jazz, I'd much rather listen to King Crimson or Peter Gabriel-era Genesis. I find their themes and songwriting much more appealing. That said, I'll admit that one of my all-time favorites albums is by PF- Wish You Were Here. Dark Side of the Moon is pretty good, too. It flows together quite well and is a pretty smooth listen, even if I could go the rest of my life never listening to half of these songs again. A solid B.

Van Morrison may be an anti-vax asshole, but damn if he’s not able to write a good melody. I do prefer Moondance, as the tracks here go a little too long for my tastes, but the songwriting is just splendid throughout. B

After nu, the metal subgenre I struggled to get into the most was industrial. I had a serious chip on my shoulder about synths in my heavy music for some reason, although I took to Type O right away and Neurosis eventually became one of my favorite bands. I never got the hype for Nine Inch Nails, and still don’t, while I only slightly understand Ministry a little better. I say that I liked Ministry better because I loved how batshit “Jesus Built My Hotrod” is, but most of their other stuff tends to rank as mid for me. And that’s still mostly true, but I have grown an appreciation for the singles. Otherwise, this all sounds pretty samey to me, and I don’t see myself coming back to it anytime soon. But points for being a relatively brisk 45 minutes. C-, could lose the minus depending on my mood

I know Missy moreso from her early 2000's hits than anything, but this album has been on my radar for a while, after seeing it listed in Harvard's Hip-Hop Archive (sidenote, I hope they earn more to update it soon). It's not bad, but it does get a little samey. It could have been a lot better at a brisk 45 minutes, but still earns points for that crisp Timbaland sound. He'll always be relevant IMO C

I am shockingly ignorant on Fiona Apple. Enough so that when her last album blew up, my initial response was "when did you guys start caring about her?" I might have listened to this before, but I remembered nothing about it. All I really knew was "Criminal", which I think was alright, but hardly among my 90's favorites. But after giving this a spin, I kind of get it. This sounds a lot like if PJ Harvey and Elliott Smith combined forces. Although I personally greatly prefer the former's music, and did generally prefer when Fiona pulled out her rock credentials. Some of the ballads worked nearly as well though, enough so that I think that this could become a serious grower for me. But just a grower for now. A C for now, could see it raise if I give it more rotation in the near future.

I used to find Kanye as a whole, and this album in particular, highly overrated. Despite his numerous attempts to make me discredit him over the years, though, I have really grown to appreciate his earlier work. I still struggle a little with this one, though, but I’ll admit that it’s mostly overhype. But there are definitely tracks here that I think stand among his best, ie Monster, All of the Lights. I remember being bugged by him sampling King Crimson and Sabbath, but those also work very well. Gonna go with a C. It’s a little all over the place for me.

I do prefer the later Beasties, but there’s a definite charm to Rick Rubin’s early production, and how flagrant the use of samples were. Imagine a rap album putting this much Zeppelin on today! So much has been said about the Beasties and this LP, and I can’t ignore the faults and the context. But it’s a classic for a reason, and a perfect album to blast in the middle of a traffic jam. B

Nick Cave is an artist who I think has never really missed, but I’ll admit that I was surprised that this was chosen for this collection. It kind of stinks of recency bias, especially if the (imo) stronger and tighter Skeleton Tree isn’t here as well. But this is another good one obviously, and it has Cave’s traditionally exceptional hook for melody and haunting beauty. But the production is a little hollow at the same time. Again, I think Skeleton Key did everything better, but I still have a good time with this. B

This is what I always imagined garage rock sounding like- a bunch of kids just learning to shred with the murkiest sound on earth. Forget that overpolished White Stripes and Strokes nonsense. It’s very primitive, and I assume it won’t be a lot of people’s thing, but I do like the protometal sound and I have fun with this. But I can’t really rate it higher than a C+, although I think that I’ll give it four stars to round out.

The production is shockingly massive, and really helps to make Dylan sound as empty as he must have felt at the time. That’s a good and a notsogood thing, since I also feel like this makes the songs here not have the same punch as most of his 60’s classics. It’s very good, but I don’t think it’ll ever be my favorite album, either of Dylan’s or for breakups on the whole. Still gotta be a B+, maybe an A- on another day.

What is there to say, this is as good as it gets, and Hendrix earned his GOAT status for obvious reasons. I don’t love the slower blusey stuff as much, but even some of the “lighter” songs still kill, like “The Wind Cries Mary”. This better join Pink Floyd in the 4+ club. An A

I really like old school soul, but I have to admit that Solomon Burke's music has mostly eluded me. This isn't bad, but it does sound a little more primitive than my preferences, and I wish the chorus girls were cut back a little. But there are some stone cold gems in there, enough that I can see me coming back to this when I need something to groove to. C.

I know that there has been recent rehabilitation for the Carpenters, and I want to give them their fair shake. I distinctly remember one quote Todd in the Shadows shared in his Trainwreckord video of their alien album. It came from an interview with the band right after their decline in popularity, and Karen basically said “okay, you don’t want our old stuff anymore, but you also don’t want our new stuff. What do you want?” That stuck with me, and made me feel bad about them. But no, I’m sorry, I can’t get into their music. Light, tempoless rock tends to be useless to me unless you’re kings of harmony, which imo they’re not. Karen is a nice singer and drummer, and there are solid hooks and production here, but I could live without it. D

I own plenty of soul records, but I somehow have yet to buy any Nina Simone. Should really rectify that. This would be a good one to start with, since it has some of her best performances. I can understand how her husky voice is not for everyone, but I admire how raw and commanding she sounds. Not every song is a banger, and some parts drag, but this is still damn fine stuff. B

Meh. Folksy, chambery indie rock has always been one of my least favorite genres. There was a period where I was a little more suspectible to it, but at that point Arcade Fire were too mainstreamy yet not Classic enough to hit my radar. So yeah, I didn’t have fun with this one. Credit where credit is due to a couple of decent ideas scattered in, but I can go the rest of my life without spinning this. D-

This really isn’t my thing normally, but it’s pretty good dance music. The production is very of its time, in a charming but still dated way. I much preferred the female vocals to the guy, but he had his moments too. C

There’s an alternate reality where the Jeff Beck Group became THE virtuoso blues group that brought rock fans into the 70’s instead of Zeppelin, and part of me is curious to see how that went. I don’t think that they’re as tight-knit as Zepp, or as able to make blues staples their own the way they did. Yet they’re all great musicians, and Rod Stewart proves that he def has pipes here. It’s pretty damn good for what it is, but I understand why they didn’t get bigger in our timeline. B

I like how this is kind of a best of both worlds situation- Eno is really embracing his newfound appreciation for synth/atmospheric music, while still making a couple of tunes in the vein of Roxy Music and his earlier solo stuff. I found myself geling more with the latter this time, but his minimalist stuff is still pretty impressive to listen to. I can understand if it’s not your thing or if you’re so used to later electronic music that you find it derivative, but I’m all in. Still, this is never going to raise above “sometimes” music for me. B+

Despite my appreciation for R&B/soul/jazz, I never totally got into Sade. Giving this a spin, I kind of see the appeal, but it’s not especially for me. I can get behind bits of quiet storm, but it’s just not a sound that I can spin for a full LP. I’ll give it credit for some solid jazzy interludes and killer vocals, but I don’t think I’ll ever fully get into them. Solid C

This is real “in one ear, out the other music”. It’s perfectly fine new wave, but I received almost no reaction from it. Not sure if that’s better or worse than being bad, but I don’t that I’ll return to it anytime soon. C-

This usually isn’t my thing at all, but I got into it alright. It hits the right level of bombast and has some solid production, but I can also see myself never listening to it again, idk C

I'm old enough to remember- vaguely, mind you- when Alanis broke big and how ubiquitous this album was. Maybe not THAT ubiquitous, since my mom didn't have it, but You Oughta Know was clearly a big deal. It's honestly kind of surprising that Alanis could break so big with how raunchy it gets when pop was mostly pretty sterile back then. Like sure, this is basically just proto-Good 4 u and back then, rappers and grunge bands could get away with f bombs, but imagine Mariah. The rest of the album is pretty good too, although I never liked You Learn. A perfectly solid pop album. B

I only vaguely know who Gene Clark is, so color me surprised by how I dug it! It's a pretty eclectic album, even if it isn't especially outstanding. Still, the production is solid and his voice is strong, and I can see this be a grower when I get more time. C+, possibly higher

Oops, missed this one apparently. Not really a big Elvis guy, and this is largely forgettable, but it's nice to listen to in the moment. The only thing that makes it remotely essential, though, is "Fever", which is sick. D+

Didn't Mr. Bambaataa get Me-Too'd? Not that it would matter too much- Michael will never be dropped from GOAT status, so why not keep this on? This is pretty fun, but like a lot of early hip-hop, it doesn't have a whole lot of shelf life for me. I appreciate the beats and some of the production choices, but it's not one that I'll ever put on regularly. Still, when I do, it's terrific background noise. B-

Heavy metal is the first style of music I fell for, and it’s the one I always come back to. It’s the reason I followed this group. I have also used the term Selloutica unironically in the past. But seriously, why are there FOUR Metallica albums featured here? That’s more than Maiden, Priest, or even fucking Sabbath (all of which were my first loves before I discovered ‘tallica). Justice, with its sterile production and boneheaded progressive elements, is no essential as far as I’m concerned. The songs are overlong and half baked at the same time. I give it points for solid riffs throughout, but meh. D

Heavy metal is the first style of music I fell for, and it’s the one I always come back to. It’s the reason I followed this group. I have also used the term Selloutica unironically in the past. But seriously, why are there FOUR Metallica albums featured here? That’s more than Maiden, Priest, or even fucking Sabbath (all of which were my first loves before I discovered ‘tallica). Justice, with its sterile production and boneheaded progressive elements, is no essential as far as I’m concerned. The songs are overlong and half baked at the same time. I give it points for solid riffs throughout, but meh. D

I like The Police, but really just their first couple of albums. By this point, it’s clear that they were chasing trends instead of following them. But this is also their biggest album by a wide margin, so *shrug emoji* There are good songs on here, but the best one is easily the bonus track, Murder by Numbers. I never really liked Every Breath You Take, but giving it a couple more listens, I can appreciate the tight production and Sting’s unkempt performance. It’s also leagues better than the ballads that immediately follow it, too. So yeah, it’s better than I recalled, but not the best that they’re capable of. C

I fucking hate Coldplay. F

A few years ago, I would have had a similar response to U2 that I did with my Coldplay “review” yesterday. But I have warmed up to them a little bit. They’re strong, distinctive musicians, and Bono has pipes for days. I still don’t really love U2, though, but I can respect how this was a necessary change in sound for them, and proved that they don’t always have to be so self-serious. That’s cool, and Brian Eno’s production is still rightfully massive. Still, I don’t have a whole lot of use for the tempoless dredge that a lot of this offers. I much prefer Mysterious Ways to One, basically. C-? Idk

I primarily know the Count from his work with Sinatra, and haven’t heard much of his instrumental stuff. But this is good! Parts of it are a little slow for my taste, as my preference towards jazz tends to be more intense, but a lot of it really swings, and every musician kills. Should really check more of his stuff out. B

First of all, I accidentally reposted my Count Basie review for yesterday. I didn’t actually get to listen to that album so RIP Anyway, I’m not very familiar with these guys, but I thought that this was alright, nothing special. I feel like I’d be more impressed if I got into them before Depeche Mode or New Order, since it sounds kind of bland in comparison. Still, it’s a solid synth rock album and I like that it never steers too close to one tempo. I believe that their first few albums are supposed to be pretty good, so maybe I’ll like the next one on here better. C

I have a friend who loves Gary Numan and has seen him multiple times (he’s also much older than me), but I only really knew him for Cars. So this is new for me, and I love it? The synth work is really expressive and singular, even if it’s primitive compared to later new wave. That’s arguably part of the charm, though, and Numan comes up with some killer hooks. I don’t think that we needed the 7 minute track, but I otherwise had a lot of fun and will def come back. B

I’ve had fun with the new wave, but once we get into techno or electronica, you lose me. I still can’t wrap my head around that. This isn’t BAD, persay, but it’s really not my thing at all, aside from a couple of solid hooks. I’ll give it a D, but I’ll also go up to 3 stars out of fairness.

I like Clapton as an artist (not so much as a person), but this was pretty mid. I think that he needs a strong co-leader to really bring his best ability out, because a lot of this is basic white guy blues. There’s still some shredding, and a couple of solid songs. I’d still rather listen to Cream instead, though. C

One of the best debuts of all time, REM came out of the gates loaded and ready to make incredible rock. It’s interesting to come back to this after decades of refining and expanding the indie scene, but the melodies are timeless and the production is charmingly limited. Radio Free Europe’s single version is better, though. A

I try to hold out on giving out fives, especially so soon to each other, but man, I love this album. Some insane compositions throughout. A

I don't get reggae, never did. But at least with Marley, I get that he's the real deal and a pioneer. UB40 just sound fake and lame. This is what I imagine my personal hell sounds like. F

Okay, this is pretty smooth. I like the mix of old-school (jazz patterns, Latin influences) and new (electronic beats). A lot of it blends together for me, and I think it would have benefitted from a shorter run time, but it's something I can see myself come back to. C

I used to put The Strokes and Jack White on my shitlist and swore against anything garage rock-related. My disdain for White continues, but I’ve made peace with the Strokes, even if I don’t necessarily love them, either. But the production is crisp and the songwriting is tight and less pretentious than I recall. They sound good together and some of the songs are quite good, even if little of this is material I really come back to. C

The thing that I’ve always liked about T. Rex is how Marc Bolan combines pretty melodies and his soothing voice with a crunchy, dirty guitar tone. It’s an effective balance and keeps his material engaging, even this could have been a song or two shorter. B, it might need a minus but I’ll give it the benefit of the doubt today

I went with the UK version, since that’s the cover reflected here. But I know the US version is still in print and prefered by plenty. Anyway, I understand why this album is considered important for the Stones. It’s around this point that the Jaggers and Richard songwriting team really started to take off, and they started to cut back on their R&B covers. But there’s still plenty of those as well, and they’re all mostly fine, although I’d consider little of this to be essential. Their best stuff here are all-timers, but a lot of it is fluff meant to fill up an LP. I do give them credit for ending side A with Goin’ Home. Most artists would save that for the very end, and I believe they did in the US version. B-

Pretty nice, solid R&B/funk, but I'd be lying if I said that I would pick this over any given Marvin Gaye LP from the 70's. B-

Pretty nice stuff. It keeps a solid beat going and I like when the strings are added into the mix, but I don't think that I'll ever really go out of my way to listen to this again, either. C

The Stranglers have been on my radar for a minute, but the only album I’ve ever listened to from them is their newest. This was good! I like the mix of classic punk with some new wave tendencies, and it has strong melodies. I do think that I would have rated it higher if I heard this when I was getting into punk stuff, but hey, I’m a yank. The Stranglers had no presence here. But this is probably the equivalent of Marquee Moon over in the UK. B

So this isn't super my thing, but there are some really cool little passages here, and I think his sense of melody is strong. It's a good time, but I'd be lying if I said that I see this becoming a Mountain Goats-level favorite. C

I used to like Sigur Rós when I was first getting into post-rock, but now I must admit that they sound kind of cheesy to me. I think the vocals turn me off, tbh. GY!BE holds up better by keeping their mouths shut in comparison, and they write more gorgeous harmonies. This is still good, but I seldom get into their work as much now. C

lmao how did she go from this to “you’re being a penis… colada that is!” A

Still not really my thing, and it probably never will be, but I can appreciate it as quality regardless. I’d just personally never choose to listen to it. C

This should be up there in the “country albums for people who don’t like country” starter pack. Granted, I have warmed up to yeeha music over the years, and stuff like this is why. Incredible craftsmanship throughout, even if it is a little samey. B+

(tbh I coasted on yesterday’s ranking- I love Dusty but didn’t have the time to listen to that album again) So James Taylor kind of slaps? I always dismissed his stuff, but he’s got some killer hooks behind him. I prefer his original stuff to his covers, and I doubt this will ever be a favorite, but this is a nice, easy listen. C

That was delightfully primitive. C

When I first got into metal, nu was all but on the way out, and what I heard from the bands still getting radio play didn't impress me, including Korn. I've tried to give them a shot here and there in the years since and... yeah, still not a fan. I found this very annoying, actually. Probably my least favorite album so far. F

I used to lump hair metal in with nu metal and pop punk for lame mainstream/pop styles of rock that I had no use for. And while there have been exceptions for all three, I’ve gravitated more towards glam metal towards the other two. There’s no pretension in most of these bands, just good times and solid hooks. That said, it took a while for me to get into Hysteria the album. I much preferred the Lep’s harder rocking earlier stuff, and while I still do, I dig most of this now. This is 80’s production excess at its highest caliber, and the levels Mutt Lange went to is insane. The title track is especially a favorite, probably their best song. I feel like Billy Corgan has spent his entire career trying to write a melody like this, but hasn’t come close. B

It’s funny, I namedropped Billy Corgan in yesterday’s review and he shows up today. Hmm, something something Neurosis. But no, I did rock with Smashing Pumpkins in my youth. I never really connected with Nirvana or Radiohead, so it took some time for me to embrace the other 90’s alt rock giants. But I did gravitate to most of the other ones in due time, and I played the fuck out of my Mellon Collie CD. In hindsight, it’s way too long, and the pattern is basic- heavy song, slow song, repeat with minor exceptions. But I can still feel the primal aggression in Bullet with Buttefly Wings, even if it’s pretty silly in hindsight, and I dig how weird some of the non-hits get while appreciating the softer tracks. It’s an imperfect thing, but I feel like this should still be essential listening for teenagers. B

As far as retro blues rock throwbacks go, you can’t top the Crowes imo. You can really hear the passion behind their performances every time. This is a pretty smooth, digestible album. B

The best hard rock album of all time. AC who? Guns n what? A

I wasn’t expecting much from this one, but I kind of loved it! Very pretty throughout, and I like how his voice added a little bit of edge to offset the sugary sweet coating. This might be my favorite week here ever. B

RIP will always hold a special place in my heart, as well as metal history. The latter because IMO this was so good that this is why thrash had to fade out, there was no topping Dave’s new crew’s chemistry and his ability to balance harmony and anger. The former because this is one of the first metal CDs I got and fell in love with. And even if I ever have to sell off my collection, there is no way that I would part with my 1990 first edition- the remaster that reverbs Dave’s vocals is just not it. But this sounds as technically perfect as ever, even the (likely deliberate) imperfect moments. And I’ll always go to bat for “Dawn Patrol”, which is a neat little interlude before the deadly finish. I don’t think that I can give this a full A due to Dave’s politics and Junior’s recent problems. I’m still willing to compromise for 5 stars and accept that Dave has always had his foot in his mouth (we wouldn’t have “Holy Wars” if he didn’t say some particularly insensitive shit, for instance), and Junior’s creepy behavior is a seemingly more recent development. All I know is that I feel like putting it back on.

I know some people can't deal with Billy Corgan's voice, but I don't usually mind it. Others don't like Geddy Lee, and I think he sounds fine. Some of you guys expressed indifference to Dave Mustaine yesterday, and I'm generally cool with it. But Janis Joplin's voice has always bugged me. There's definite power in it, but it's too screechy for me, there's almost no technique. The musicians themselves are great, but I don't know if I'll ever side with her abilities. D+

I understand the controversy behind this album. Nu metal has always been derided (tbh, including by myself) and this must have seemed like a sellout move for Sepultura. But I’ve always erred on the side who considers this revelatory. I don’t think Max Cavalera was chasing trends, but he genuinely has always been a guy who has had his pulse on the current scene and likes to follow course in his own way. Look at Soulfly’s recent material for an example. When the album embraces their literal roots and adds Brazilian influences, it’s a triumph. But it goes on for way too long- the CD era had to die for a reason. Even as someone who still likes CDs and uses them, I definitely do not miss the desire to fill a disc of material. This would be a good bit better if it was at least a brisk 50 minutes. B-

I forget how I found “Sultans of Swing”, but when I heard it, that turned Dire Straits into a band that I knew of to one I had to check out. There’s no topping their first album though, which is perfectly sexy and loaded with tight musicianship. I do have to knock some points off for the weaker tracks, but this is what AOR should sound like. A-

I was just thinking that these have been too rock/metal heavy lately. Granted, I’m cool with the metal- hell yes, keep this shit separated from Rolling Stone- but we haven’t had much R&B, rap, jazz in a while. Glad we got this welcome change of pace today. Jasmine Sullivan is a name I knew, but I don’t think that I ever heard her stuff before. This was pretty nice! You can tell that she’s hella talented and has a strong sense of collaboration, and the production is tight here. I don’t love the introductions, but I can see myself warm up to them on further listens. C+ for now, can see this rise after some more listens (Side note, but this is technically an EP, although a deluxe edition was released that should push this to an LP. Even before that, it’s 33 minutes which is a perfectly acceptable album length.)

Not really a fan of Common and I don’t think Kanye’s trademark chipmunk effects have really held up, so I didn’t connect to this. But it’s objectively pretty good stuff regardless. C

I can’t believe I used to think that stuff like Depeche Mode was lame. I guess that’s what the kids call a personal flop level. I’m really trying to be more discerning towards 5 stars though and hoard them like a dragon’s gold. And I do have the same problem with Violator that I do Rumours- it peaks with “Enjoy the Silence” and think that the last third is a step down. Where do you go from “Waiting for the Dark” and EOS? But it’s all still very good and I love the perfect balance between unforgettable synth hooks and terrific musicianship. And Martin Gore’s voice is incomparable. A-

Sometimes I wonder if I overrate certain rock records and underrate other genres, primarily soul and R&B. Because I hear good stuff here but it doesn’t really sound essential to me. I do think it’s an interesting footnote in R&B history, as this came out right when disco became passé, but no one really knew what would be the new sound. A lot of it tends to run together for me, but I have fun anyway. C

I could never get into Muse, their sound just doesn’t work for me. You want to do the mainstream Pink Floyd stuff? Cool. You want to do the weird Radiohead stuff? Also fine. But together, it doesn’t gel very well IMO. I can appreciate that they’re solid musicians and have big ambitions, but this largely left me cold. 3 stars for effort, but my personal rating is a D+

It still astonishes me how he’s able to turn sampling into an art form. He’s not the first to do so- Paul’s Boutique had already come out- or possibly even the best, as J Dilla was soon to burst out. But this is fun, beautiful and surprisingly heavy all at once. Essential. A-

I never got Amy, and I don’t think I ever will. Her voice has never impressed me, and if anything, only annoys me as I get older. I hear too much of a blaccent to get behind it. The musicianship is tight at least, but I think Ronson will have better work later on. D-

Now THIS is my speed. I only really knew Willie as a personality and not so much his music, but damn, he has a killer voice and knows how to fill a track with hooks. I do think it peaks in the first side, but I can definitely see myself add this to my collection. B

I don’t know what I was expecting here, but I kind of loved it? My experience with French music is pretty damn limited- mainly just the Neigeverse and Charlotte Gainsbourg- but this is right up my alley. It’s basically a Parisian Sinatra backed by Duke Ellington, which yes please. Will come back to. B

Ladies and Gentlemen is one of my favorite 90's alt rock albums, but my experience with their other stuff is surprisingly limited. Surprise surprise, I loved this! The melodies aren't nearly as calculated as the title would make you think- it's an organic listen that has killer transitions. I don't love it as much as their opus yet, but this is def a grower. B+

Mehhhh I feel like the music I dismissed as a teen- ie emo, nu metal, a lot of indie and pop/R&B from this particular period- will always remain mid to me. D

It’s kind of funny how the better produced the Velvets became, the less interesting they became. To be fair, this was kind of by design, since this was meant to be a more commercial LP, but it still failed in that regard and sounds pretty sedated. Mostly, at least. “The Murder Mystery” has that classic Warhol-era weirdness to it, and the more well-known songs still mostly slap. And yes, the production is much crispier than the first two albums. B Side note- why are the women involved with the band so problematic? Between Nico being a legit nazi and the drummer lady who sings “After Hours” having tea party connections, it’s not a great track record

At Folsom Prison is a favorite, but I haven’t listened to Cash’s other iconic prison LP nearly as much. How stupid of me, this is great. A-

Kraftwerk is the shit. I don’t really have more to add besides side 2>side 1 B

I always used to hate Green Day, like most mainstreamy rock bands, but I have warmed up to some of their stuff, mostly pre-AI. I prefer when they pretend to be punk than emo, which is why this does so little for me. At the day they’re just trend changers, and this isn’t a trend I vibe with. D

I never really got into the Jesus and Mary Chain when I got into post-punk. They always just kind of passed me by, and I never got around to listening to much of them in the years since. Spinning this now, I can see the appeal of their jangley sound, but I think I missed the window to totally get on board with them. This is good, but I’d rather put on Depeche Mode or Slowdive or something. Gonna say C+

I only really knew Louis as King Louie, but hey, this is a lot of fun! I guess this is more of a greatest hits than a cohesive album, but that's fine, it lives up to the promise. B

Yeah, I should try to get into The Jam some more. I have Setting Suns and dig that, and this is also pretty cool. It’s that perfect blend where it sounds of its time and timeless. I think indie fiends will totally dig this, too. B

It’s funny, SOAD never really got to be classified as underground, since they caught on almost immediately. But I don’t think a band this weird caught on since Faith No More. I’ll always have a soft spot for their later material, but I understand why their s/t does it for so many. It is pretty bitchin’, and everyone kills it. B+

IA can’t help but sound like warm-up for Loveless, which is fine. That’s still one of the all-time seminal albums, and it makes sense that it overshadows everything else they’ve done. This is still a perfectly fine album, but it’s not the one I come back to. B

I'm pretty ignorant on the Prodigy, only knowing some of their hits, but this is cool. I can see why they overlap with metal fans often. Will check out more. B-

Peak-era Stevie, this is just ace songwriting and performing. I don’t love the slower stuff as much, but at its best this is pure electric. B+

I don’t know about this one. It sounds kind of generic and sexist to me. But hey, there are some solid beats, and it’s pretty brisk for a rap album. C-

I like some of the songs and how soulful the vocals get, but it’s more meh than anything. I can understand why stuff like this would turn people away from this project. C

I actually really liked this? And the bonus tracks are better than the main album cuts? idk why I'm surprised, maybe it's because these guys are new to me and I was expecting something slightly different. But this is fun new wave, and if I ever see this in a dollar CD bin, it's mine. B

This must have been unbelievable when it came out. No one was playing like Eddie, mixing hard rock, classical and jazz tones into one sound. And they wisely start the album off with something easy to comprehend like “Runnin’ with the Devil” before loading it with the crazy stuff. To fault it, the latter half has some filler, but at least it ends strong with “Ice Cream Man” and “On Fire”, even if this should have been a 10 track LP instead of 11. A-

Really lovely music. If you don’t like mid-tempo stuff, I can see you getting bored. And I’m usually like that, but I think Ray did it better than nearly anyone. A-

One of my favorite things about doing this is discovering new stuff, especially when it's pretty good like this. It's solid post-punk and he's a great singer and songwriter, but it's definitely a little too long. Unless this is a compilation of non-album tracks, no post-punk album needs to be over 40 minutes. But I also don't know if I'd cut anything out? Will likely come back. B

Wow, 100 days. And what a way to celebrate. Buckley’s voice really was lovely. It’s a shame that he was here for such a short period of time. A-

Cheesy as all hell, but hey, I'm not vegan, I can dig it. Like a lot of albums from this era, it's pretty front-loaded, the first 3 songs in particular, and it never quite recovers after Foreplay. But the massive production is still charming, everything sounds massive and wonderful. Even if you're tired of hearing all the songs on classic rock radio, listen to it in full. You may be surprised. B

Kraftwerk kick ass, but my problem is that I never know how to talk about them. This is good, but that’s all I’ve got. B

I used to hate Oasis, but I’ve slowly accepted that Noel = cool, Liam = cunt. Still not really my thing, but it has its moments. D+

I like The Doors, but they’re largely a singles band besides the first album. This is probably their next best LP, but I don’t know if your life will improve by listening to most of the deep cuts. Still, it’s all quite good, and “Riders on the Storm” is a hell of a way to cap off their career B

Okay, Flaming Lips are pretty cool. A lot of it runs together, but this is solid symphonic rock. I can get behind this. B

I wouldn’t call this the best album by The Roots, but it does have the one song people know by them, so I know why it’s here. But it’s still quite good. Questlove knows how to write a spicy tune. B+

I can separate the art from the artist enough to call Miles what he was- the GOAT. This is just one of many excellent works he conceived. A

Two A’s in a row? More likely than you’d think. As white as I may sound, Kendrick is the best rapper alive, and while his next album is more vital, this is a brilliant introduction to his craft if Butterfly is too dense for you. Incredible music all around. A

As one of the premiere artists of his generation, of course this album is full of strong performances from Marvin and his crew. But this is no What's Going On. It's unpleasant and woefully light on hooks. Intentionally? Most likely, but there should be no surprise why this didn't catch on. It's a good, important album, but not an easy one to listen to, or arguably as rewarding as some of his others. B

I'm not a Dylan stan, but this is probably as good as he'll ever sound. A lot of his best songwriting, stripped down to their bare essence. Still, even though I understand his performance, I'd rather put on some Tom Petty instead. A-

Like a lot of dream pop-y new wave, this is good and I enjoy listening to it, but a lot of it sounds the same and I don't think that I'll ever put this in regular rotation. I can see why this would stand out for people who are more into this sound, but it's seldom more than just fine for me. C+

Okay yeah, this is the good stuff. Incredible blues. A

Pretty good, but this all still sounds samey to me like most new wave. But I recognize some of the songs and those hits are cool, so I kind of understand why this was chosen. C

I’ll be real, I think they probably peaked with Murmur, but this has some incredible rock music as well. “The One I Love” is an all-time hit for a reason. There’s a couple of skips depending on my mood, but I definitely intend to keep this in my collection for a good while. B+

Solid music all in all, but not really memorable or essential, either. Weller has a strong voice and some of these songs have killer hooks, but I won't lie, my reaction was something like "this is it?". Still, may listen to again. C+

I’m sorry, I just can’t get into Courtney Love at all. I don’t really vibe with her music or attitude… and I feel the same way about Kurt. These are formative records that I have little use for. D

This is probably as perfect of a jazz 101 LP as there is, and I mean, that’s for a reason- look at the talent behind his band! But time has been kind to the songs and performances, which sound as rich today as ever. A

This is a lot of fun, if slightly tedious. The massive jam sessions are daunting, but the musicianship stands out during the whole session. It helps that the performances are as soulful as they are. That’s why this music resonates as it does so far beyond the south. B+

I dunno, that 70’s blues rock sound still does it for me. And it helps that Rod’s still largely backed behind the Faces, who are a great band. The less plugged-in tracks don’t do much for me, but when Ronnie kicks in his iconic tone, this is a good time. B-

Still not big on the Floyd, and a lot of this is too esoteric and whimsical for my taste. But there’s some really cool psychedelic stuff here that almost makes me a believer. The production in particular is delightfully dingy, and fits their vibe perfectly. C

Janis’ voice still grates too hard for me, but I like this better than her other album we covered. I think her band here is tighter and she has stronger songs. “Me and Bobby McGee” is an all-timer. It’s a solid album, but I just have little use for her talents. C

I used to have beef with Karen O for some reason and called her PJ Harvey’s leftovers. That isn’t fair, since they have totally different goals, but I think I was bitter that the music group I followed were really into Yeah Yeah Yeahs but expressed minimal interest in Polly. Listening to this the whole way through, it’s not bad. It’s eclectic but not sporadic. I don’t really care for the 2K indie take on punk, but the Sonic Youth-esq disonance tracks are cool, and the dance stuff isn’t bad. Karen’s also a decent singer and the production is solid… but this isn’t usually my thing. C-, maybe drop the minus

Yeah, this is pretty good! Fast, fresh, eclectic. And "Rock Lobster" may be the most copied riff of the past 50 or so years. B

Mehhhh D -

Oh wow. So like most people, I only really know the Bee Gees from their disco hits, although I did see their documentary and was aware that they started off in white R&B. I didn't realize that they went full Pet Sounds at some point, though! Honestly, I like this a lot more than their falsetto-heavy hits, and I can see this be a real grower. C+, maybe B-?

Oh wow, this is pretty new for me. But exciting! The beat is terrific, and it does a decent job of keeping the energy alive during its lengthy run. Should check out more Afrobeat. B

Still sounds spooky today, and not in a campy way. This must have shat some pants 50 years ago. I love the majority of the album… except for “Warning”. Blues wankery is not what Iommi lost his fingertips for, but thankfully they’ll drop this right after. Still deserves an A

Mehhh. Always considered Gorillaz to be style over substance. A couple of cool beats aside, I don't have any real use for this. D

Not normally my scene, but I get it. Pretty cool! B

I don't really know much Moby. Honestly, I think I'm most familiar with him from Eminem's diss on "Without Me". So color me surprised that I vibed with his sound through the full album. It's pretty well-paced, too! Could see myself picking this up in the dollar CD bin. B

Man, imagine not liking PFunk. Couldn’t be me. A-. These songs are meant to be heard live, but I can’t imagine going any lowee.

After listening to a lot of Stevie, I’ve decided that I prefer his funky stuff over him being a balladeer. His slow stuff just doesn’t do a lot for me. Good thing this is mostly upbeat tracks, though. A-

Easily my favorite AC/DC album. I know some people don’t like how crisp Mutt Lange’s production sounded compared to their earlier releases, but I think that this shows off how talented the band is, and brings their sound to life. This is still the same band from before, but a little more mature. I wish we could have seen what they would have been like if Bon stayed alive. It’s funny though, as overplayed as the title track is, the rest of the album barely exists on classic rock radio. There are some choice cuts that deserve more spins, though. B+

Wasn’t expecting much out of this, but it’s solid boomer rock, and surprisingly varied. I especially like the Elvis tribute. It’s a breezy listen at a solid half hour, but I also don’t see myself returning to it. C

It’s funny, I was listening to Pink Moon right as I was putting in yesterday’s score. Nick Drake was a hell of a songwriter, though, and I like the country tinges he added to his folk sound. It’s a strong combination, even if this ultimately sounds like a demo reel for Pink Moon. B+

This surprised me, if only because I was unfamiliar with this group until yesterday. But this is solid punk with a power rock tinge, and I could see this being a solid gap between the Ramones and Cheap Trick back in the day. I don’t think they got a chance in the states, though. B

The Byrds are one boomer act I have little experience or use with, so this was… not bad. It sounds like watered down Dylan by way of the Monkees, and that’s fine, but not something I’d go out of my way to listen to. Still, not a bad way to spend a half hour. C

Elliott is many people's sad boy of choice, and I won't begrudge them that, he was a terrific songwriter, even if my heart belonged to others. This is a good album, but it doesn't contain too many of my favorite tracks of his. I think I prefer his more stripped-down tracks to the orchestral sound he played with here. Still, some of the tracks here really cut. B

Honestly shocked to see that we’re only just now getting a Beatles album. We haven’t even had a solo album from one of the four! Unfortunately, I don’t have much use for their earliest stuff in LP form. The hits are timeless, but most of the deep cuts are forgettable. It’s funny to think about now, but at this point, the album as a listening experience wasn’t a big draw for rock n roll- these were made with a couple of singles in mind, but little regard for the rest. Jazz artists, including Sinatra, were the ones who were expanding the LP. But I mean, it’s still all good. Some of these even have shockingly killer work from Ringo, of all people. Should be complimented with the movie. B

I surprisingly haven't spun this one too much, despite being big on Nick. His double albums tend to be too much for me, which is probably why Ghosteen doesn't wow me as much. The funny thing is, I think the second disc is stronger and has more of his trademark sound. But it's all pretty solid. B

I don’t know if this is Neil’s best- I like his rocking stuff- but it’s his most popular for a reason. The bridge between folk and country never sounded so tight and refined as it does here. A

As much as I adore Simon & Garfunkel (had a serious S&G phase during my first year of community college), this isn’t one of their best albums. I still like it a lot, though. But too much of it is spent on tracks meant to explore the themes that have little value on their own, and others sound like obvious Graduate leftovers (because they were). But the two sound so good together that it really doesn’t matter. And it’s brief, but full enough to feel perfectly concise. B+

I never liked this one as much as other people do. It’s a little too soft for me, and I have a particular allergic reaction to “Everybody Hurts”. But the good stuff is very good- “Nightswimming”, in particular, is life changing. Not my first choice to introduce someone to R.E.M.’s gift for melody, but it’s still a good time. B

Still not the biggest Elvis guy, but this has some cool tracks on it. Mostly, anyway- his “Tutti Frutti” couldn’t possibly compare to Little Richard. But the rest of these tracks show off his pipes, and the backing band is solid. B

I feel like this would be a hit if it was released today, primarily for the lyrics, which are absolute Twitter-level politics. At least the English tracks, which is partly why I tend to prefer the Spanish language material. When it goes full Latin, I am all in. Would like this better if it didn’t have as much nu metal tinge, I think. C+

I love discovering new music, especially for genres I love like jazz. Incredible stuff here. B+

I know he’s a COVID-denying piece of shit, but Van really knows his way around a tune. This has got to be his greatest collection of music. B+

Normally I try to listen to an album fresh before I review it, but I know this one by the back of my hand and I’m traveling so I’ll make an exception. Petty is probably my favorite artist of all time, and I’ll accept no slander on his behalf. You can tell that he’s working out the edges on his sound, as this takes a lot from Dylan, Springsteen and everything in between, but he and co come up with a few all-timers here. Even the songs about rock music, which I normally dismiss from other artists, sound genuine and exciting here. A- for me

Another post-punky/dreampopy album where I can appreciate it but don’t love it. I don’t really have much to say, honestly (and I’ll probably be behind for the next few albums). C

Pretty basic hippie stuff, perfectly listenable but nothing to write home about. C

Oh wow, this was such timing. I used to like The Smiths a lot in high school/early college, but they do little for me now. Morrissey’s delivery only annoys me, as does his petluant lyrics. The musicians are solid, though, and sometimes it works well enough that I can still get behind it. C

My favorite hippie album of all time. It helps that Grace Slick is a GOAT singer, but this sound never gets better from here. B+

I’ll be straight- I don’t like Adele. I think her range as a performer is limited (almost all she sings about is her ex) and her voice is all technicality with little power. It’s not fun or exciting to listen to, and I don’t understand her massive appeal. Listening to her mega album all the way through for the first time since it came out confirms this. Sorry. D

Big Black fuckin’ rock. Don’t have much else to say. B+

Full disclosure- Iron Maiden is my favorite band of all time. They’re the act that got me into metal, and music as a whole. It’s hard for me to be objective about them. But at the same time, the first Maiden album is kind of a mixed bag. The songs themselves are incredible- Steve Harris’ ear for melody, riffs and harmony were evident from the very beginning. And while I know that he was waiting for a muse with a stronger range, Di’Anno’s performances are on point throughout. However, the album’s production is hollow as sin, making its tracks have a fraction of the power they deserve. Meeting halfway, it’s a B+ for me. They’ll get much more right with their follow-up. On another note, it’s absurd that Maiden only has 2 albums in this book, and this is one of them. We really don’t need 4 Metallicas, especially not And Justice for Mid. That should be swapped for Killers or Powerslave, easy.

I really do like the Pixies, but I don’t tend to spin much of their stuff past their first two albums + Come On Pilgrim. Playing this in full for the first time in ages reminds me of why. This really does feel like their attempt to court the mainstream, and has less of the charming idiosyncrasies that makes their earlier stuff timeless. Still, when it hits it hits, and it has plenty of bangers to make it worth adding to the collection. B

The Kinks are probably going to be forever associated with their hard rocking singles- “You Really Got Me” and “All Day and All of the Night”- but that’s not really reflective of their sound. A good chunk of their material is more folksy, like this album, which I like a lot. Terrific harmonies and hooks throughout. It’s a real highlight from the British Invasion. B+

So I only know the hits, and let me just say that this didn’t sound how I was expecting. Way more soulful than I thought it would be, and I also wasn’t expecting Boy George to share the limelight with a gospel singer. It’s almost like if Hall & Oates joined the Human League, which is interesting, but still not exactly my thing. C

This was one of my favorites in my alt rock-obsessed phase from high school/early college, and it’s probably my favorite Sonic Youth album. It still sounds so big and fresh, the rare double album that doesn’t overstay its welcome… mostly. A-

Is it Jimi’s weakest album? From the Experience, yeah probably (although I think Ladyland is less consistent), but it still flourishes with great ideas throughout. The best stuff sounds like the logical evolution from Experienced, while the weaker stuff sounds like B-sides. B+

It’s kind of funny, I think it’s this album where The Who start to match, if not better their live performances, but I just don’t like the concept behind the album. And unfortunately, most of the songs don’t work without recognizing the story at large. There’s some gold here, and some all-time best performances from the band, but I much prefer Who’s Next and Quadrophenia. B

My Lanegan experience will probably differ from most. I heard the big Screaming Trees songs and some of his solo stuff before, and of course his QOTSA material, but I only really gained an interest in his work after reading his book. His stuff with Queens was clearly their best and I really like his solo work (Bubblegum is a 10/10 record), but the Trees are mostly just good. From what I recall, their previous album is the one he was proudest of, and the group was largely disconnected here. There are some solid ideas here, and I think everybody gives a solid performance, but it does sound like a band who’ve expired their need for each other. It’s a good listen, likely not their best. B

Conscious/jazz rap is one of my favorite styles of music period, and I worship the first 3 + last Tribe Called Quest albums, so you’d think that I would have spun some Jungle Brothers before. But nope, this is a surprising oversight for me. But hey, this stuff is good! A little primitive compared to The Low End Theory, but I bet that even if I was a metal-blasting teen in the 80’s, I would have bought this with no shame. Will probably play again soon. B

Every time I think that I like new wave/synthpop stuff, I put on another of these albums and realize that I only do for a song or two at a time. A lot of it comes off as monotonous to me. Maybe it’s just me. C-

Not even 30 minutes long and it feels more complete than many albums twice its length. Such rich compositions and strong performances… although the title track isn’t a favorite if I have to be honest. Still, easy A-

I came in expecting to hate it, but I didn’t? Still not really my scene, but it has a solid groove and I like how the male and female vocalists intercept. Unlike a lot of other indie stuff, I can kind of get the appeal, even if I don’t see me adding it to my collection. C

I get why Dolly is so revered for her songwriting now. She has a knack for melody and lyrical beauty, as is evident throughout. I do think that it peaks on the first side and starts to drag near the end, even for a sub-30 minute album, but I enjoy the lot of it. B

Pretty damn primitive by today’s standards for hip-hop- in some ways, it’s really closer to rock than rap, and I don’t even mean just “Walk This Way”- but it also feels like a refinement of the first wave of rap. Like a peak of the classic style, a sign that it was time to let the music grow. Full of bangers that I think would still get people hyped today, even if it’s firmly a product of its time. A-

I’m not really a big Queen fan except for those first few albums. Yes, even as a total weirdo, I prefer when they were a proto-metal band than their later theatrical leanings. I guess I’m just a metalhead first. But this stuff mostly rocks, and stays at a strong pace throughout. There are a couple of hints at their later influences which I’m mixed on, but it all mostly works for me. B

Just really good stuff. Terrific songwriting and playing, and the pacing is perfect. If you’ve been rocked too hard, it’s time for some well-placed slow moments, and then back to the groove. The Stones at their best mayb. A-, could be an A and 5 stars but I need to hoard these better

I said that I was going to hold back on 5 stars right before I got this album lol What can I say, I love the Dan. I gel with Fagen and Becker’s sense of humor, their wordplay, and their jazz-meets-rock sensibilities. This is as good as their sound ever gets, although I also have a soft spot for Katy Lied. Still, I like how the big, progressive tracks are sequenced early on to get them out the way for listeners to familiarize themselves before going back to the lighter, catchier tracks. It’s a screw you to a big sect of the audience, and it works splendidly. A

I was slightly surprised, but not totally, to learn that this was kind of a response to What's Going On. I don't think it's as good, but the passion and fury here is undeniable. Really worth spinning. B+

I had an online friend who used to be swear by Supergrass and turned me onto their first album. He’s been off the grid for a minute now, so I hope he’s doing well. I never actually got around to listening to their other stuff, though, so this was all new to me. Still pretty good! Strong melodies and a good sense of humor, but not too cloy with its comedic tracks either. They deserve to have been at least as big as Oasis were here. B

I only really knew The Fall by name- they’re another punk band who didn’t quite crossover to the states- so hearing this was kind of eye (or I guess ear)-opening. I think the best ideas are used early on and the pacing isn’t strong, but I generally like their sound and I appreciate their lyrics and performances. Will check out more. B

I didn’t even know that post-Britpop was a thing lol But this isn’t bad, I like the musicianship and there’s solid songwriting abound. I don’t know if it’s a GOAT album, but I think it deserved to do a little better in the states. Man, I feel like I enjoy every Britpop act I’ve heard better than Oasis and Blur. Too bad those were the only ones to really catch on here. C+

Every time I try to get into the Eagles it doesn’t really work. I just don’t have much use for soft rock unless it has a jazzy tinge ala the Dan. And frankly, I don’t see what listening to the album tracks will add to your life, when they’re largely forgettable compared to the hits. Although “Take it Easy” blows. C-

When I started this, I wasn’t sure. It was good but not great, not on the level of what I was expecting from Q-Tip. But after a few songs, I felt like it only started getting better. Stronger hooks, more effective guest spots, more memorable bars. It’s a real grower and sounds of its time and timeless at once. That’s what I get for undervaluing Tip. B+

Not my favorite Heads album (always been partial to the first, and Fear of Music is a serious contender), but damn if this isn’t incredible. Still has that firesome energy and artistic spirit that makes their earlier stuff soar, but the experimentation throughout is undeniably charming. Sounds as good as ever. A-, maybe drop the minus?

I really like when I find something new to me that’s good, this is why I enjoy keeping up with this challenge. Solid punk that’s pretty well paced! Would definitely listen again. B

Not really related to anything, but I still remember the first time I heard Jane’s Addiction, hearing “Been Caught Stealing” on GTA: San Andreas’ rock station. I thought it was a Beastie Boys song, because Perry Ferrell just has a similar vocal tone to the Beasties. I thought the same thing when I heard “Killing in the Name” on the same setlist, heh. Anyway, their discography is the stuff of legends. Dave Navarro is the clear MVP, finding new ways to make his distinctive tone stand out throughout, while the rhythm section keeps up with him perfectly. I think the first third is the most basic, and it becomes more exciting as it goes along, but it’s all pretty good. B+

Sometimes I wonder what would have happened if Roth stayed with Van Halen in the 80’s? Would their next album sound more like 5150 or Eat ‘Em and Smile? Would they be trying to recreate “Jump” with every few songs or would their next hit be closer to “Hot for Teacher”? That first album can’t be topped, but I understand why this is their peak. Eddie needed to show the bands who followed in their wake who the GOAT is, and he embraced new wave in as classy of a manner as a band of their kind could, while still maintaining enough hints of their earlier edge to not alienate long-time fans. But this is seldom my first choice. B+

Van Halen and KISS back to back? I feel like some people won’t like that. I don’t mind, though. even though I came of age around the time of nu metal, my hard and heavy discoveries were better fits for VH1 Classic than TRL. I’d still pick Destroyer over Follow the Leader any day. Although this is far from a perfect album. KISS just weren’t as strong songwriters or musicians as Aerosmith or AC/DC, which explains why they’re better remembered for their theatrics than their catalogue. But most of these songs are still pretty good and they’re all solid performers, although I do think it’s funny that Ace, who’s generally considered the best artist of the group, had the weakest tracks here. Honestly, I think Peter wins this time, since I groove to “Beth”’s cheesy sincerity. I’d take it on the radio over another damn Foreigner song any day. B

I understand that if you’ve missed out on certain touchstones by a certain age that they won’t sound as appealing when you get to them later at life. Like how someone from the site recently tried to spin Joy Division and didn’t see the appeal compared to the many acts who emulated their sound. But I can’t imagine not being impressed with Bowie at any age. Some incredible rock and roll songwriting, the kind that absolutely elevates itself above its contemporaries. Considered giving it an A/5 stars, but “Changes” has honestly always grated on me, so I hope the minus will do.

Otis was one of the great song interpretators, someone who could turn most any track into a unique vision that only he could pull off. This mau be his best collection of studio performances, and I bet they must have been cracking live. A-

I knew the hits but not the sequence, so listening in full helped me to appreciate the sound here. It’s a damn fine dance album and keeps the groove going like nobody’s business. Not necessarily my thing, but worth celebrating. B

These guys, and this album in particular blew up when I was not appreciative of indie stuff, and I was not having it. Trying it again now… and I still don’t really get it. Not my kind of electro pop at all, really. D+, but I’ll give it 3 stars out of fairness, since it’s not really bad at all

I knew the name Boo Radleys (moreso from To Kill a Mockingbird though…), but never actually listened to them and wasn’t expecting them to be contemporaries to My Bloody Valentine??? It’s pretty good, but there are some notes that ring false to me, like a haphazard Rodney King “tribute”. Gonna land at a C+, but still earns that fourth star

Pretty good! Comedy rap can age badly, and there are a couple of tracks that do not stack up, but it’s not all jokes, and there are some great beats here. And of course, “Passin’ Me By” is an all-timer. B

INCREDIBLE guitar playing, really astronomical stuff. It all sounds pretty good, even if it’s slightly dated. A-

I know praising Clapton is not the vibe, but I’ll hear no bashing of Cream. This is damn-near perfect hard rock, with each member bringing their all. Even the weird tracks like “Mother’s Lament” are lowkey bangers. A-

Damn, really? Neil Young’s renaissance period surely offered some hits, and this is full of good stuff, but is it really essential? It is a good time, though. B

I can’t imagine that anyone who would consider Paul Simon boring have actually listened to this or his work with Art. Or maybe I can, some of the tracks here do work better than others. The African-inspired tracks are mostly the highlight vs the safer Simon tracks, but I still think it’s a hit. B+

Okay, from my (admittedly limited) knowledge of Tim Buckley, I was not expecting him to make a proto-Ed Sheeran acoustic white guy funk album. It’s not bad? Definitely sounds like what I just described, but not as embarrassing as you’d think, yet I feel like I’d prefer his folkier stuff. Or, y’no, PFunk. C

I’m not a huge Billy Joel fan, always been more of an pre-baritone Elton guy, but this is easily his best work. It’s already basically a greatest hits, since everything but the last two has become a part of the public consciousness since it came out. And it’s a highly enjoyable pop rock album, well worth the spin even if you think you’re too cool for it. B+

I love jazz but I never know how to review it. It’s great and Evans kills it on the keys. A-

This is still pretty good, but not as life-affirming as REM’s debut, or at least it isn’t by today’s standards. Still, I think that “Blister in the Sun” and “Add It Up” will go off at any point in history. B

I’ll never get over my teenage bias. It’s fine, but I just don’t care. C

I should dock this album. Slim’s shtick should come off as cringe and the casual homophobia, misogyny and ableism should make it unlistenable. But no, this is still an all-timer. The elements that date it only make him sound dangerous in an almost charming way, and when he’s not dropping the f slur, Em’s delivery is impeccable. The features and beats are largely incredible, too. A

I don’t really have much use for the Chili Peppers anymore. There’s no subtlety to their sound- once you hear a song, you get everything they intend from it. And other acts from the same period are more exciting. But this album is still a part of my DNA. My mom used to play this all the time, alongside One Hot Minute (underrated), Pearl Jam’s Ten, and Tom Petty’s Greatest Hits. It’s still pretty good, too. But never my first choice. B

Like Bowie, Prince is one of those artists who I can’t imagine being unimpressed with at any point of time. The way he brings so many styles of music together- pop, rock, R&B, new wave, doo wop, even touches of metal and country- as seamlessly and synthetic as possible makes sure this album never stops vibing. And when you think you know what’s coming next, he comes up with a hook that blows you away. The movie is mid though. There are very few albums that I think deserve an A+. This is one of them.

Pleasant enough when you’re listening to it, but absolutely forgettable after the moment passes. I couldn’t name a single song or hook. C-

I feel like this list needs to have some album that only had impact in the UK every now and then to feel natural, except this one actually sounds pretty good? I like how weirdly and defiantly punk it is during Britpop’s hey day, and there are some really cool harmonies here. Would like to hear more. B

New wave really is more of a singles genre than an albums. That’s probably why Substance is the only New Order album I only. “Don’t You Want Me” is a triumph of the genre, but most else os forgettable. C

I know like half of these songs through cultural osmosis, but never listened to the whole thing. Pretty good, but definitely a product of mid-00’s rap. B

I remember trying Lorde’s first album when it came out and found it drowsy and monotonous, while every bit I’ve seen from her showed an attitude I did not care for. So I never got around to her follow-up, even though I hear that it’s better. It is, but I’m still not a fan of her sound, or Jack Antonoff’s, whose backlash seems to have been a longtime coming even if he is by all accounts solid. A couple of good moments here and there almost make me change my mind- “Green Light” is a banger- but I don’t have a lot of use for this otherwise. Would take it over Taylor or Lana any day of the week, though. Gonna round up to a C

Long live Polly Jean. Maybe not her best LP but it has enough essentials to deftly recommend it, including the all-timer “Good Fortune” and my favorite Thom Yorke performance. B+

I had a bit of a Siouxsie phase back in the day, but haven’t listened to her stuff in a while. It’s good! Almost like if Kate Bush joined Bauhaus. B

Love how George Clinton decided to start the album out by having Eddie Hazel pull out the greatest solo of all time. More artists should follow suit. A-

I called Raising Hell somewhat primitive, but it still feels like the best possible version of its sound. Their debut sounds even more ancient, yet oddly still relatively refined. They knew their sound and what they wanted to do, while others would turn hip hop into the force it became since. This is a lot of fun, but I can see how it may not appeal if you don’t like some rock n roll in your rap. B+

It’s definitely less feral than the Stooges’ stuff, more polished, but still has the energy and ironic brilliance that you’d still expect from Iggy at this point. He and Bowie really were terrific bedfellows at this point; they compliment each other brilliantly. B+

I stand by my previous comment that I don’t understand why Oasis and Blur are the Britpop bands to make it big when literally every other one I’ve heard is better. Mehtastic. D

That had a couple of cool moments, but nothing I couldn’t live without. Not a bad way to spend 45 or so minutes, but hardly essential. C

Is this my favorite Dylan album? Maybe. It is the first one I heard and owned. But it has to be his best, the one that I would say definitively represents him. A

Quite good, even if it’s not the Beach Boys’ best work. But I like the somber feeling this album evokes and its equally playful and haunting look at nostalgia. Glad to own it. B

Not my favorite Steely Dan LP, but it’s still the Dan, so the lyrics are deliciously bitter and musicianship is steak sauce. B

The best rap album ever. Maybe. A little misogynistic at points, especially at the end, but damn if it doesn’t sound as good as ever, and if Biggie didn’t deserve all the roses he could get. A

Apparently this was a big inspiration for Led Zeppelin’s early sound, but we’ve yet to actually have one of their albums on here. Kind of fucked up, right? Solid stuff, though. C

That was quite lovely. I don’t know if I’d be ready for it in the mid-80’s, but I liked the pretty sounds today. B

I’m honestly surprised by how much I enjoyed this. I think for new wave, I either need it to be as soulful as this or still have some of that post-punk energy. Otherwise, I don’t really care for synthpop. B

Sounds like the logical step between Lust for Life and Iggy’s later stuff, him going post-punk, and Bowie’s influence is more pronounced than ever. I think it peaks early on and the middle third is the weakest part, but it’s still good stuff. B

A good introduction for Tom Waits. Not my favorite, but it’s weird without being too weird, and showcases his brilliant ear for songwriting and character. B+

I dunno, there’s some cool stuff on here but a lot of it just isn’t my thing. Whenever I think that I’m really getting into country, I’ll hit a roadblock with a legend like Waylon that I shouldn’t. C

Am I getting into Wilco? First I vibe with Yankee Foxtrot Hotel and now this. Who knew? C+

Perfectly competent, but I can spend the rest of my life never listening to this again. C-

Really not a Christmas music guy usually, but these are lovely. The Ronettes are definite highlights. What can I say, Phil Spector may be a monster, but he knew how to make a song soar. B

I remember playing this when it first came out and feeling unimpressed. It’s grown on me a little. I like how Fiona displays a wide range of emotions and sounds. Still not totally my thing, but I kind of get why everyone was into her for a week. B

I couldn’t even finish this. Partly I was too busy, but I just wasn’t that impressed. D+

After a few days of stuff that isn’t Really For Me At All, I was glad to get an album that I know I love. Not one of KC’s top tier releases, but it’s bookended by some of their most lovely compositions. B+

I usually forget that Queen Latifah was a rapper before becoming an actress, but she’s quite good here! A lot of these tracks are of their time, but her flow is practically ageless and there are some great features as well. Think I’ll just do a B, but it could earn the +

I’m sorry, I hate reggae. Can’t do it. D

I didn’t like this album the first time or two that I listened to it. I thought that Joni sounded too shrill for my liking. But I grew to love the honesty in her voice and the little twirls in her songwriting and guitar playing. She has better vocal performances elsewhere, but this may be her best collection of songs. A

Was not expecting Lightning Bolt to make it here, but good, love them. A-

Pretty good, but not my favorite kind of funk. More of a PFunk guy for sure, but this will do in a pinch. B

I follow a decent amount of music groups that are meant to be UK based, so sometimes artists who are big there but never crossed over to the states come up. Robbie Williams isn’t quite to the taste of those particular groups, but he’s a good example of one. Huge in Europe, practically unknown here. And yeah, not my thing. D… +?

Not Paul’s best stuff, he was still trying to find his ground as a solo act, but definitely has its share of classics. It’s pretty good, but his best work will always be with Art. B

Not gonna do a review this time but instead bitch about how I had tickets to see Wu-Tang in September and bailed for reasons I barely even remember now, and they did a Liquid Swords set! So pissed that I missed that. A-

Basically everything I know about The Cardigans comes from Todd in the Shadow’s brilliant video about them, primarily their big hit “Lovefool” down to their history of dreampop-inspired Sabbath covers. So this is my first time listening to one of their albums, particularly the one with said big hit, and I loved it. A good mix between low and hi fi, they sound quite groovy and charming. I kind of hope their next album is also featured, since I believe that’s a bit of a 180. B

Pretty nice and groovy as heck, but I don’t think I’ll be coming back to it. Worth a spin though! C

That was pretty cool, a lot of it reminds me of Outkast’s funkier interludes, with a couple of prerequisite singles sprinkled in. I had fun, but at the same time it isn’t very filling, it’s almost like it’s all appetizers, no main course. Will come back to it, but I’m not in love yet. B

Blue is still her masterpiece, but this is pretty good, too. I really like the jazzy inflections, and wish there were more of them vs her usual folksy stuff. Fun fact- this was Prince’s favorite album. Man had taste. B+

This album has been on my radar after Produce Like a Pro’s excellent video, but I only now got around to it. Good sfuff! Martyn had an exceptional ear for influences and melds sounds together that work better than they should. I definitely will look harder for a copy now. B

A little Johnny Rotten goes a long way- I personally would have cut the religion poem- but there’s some pretty cool stuff here. Post-punk before it went full new wave will always be a sound I can get behind. B

Simultaneously nostalgic, timely and timeless, all in the best possible ways. Even if you’re not a new wave person (and I’m learning that I’m not), this is worth a listen. Gonna go with A-, cause the middle section kind of drags. First and last thirds are where it’s at

My mom loves Peter Frampton and had this play a lot, but I will always associate him with the Lollapalooza episode of The Simpsons. But in all honesty, this is decent, if overplayed classic rock, and he sure can shred. Not 100% my thing but I can appreciate it every now and the . B-?

The one Marley album I own, this is the one I was told that I needed, and I just don’t get it. Reggae is not my thing at all. D-

As much as I love jazz, I’m not great at reviewing/talking about it. this is great though! A-?

This is the first Yes album I ever owned and it became a favorite during my first prog phase. It still rocks, and I like how tight it is, not super willy-nilly. It may not be their strongest work but it’s a good recommendation for prog newbies. B+

I think I’ve heard of Anita Baker, but never actually listened to any of her stuff. So color me surprised when I liked this a good bit. She has a raspy yet emotive voice and delivers everything incredibly, even when the production is kind of cheesy. Definitely here for it. B

I knew a lot of the songs, but I don’t think that I’ve ever listened to this the whole way through. Pretty good pop music, but I don’t like the slower songs as much. Still worth a spin. B+

Really quite good, Tina is one of the all-time performers for a reason. Her ability to switch from smooth R&B to good old swinging rock n roll is timeless, but a lot of the production and songwriting choices do ultimately date it. But that’s still pretty damn good. B

👍🏽 B

It’s pretty music, but not really my thing at all. C

Never been a Costello fan, and this doesn’t do much to change that, but I like the more interesting guitar licks he pulls out, although I don’t care for the rockabilly or reggae sounds as much. C+

For whatever reason, back in the day I disregarded Pavement as the kind of indie rock I had no use for. After spinning this album a few times, I don’t understand why, it’s great! Maybe their later stuff is a little more tame? Will discover soon. B+

Everyone’s favorite punk boy band! Ha. The Pistols may have been kind of bullshit, but they did have some good songs and Steve Jones knew how to deliver a riff. Unfortunately, a lot of the tracks are kind of samey- the ones that caught on did so for a reason- so I’d seldom pick this over prime Clash, but I can agree that it’s worth listening to and probably even owning depending on where your tastes lie. C, but I think it deserves a fourth star

The only Pogues song I know is the one they played at the Irish wakes in The Wire, and that isn’t here. This is still good, if pretty samey and not ultimately my thing. But I feel like if I was to own one Irish jig album, this would be it. C

More Joni! Pretty good stuff, but it’s not as impressive as the other albums of hers we’ve covered so far IMO B

Why would you listen to the Out of Step album when the Complete Discography LP exists? Some of the best punk out there. CD is probably an A, Out of Step about a B

I’m not the biggest post-rock guy most of the time. The music can be incredible, but sometimes I just need more of an edge to my instrumentalists. But I’ve always liked this particular album and think that it’s worth spinning as a sample of how the sound can inspire. Although Lift Yr Skinny Fists is still the GOAT B+

My limited knowledge of Tito Puente comes from him being a suspect of shooting Mr. Burns, while the title of this album recalls my sister’s dance trope. So coming in mostly blind, I like this just fine. It’s a solid dance album, one that saves some of its best grooves for the crucial second half, even if it gets a little tiresome at the very end. Still worth a listen to this rock n roll soul. B

Is Superunknown the best mainstream rock album of the 90’s? Honestly, it’s probably not better than Badmotorfinger, which is tighter. But it’s cool that after that LP’s surprise success, they doubled down on their sludgy sound and put some of their best riffs down (“4th of July” is totally not a song that an act chasing the top 40 would make), while adding more melody. If it was a song or two shorter, it’d be in the A range, so I hope a B+ will do.

It’s hard to discuss Michael Jackson without his allegations, so I’ll try anyway! I don’t know if I can agree with this being better than Thriller- the slow songs wear it down for me- but at its prime, this is some of the best disco you’ll find. Incredibly tight musicianship and he sure knew how to use his voice. B+

The Who were such good musicans and Roger Daltry had an incredible voice, but their pre-Tommy recordings are so watered down. It sucks, because the songs here are quite good- “I Can See for Miles” especially- but these aren’t the best versions of themselves. B-

I like Donovan, but I’ll admit, a lot of the deeper cuts test my patience for hippie music, as it’s usually not my thing. Still, he has a good voice and a way with lyrics, enough so to make it a solid experience. B

I mentioned before that I did not have a nu metal phase, but Linkin Park is at least a little bit easier to digest than Korn. They were a little more honest about their necessity for melody, and I think the rap and electronic influences they add do make them stand out. This still is not my thing and probably will never be, though. A lot of it goes in through one ear and out the other. A D for me.

I hate saying it, but Public Enemy’s albums don’t totally hold up. They’re more of a singles band with a couple of great album tracks (although that tends to be the case with a lot of rap albums imo…). Still, nothing here is BAD. there’s very little of the misogyny or homophobia that plagues a lot of rap albums from the time, and the crew is generally pretty entertaining. And the songs that land are all-timers. B+, which sounds low for such an important album, but is the right score.

Some of this sounds lame to me, while some of it sounds almost as vital as it was at the time. Real folk was definitely better, but the more exciting guitar tracks were pretty cool, would have liked more of that. C

I don’t get it. C

I’m famous with Black Sunday, but not Cypress Hill’s other material. This sounds a little more primitive, not necessarily in a bad way, but it’s also not something that I see myself coming back to regularly compared to the Big album. B

Oh hey, these guys did the Virgin Suicides soundtrack. I love that movie and soundtrack! This is pretty nice too. Not totally my thing, but I like when the strings chime in. C

This is probably the most important rap album ever made. It changed how the game was played and how it’s done since, but it doesn’t 100% hold up. Like many of its contemporaries, misogyny creeps its head in, some of the beats are repeated to their detriment, and frankly, Dre was always a better producer than rapper. But everything else just sounds soooo good. Been debating leaving it at B+, but nah, it’s an A-.

Not totally my thing- apparently this album has ties to Flaming Lips and their Soft Bulletin, who I’m also hot and cold on- but some of it is pretty good, with a strong electric sound and solid rhythm section. It’s decent indie rock that doesn’t overstay its welcome, which is a blessing for this period especially. B

I had an idea of what TV on the Radio sounded like after not hearing them in over a decade, and it wasn’t quite what I got. The singer reminds me of Cold Cave, and I love me some Cold Cave! I actually prefer the less-funky tracks, those feel less tryhard to me. It’s decent indie rock, but not something I’d return to. C

Incredible. If Brian was able to record this at the Beach Boys’ prime as intended, this would have undeniable GOAT status, but even now it’s unbelievably gorgeous music. A

I love New Order, but I don’t really listen to their albums. Substance 1987 is all the NO I need, so this was new for me. Pretty good, but the 12” “Perfect Kiss” is the way to go. Still, as someone who prefers new wave acts as singles artists, this is well crafted and has solid variety. B

Easily one of the most impactful voices ever, but I also get the impression that this isn’t the best way to embrace Billie that’s out there. A damn fine album, but maybe not the finest. B

I’m familiar with Forever Changes, but Love’s other stuff has eluded me. I really liked the extended jam on side B, which sounds like a refined “In-a-Gadda-Da-Vida”. The first side also has some good songs, and a surprising amount of variety and solid musicianship to it. When I think that I don’t like hippie stuff, it’s really just Grateful Dead, and mostly Jerry Garcia’s voice. Otherwise, some of it is pretty cool. B

I am not a Radiohead guy by any stretch, but this has to be their best album. For one thing, it captures the band at a peak position, post-“Creep”, where they’re trying to prove that there’s more to them, but pre-OK Computer’s dull pretentions or their lame electronic phase. This has a lot of their best ideas and the band has never sounded better in synch. That, and “My Iron Lung” is an all-timer. Some of it still isn’t my thing, but this would be my pick for them. B-

I can see why this is considered his “leaser” album, especially when Pink Moon is so much more intimate. Still, Drake’s songwriting chops are worth digging into here, and he has some real bangers. B

Some of the guitar work is crazy here. Clapton and Page became bigger names, but Jeff Beck is possibly the best guitarist the Yardbirds had. I’m glad that I got to see him before his passing. The band didn’t have the best songwriting compared to the Beatles or Who, so that’s why they don’t come up that often from this era. But there’s some really good stuff if you’re willing to listen. B+

Wow, Spanish psychedelic chamber pop, and a double album that (mostly) doesn’t overstay its welcome? This is a true win-win. Will explore some more. B-

I know more than a few people who think Bad is better than Thriller. Not me, I prefer how slight and tight Thriller is, and Bad has a couple too many midtempo songs. Additionally, the only track I’d put on the level of “Billie Jean”, “Beat It”, “Wanna Be Startin Something” is “Smooth Criminal”. Still, it’s peak Michael and worth spinning every now and then. B-

(Yes Page is a sex pest but) Like many kids who discovered guitar music, I had a big Zeppelin phase and just don’t listen to them as much any more. Music has come a long way since their heyday, and even some of their contemporaries have really cool stuff that deserves the attention instead. I can talk UFO or Thin Lizzy all day. But putting one of these albums back on just proves how Zeppelin were IT, and how strong of a double album this is. Just about everything they try out, they succeed with as the band branches out of their blues staples with the occasional nods to their roots. Still highly essential. A

I love Roky’s solo stuff- paranoia never sounded so sexy- but I’m not as familiar with his earlier stuff. This is pretty cool, solid psychedelic rock with some killer guitar and neat backing tracks. Would hear more. B

Nah. D…+, I guess.

The thing about rock n roll this vintage- especially the white kind- is how primitive it sounds compared to even just a decade later. Charmingly primitive, sure, but almost day and night from what I usually listen to. And ultimately, I prefer to listen to stuff like Buddy Holly intermittengly rather than frequently. Even though some of the album tracks are quite good, this is still ultimately singles music to be. But when they hit, it’s a lot of fun. The band sounds great and Buddy’s voice is just righy. B+

The fact that this is the third best selling album of all time sounds weird on paper, and I usually forget why until I actually play it. This is probably among the best mixture between rock and roll and Broadway that exists, and sounds so full of life. Some of it is a little too cheesy for words, but it’s a classic for a reason. B

Long live Martin Gore. One of the best voices on earth. A-. The main reason I’m leaving the minus is because this is really a trial run for Violator.

Aretha was the Queen for a reason. The power of control on her voice is incomparable. No one could match her, and the music behind her is just as good, shuffling between R&B, rock n roll and jazz with ease. A-, just missing one more classic to drop the minus.

So I always thought that I liked Daydream Nation better, that this is SY getting more commercial to their detriment… but I actually think that this IS better? The weird songs are more delectably weird and the band sounds more refined than ever. Kim’s songs in particular soar here more than before. Way better than Nevermind IMO A-

So… I kind of like Supertramp? Maybe not love, their vocals still kind of annoy me, but the songwriting is solid, some of the best rock-meets-jazz this side of Steely Dan. I like how the sax and even harmonicas are employed in various tracks, in particular. C+

Still not my thing at all… but is this where Philomena Cunk got the inspiration to talk about her mate Paul? D

I didn’t get Slipknot when I got into metal, and I don’t get them now. I hate the percussion and I think their songwriting is pathetic. They wouldn’t know a heavy riff if it bit them in the ass. I don’t like being the guy who hates the mainstreamy stuff- I’ll go to bat for SOAD- but I don’t think there’s anything here for me. Just an annoying hodgepodge of sounds. I’d rate this a get the fuck out of my face.

This has always been my favorite album of Alice’s, and I always admire how easily he was able to rotate from hard rock to showtunes to something entirely different at the drop of a hat. He’s a legendary performer, but I think his songwriting has always been underrated, he knows how to write a tune and get a band together. A-

I always considered this one kind of mid for The Doors, but it has some of their best musicianship in it, their jazziest compositions and the band is up for it. I don’t always love Morrison’s poetry, but he doesn’t feel like the most important member here, despite the title. This is one of the few Doors albums I don’t own, should fix that. B

Walker sounds like a mix between Nick Cave and Frank Sinatra and I am here for it. It’s a little monotonous, but still very pretty music, would listen again. B

A classic held back by too many skits. While I love rap, I seldom choose to listen to most rap albums in full over, say, metal due to all the damn skits. Also, misogyny, but what else should you expect from the G-funk era? Still, Snoop never sounded better. He already stole The Chronic, and he goes all out here. Close to a masterpiece, but not quite. B

Probably my favorite punk album of all time. Still sounds out of this world 40+ years on, everything about it works; Jello’s snotty performance, the strong musicianship, biting lyrics and memorable melodies. I’m glad we finally got to it. A-

I’ve always been told that The Byrds’ “Mr. Tambourine Man” is a landmark performance, but honestly? I never totally got it, it sounds like The Monkees. And I mean, I like the Monkees, but what makes this a bigger deal than Dylan’s original besides actually charting? The rest of the album ranges from decent to pretty solid, I’m not immune to 60’s pop folk, but it’s also seldom my first choice either. C

When I was getting into metal and rock, I thought synth was the enemy and poo-poo’d NIN. By the time I got over my biases, they were a little too mainstreamy for my liking and I struggled to get into them. I… still don’t get it. It’s like Trent Reznor wants Skinny Puppy’s credit but also wants to be as big as a new wave act, and the sounds don’t work for me. Also, “Hurt” has really embarrassing lyrics and only works with a Johnny Cash to class it up. D

ABBA is another artist I don’t get. I find their work too refined, too perfect and somehow hollow. But I can admit that this is very well written, performed and produced pop music, just not to my liking at all. D+

Pretty nice country, and I like how Parsons’ back-up singer compliments him. Maybe not the most exciting sound out there, but it works pretty well together. B-

Berlin Bowie is best Bowie. I think Low is the whole package and this one mostly peaks with the title track, but it’s still a great time. The man sounds as good as ever and I love the influences he balances here, especially the touches of jazz. A-

I feel like I respect NWA more than I really care about them and prefer most of their solo material. A lot of this sounds kind of trite and dated more than anything. When it’s good, though, they can be quite clever. C

Used to hate the Boss, now I kind of appreciate him, although Tom Petty will always be my guy. And while I much prefer Nebraska, which he did before this, I can’t deny how many of these songs are bangers, especially “Cover Me” and “My Hometown”. I do prefer the more rocking Bruce vs the poppy, synth-happy tracks that the biggest hits are, but I can concede that it’s good that he’s clearly having some fun here. Gonna go with B-, which is at least a full letter grade higher than I’d give it in the past.

Never thought that I’d learn to appreciate Belle & Sebastian, but the guitars sound incredible here, and their songwriting can be quite soothing. Ultimately still not going to be my first choice, but I get it now. B-

My first experience with CHVRCHES was their most recent (or recentish, since I believe they have a new one coming out), checking it out on a whim and being blown away. Yet I checked out very little of their other stuff. This is pretty good, but it feels like practice for later highs. I can see how this would blow pop fans away at the time though, and I love how the last song interlopes The Cure’s “Plainsong”. Soon, Lauren (who really is a gifted singer) will get to duet with Robert Smith. B

Really pretty but also kind of samey to my white ears. I can understand the appeal and it’s great background music, but maybe not totally my thing. C

I’ll never understand why this is the critic’s metal album of choice when all of Maiden’s 80’s albums are leaps better. The big songs are overplayed and overhyped beyond belief and the lesser-known tracks aren’t very acclaimed for a reason, and the album recycles Ride the Lightning’s structure with only slightly better production values. Meh. C

I’ll concede that Bridge Over Troubled Water is probably better, but this is my favorite S&G compositions. Full of pretentious material maybe, but also gorgeous songwriting and performances throughout. Art especially pulls off some of his best vocals. A

Initially I was thinking that she has a pretty voice, but this isn’t for me. The more I listened though, it started to click. I definitely prefer the ballads to the more bouncy tracks, where lang shows off her full range. I get why she’s so acclaimed now. B

This has been on my radar for a while and I understand why. Very pretty music, almost Peter Gabriel-ish, and anything that reminds me of PG is worth a thumbs up in my eyes. B

This is fine, but damn, do we really need more Britpop on here? C-

Yeah, this is his best album. Brief but makes a hell of an impact with some of the best songs in pop history. Michael’s voice, the production and performances are largely A-tier. Still going to be 4 stars/A- because I’m not as hot on certain songs as others. Also, man guilty.

I’m definitely more of a solo Neil guy than a CSNY guy, but I’d be lying if I said that I didn’t have a good time with this too. I prefered the more electric songs over the unplugged hippie jams, and it’s clear that this isn’t Neil’s wheelhouse either- his acoustic stuff works best when he goes full country- but it’s a solid work that gives you a feel for an important part of history. B, would probably give it a plus if there was a version with “Ohio” as a bonus track.

I’ll be honest, this would be a top 5 or 10 album if it was instrumental. I’m not the biggest fan of Robert Smith’s voice (again, not an emo guy), but I love his music. A-

Sucks that the catchiest song on the album is titled after and frequently repeats a slur. B+ otherwise, love Devo but certain elements just don’t hold up

I love AIC and this is probably their best album… but it’s pretty frontloaded and peaks with “Rooster”. There aren’t any bad songs at all, but it does feel like the second half largely runs out of ideas and repeats its themes pretty heavily. I’d still take it over Nirvana any day though. B+

The Kinks are probably best known for “You Really Got Me” being so electric and primitive compared to the other British Invasion bands from the time, while their general sound is a little more folksy. This is kind of more like that, with the occasional hard rock riff factored in to give them a little spice. It works, but it’s still not usually my favorite sound. I may just have been born too late to totally appreciate it. B

I was surprised at how much I liked the CSNY album the other day, but I liked this a little less. I guess Neil must have made the difference, but it is still pretty good, I won’t front. The three men vibe well together. B

Pretty good but a little too British for my liking… can I be an anglophobe if many of my favorite bands are from the UK? B-

I’ve always found this album overrated in Bowie’s canon and prefer plenty of his other LPs… but it’s still peak Bowie and has some of his best tracks. A-

Wow, I love this, it’s like if Marvin Gaye got P-Funk to back up What’s Going On. Will return to. B+, can easily rise

Second album in a row that’s new to me, but I ended up loving. Really cool, eclectic jazz! B+

That was not bad, I’m surprised, almost like if Paul Simon had Mogwai as a backing band. Almost, not quite. C

Fucking Morrissey, can’t believe I used to like his music. The last song slaps though. D

I’ve always respected the Mamas and the Papas more than I really liked them. This is a nice album, they have lovely voices, but I don’t think that I’d really choose to listen to it. C

The sexier, but slightly less impactful and considerably less political What’s Going On, this is undeniably a classic and it goes down smooth. You really don’t need a longer experience here. A-

Like the best possible mix between Ziggy Stardust and Berlin-era Bowie. Experimental, but not too esoteric. Varied, but consistent. A strong contender for his best. A

Pretty smooth, but I think that Getz/Gilberto is better and the real essential LP. Would recommend though. B

Was not expecting to become a CSNY fan, but this is pretty cool, even for a lengthy double album. The guitar playing is really good, and helps to show off Stills’ songwriting. Would pick up a cheap copy. C+

Pretty solid 60’s rock with touches of jazz and southern blues to it. I can get behind it, but would probably have dropped the interludes. B

Yeah, so I mostly know Isaac Hayes from South Park, and only knew of his music from Shaft. As much as I love funk, I wasn’t sure if mostly instrumental funk would be my thing, but this is pretty good. Definitely on the long side, but fun and fairly varied. Makes me want to finally see Shaft. B

Still sounds as raw as it did 50+ years ago and it might be my favorite Stooges album. Sadly it loses steam on side B, but you can’t take away its legacy. B+

Heartbreaking yet invigorating, this is as perfect of a way for Bowie to say goodbye as possible. B+

It’s Monk time! B

I’ve never been in love with these earlier Who recordings- the band sound too restrained compared to how we know they could be on stage. Some incredible songwriting from Townsend, as well as strong interpretations of James Brown tracks, but not the band at their finest. B

Funky, but not really my thing. C-

Duran Duran are good actually? This is actually very well paced and a good amount of fun. B

Maybe the best rap album of all time for one particular reason- no skits. Even then, Nas is at peak form here and drops incredible bar after bar, with some slick production. This is definitely an album I’d recommend for people skeptical of rap, even if it’s marred by a touch of homophobia and ableism. Still, an A

Gonna be brief and give it a C.

Ambient music, like Eno’s, can be cool, but usually ends up as background music for me. This is no exception. Good background music, at least. B

That’s the good stuff, fine ass blues. I haven’t thought about it before, but Muddy might be my favorite blues artists. B+

I can’t believe Aerosmith made the Great American Rock Album twice in a row. Well, almost. I think Rocks is tighter and heavier. Most of the songs here are nearly as good, although “Big Ten Inch Record” adds nothing, and if I never hear “Walk This Way” again, I won’t shed a tear, but it has the bones for a perfect rock song. So yeah, a good time, might be a masterpiece if their following album wasn’t even better. A-

It should feel weird that I’m going to rank an Aerosmith album above a Beatles album, especially one of the “good ones”, but I could always do without one or two songs here. Still, the band was really finding their own here, and everyone offered some of their best work. Even Ringo does fine with “Yellow Submarine”. B+

That was not bad! The Beatles/Kinks-esq moments were definitely my favorite parts, but it’s solid early 70’s rock, not something that excites me but I can recommend if it’s your style. C

I feel like there’s a reality where this is what caused the alt rock boom in 91 instead of Nirvana, and rather than grunge, Dinosaur Jr-esq shred became the sound of the decade. That could have been cool. B

Okay, Garbage are actually pretty good? I only knew the hits, but there’s some good stuff here, a nice mix between grunge, trip hop and even touches of riot girl. Good on ya, gang. C+, lingering into B territory

Not a big Tull guy, but this is as good as they get and a classic rock staple for a reason. Some of the best interception between prog and folk there is outside of Gabriel-era Genesis, and a good time throughout. B+

So yeah, not my thing at all, but I can admit that some of this is very pretty. C

Need to keep these catch-ups brief, but this is the good shit. A-

Better than the other Tim Buckley album we covered, a B

Had a bit of a Meat Puppets phase back in the day, but never really come back to them. They’re good! Like a heavier REM B

I think I mentioned this when we did the last Zeppelin album, but they were one of my first musical obsessions. And the first album is probably still my favorite. I understand the criticisms, most of them are valid, but it’s still so good. A

Peak Rush. All hail the boys. B+

Still not into this style, but it had irs moments. C

One of the first non-metal albums I fell in love with. Tom Verlaine’s guitar tone shook the hell out of me, and it sounds as good as ever. Not all songs are equal, but it still sounds quite fresh A-, bordering on an A

Decent hippie rock. It doesn’t excite me, but the guitar work is pretty impressive and there are enough hooks to stick around for. C

Sometimes I think that I like The Score better than Miseducation, but nah, no way. It’s really good, though, even if there’s a clear MVP here. I’ll just say that it’s funny that Wyclef thinks that Bob Marley is in his range. B+

Still not really a Nirvana fan, but I feel generous today and can appreciate that this is one of the last times genuinely angry and avant-garde rock music really connected with the public, and some of Kurt’s best ideas are here. I refuse to qualify nu metal as such. C

That was alright, not surprised that these guys never caught on in the states, because we had enough bands like them at the time. The Quiet Riot covers sound almost note-to-note. C-

I hope you’re happy, you made me listen to “Mr. Brightside” all the way through. Because I’m not happy. D

Tolerable folk rock, but not really my thing at all. Linda has a lovely voice and they have a couple of cool hooks, but I’ll never listen to this on my own. C

Decent folk rock, but if I never heard “Love the One You’re With” again, it would be too soon. Rancid song. C

I’ve been on a Steely Dan high, so I might be overrating this… but fuck it, it’s good shit. A couple of fluffy tracks too many to achieve true greatness- Aja wins every day- but full of enough great performances and songwriting to look into for classic rock/fusion/music nerds. B+

There have been more than a couple of artists featured in this series that I am not a fan of, but my distaste is largely subjective. But if I can be absolutely objective- what is Marilyn Manson still doing here? I can’t pretend that I don’t feel some fondness for his work. Like many edgelord youths who came of age during the mid 90s-late 00s, I had a bit of a Manson phase. But even ignoring his disgusting behavior towards his partners, what does his music add to the music industry that you couldn’t get from other contemporary industrial acts like Fear Factory or even his mentor, Trent Reznor? Because while “The Beautiful People” may still slap, there’s a lot of filler here. That’s largely because this is an album from the peak CD era, where more was more and filling a disc to its limit was the name of the game. But I just don’t see this as essential. Also, guy’s a creep and always has been. D… maybe a plus for nostalgia’s sake

I’ll give the UK credit for being home to metal, but the US is where punk got its start thanks to the Stooges and Dolls. I’m not that big on the latter though- I respect them more than I like them. I think the riffs just aren’t heavy enough for me, although I do appreciate the intentionally simple melodies. Definitely an important album, but not a favorite. C+

Still not a Radiohead guy, and I honestly can’t tell if this one is so acclaimed because of its release history or if people really love it. It’s not offensive or anything, just not my thing. C

Yay, more metal! I’ve been listening to Priest for nearly 20 years now and I still love these guys… but British Steel has never 100% worked for me. There are a couple too many anthemic tracks that I can do without- seriously, “You Don’t Have to Be Old to Be Wise”?- but I’ll concede that they’ve honed their sound in the studio by this point, sounding nearly as good here as they do live. I’d still recommend this for a newbie to metal, but I’m way more of a Painkiller/Hell Bent guy. B

A recentish discovery for me is learning that Incubus kind of slaps? I was mever into most radio rock, but they have some stuff that’s decently written and has tight performances, so I can definitely see myself stick around for their set at a festival. From what I’ve experienced though, this probably isn’t their best album. Their first is a little more out there and their later stuff tighter, but this has “Drive” and “Pardon Me”, so I get why it’s here. Gonna do a C+

The earliest Stones stuff barely sounds like the version of the band we’ll know and love, most notably since they didn’t write most of it- only one Jagger/Richards contribution, and it’s no “Paint it Black”. Still pretty charming 60s rock and roll, but I’d take what they would do a couple of years later anyday. B-

I’m usually somewhat weary of the more recent additions on here for whatever reason, but this wasn’t bad. Never even heard of these guys, but this is decent experimental rock, the kind that feels fresh and modern but is clearly indebted to the past. I probably wouldn’t spin it again but I respect it’s existence. C

I like the tracks with guest vocals more, but this is largely still not my thing, sorry. C-

Don’t really vibe with later Arctic Monkeys, but this is pretty solid stuff. There’s a punk edge that I’m here for, and it can get almost delightfully snobby. Still a little too poppy for my tastes sometimes but not bad. C+

Probably the one peak-era Neil album I don’t own, and that’s mainly because I just haven’t found it for a reasonable price in the wild. It’s good though! Tight, clever songwriting as always, although he definitely has better stuff from this period. Worth looking harder for. B

The best grind album ever? Maybe. Despite having two different lineups together, it’s an incredibly cohesive work that continues to sound as brutal and brilliant as ever. A

Pretty decent, a good mix between then-modern indie and eternally cool post-punk. Not the most exciting or original sound, but I think it works! C

A lot of Björk’s best ideas will come later, but this is still a promising start and shows off her incredible, timeless range. Good stuff. B

I’ll admit, I was surprised that I’m ranking this so low, but a lot of the album is kind of middling. The best tracks are among the best punk ever made. It’s highly recommended regardless, but double albums are a tricky endeavor. B+

Still can’t stand Coldplay, sorry. D

In terms of 70’s hard rock bands whose best-known works are arguably their live albums, I’ve always rated Made in Japan higher than Live and Dangerous (I think the overdubbing allegations have hurt my impression on it) but lower than Strangers in the Night (still not convinced that anyone’s guitar tone can match Schenker’s here). I can understand how this will turn listeners, especially those who don’t like drum solos, but on this listening everything clicked for me. Gillan’s manic vocals are perfect, the band is in top form and the songs feel alive here. I think I need to give it an A. Side note- my uncle saw Purple on this tour and said that the setlist was exactly the same as this album, down to the “Space Truckin’” drum solo

Still not a Nirvana guy, probably will never be, but I respect that they follow up their big breakthrough in Nevermind with something as relatively uncommercial as this. Nothing on here has the same kind of hooks as Teen Spirit or “Come As You Are” (even though “Rape Me” rips off the former’s riff), so I can see why it was a disappointment at the time. And I do admire Steve Albini’s work. C

Really not good at writing about jazz. I love it, but I can’t exactly articulate what works or doesn’t work for me. I’ve always liked this album and think it’s upper tier, but might miss my top 5. Not sure what else to say. A-

Yeah so Cat Stevens is actually pretty cool, or at least some of his tracks are. His voice is a little too nasally for my taste in some tracks, but it’s at least sincere and he’s able to have variety in his melodies which counts for something. I get it. C

This one is kind of tough for me, because while I get the significance and do really like most of these arrangements, I am not a fan of Joan’s voice. WAY too shrill, the same problem with earlier Joni Mitchell. Unfortunately, vocals are kind of a dealbreaker for folk. I wouldn’t listen to her music for my own enjoyment, but I understand why it resonates. C

Really quite good live album. I do think it’s better the more the band experiments on here, like the extended “My Generation” and “Magic Bus” jams, but even those earlier, more sedate tracks sound more rollicking than the band did previously in recordings. I think I’m still a little too jazzed over Made in Japan from last week though, since I just can’t rank this the same. B+

Historically not a big Dead fan, largely due to Jerry Garcia’s voice, but I do tend to like their studio recordings better than their live jams. This is probably their best album, the band does country alright. Still not really my thing, but not bad for them. C

this may not be CCR’s most cohesive album but it probably has the highest amount of bangers and probably deserves to be called their best. They sound as good as ever. A-

Sounds more like a return to classic Bowie, which is probably what he needed to do after his less successful material from the previous 15 years, but I definitely prefer the more experimental Blackstar. Still, he needed to make this first and it does sound delightfully modern, even a decade on. Not one of Bowie’s best, but I’m glad we have it. B

Always found Frank massively overrated even before the Coachella nonsense. Decent but unimpressive soul music that goes through one ear and out the other. D

A neat mix between soul and new wave! I get why people rave over this band now. C+ for now

Will always be more of a Du guy, but this is still neat classic alt rock. Earns its place here. B-

Zeppelin were one of the first bands I ever fell in love with, and while I don’t listen to them that often anymore, sometimes nothing sounds better than their style of rock music. And it’s still pretty cool how they shook things up by unplugging for a lot of this album, but doubled down on their bluesy roots. I mulled it over, and I’m going to give it an A and 5 stars. Page may be a creep and sloppy guitarist, but the music endures for a reason.

I don’t get reggae. I respect Marley for his conviction, but this is just not my music at all. The best I can do is a C

Wasn’t sure about this one, not usually hot on this kind of country (or most country if it isn’t Cash or Townes), but it’s a damn good time, and a surprisingly varied one despite the genre and its length. The guitar tone is especially to die for here, an absolute highlight. Not sure if it’s a new favorite, but I can see why CCR namedropped them. C+, maybe B-

Meh. Great musicianship but I don’t get her voice. D

I actually do own one of her albums- New York Tendaberry- but I’m not very experienced with Laura Nyro otherwise. Should really fix that, this is great, like an even more experimental Joni Mitchell. I’m surprised that she isn’t namedropped more often. B

Some days, I could easily swing to call this the best hard rock album ever. Maybe not today, but damn, the solo in “Heartbreaker” still hits. A-

Pretty decent Latin music. Not really my thing, but a solid way to kill 40-some minutes. C

I don’t have much to add, Lemmy forever. A-

Not much to say other than Kuti kicks unbelievable ass. A

Sometimes it’s good to remember that Rod Stewart really was a generational talent. “Stay with Me” is an all-time rocker, although little of the album truly compares to it. Still a good time though. B

Another great Neil album, but it doesn’t really have any true classics of his. Although what IS a classic Neil Young song, the kind you’d expect to see him play, besides “Heart of Gold”? Still fucks, though. B

Is this our first solo Beatle album? (I know Wings is technically a band, but c’mon) It’s funny, George has always been my favorite Beatle, but I tend to gravitate to Paul’s stuff just as much. He was the rocker of the group, if you wanted a good time, he’d deliver. And this has plenty of groovy moments and rockin’ tunes, but I vibe as much with most of the softer songs as well. For a while, I’d sing “you’re a good girl” to my dog in the tune of “Bluebird”, so the album has a place in my heart for that alone. It’s also just a lot of fun and doesn’t overstay it’s welcome, even if it’s pretty frontloaded. A-

I’ve always liked Dinosaur Jr., but despite having ingredients that I’d normally be all here for (basically Sonic Youth with crazier lead guitar), I’ve never really loved them. They’re a cool band who I can listen to a few songs or an album at a time but don’t feel compelled to own any of their stuff. This is some good stuff, but yeah, not something I can’t live without. B

Belle & Sebastian are another act who I am surprised to learn, in fact, rule. And they do, too! This has some hauntingly beautiful melodies that blew away my indie folk-indifferent heart. At their best, this stuff does actually feel kind of sinister! B

Pretty decent, the kind of indie rock that almost swings. I prefer my music with more of an edge, but this is the kind of coffee shop background noise that I can appreciate it. C+

I came of age right around the heyday of Britney and the boy bands, so they’ll always have some kind of place in my heart even if this was never the music that excited me. And I definitely remember when Justin became the heir apparent to Michael and just how good some of these songs are. I never listened to the album before, only knowing the hits, but some of the deep cuts are good, just the kind of 2000’s R&B that takes me back. Definitely too long and runs out of steam halfway in, but I can’t rate this any lower than a B.

Now this is prime Neil. Incredible contributions from Crazy Horse and some of his best, cutting lyrics. Cannot recommend it enough. A

Huh, I thought we already did tgis album, maybe it was just another Love album. But I won’t lie, this is good stuff. Really cool guitar work and impressive harmonies. Not as into the folksy material but I still think it’s worth spinning. B

You know how some people still think that Taylor Swift is only capable of writing about boys and break-ups? Adele is who they’re really thinking about. Not a fan. D

About as good as Krautrock ever got. Love the progression from soft to loud to soft again in particular. B+

No hyperbole- this is the best rap album ever. Q-Tip and Phife Dawg have incomparable chemistry, the beats are immaculate, vintage, timeless and futuristic all at once, and it just sounds full. Not to mention fun. This is what you play to someone skeptical of rap. A

Two five stars in a row? What can I say, this really did it for me today. I love the primal aggression on this album, how Iggy and the boys knew this was it, so they might as well go all out. It absolutely stands up to the best of punk. A

I didn’t know Pharrell had a super group, one that integrated rock with rap, but it’s pretty bangin’. Could have skipped the Good Charlotte appearance, but I like how it transitions from funky and soulful to somewhat aggressive, like a P-Funk or Santana track with rap verses. Would listen again. B-

Nice enough, but nothing exciting. Synth-heavy music seldom invigorates me. C

C

That man sure could wail. And learning the original lyrics to “Tutti Frutti” does make it all the more interesting. This is a good time but I do have to knock points for how many times he repeated the melody of his biggest hit. B+

This reminds me of how much I can get behind some good country depending on the features. Nice production, lyrics that don’t lean to the right, and memorable melodies are all I ask for, and Emmylou delivers. I can see myself return to this. B-

Like a lot of Flaming Lips, this is pretty cool and trippy, not a bad use of background music for 45 minutes. But also like a lot of Flaming Lips, I don’t have much connection or use for this. So I’ll probably forget everything here until the next time I’m convinced to listen. C+

Decent enough indie rock. Not really my thing, but it’s brief and works well for background noise. Hardly essential but far from trash. C

I’ve always been somewhat conflicted on Paranoid, especially after years of spinning it. I think the first side is ridiculously overplayed and I can go the rest of my life without hearing any of it, aside from “Iron Man”, which in the right moment still shakes me to my core. But side B? That’s as perfect as metal gets. The oversaturation makes the album feel overrated to me. Give me Master of Reality or the Dio stuff any day. But this is still as essential as you can get. A-, just missing the 5 star threshold

*obligatory I liked Kate before Stranger Things comment* No one compares when it comes to pop music. Her ear and eye were and still are immaculate, which is why her music resonates so long beyond its heyday and can still reach new heights with no effort on her end. The album is full of highs and lows, a cohesive and exciting collection. Essential listening. A

I saw this called something like the country equivalent to Sinatra’s In the Wee Small Hours, and it tracks. Not really my thing, but I can see this being a cathartic half hour if you just went through a rough breakup. Seriously, when are we getting one of Frank’s albums on here? C

I was honestly somewhat surprised to see that I didn’t totally hate this after years of aversion towards “Take Me Out”. I didn’t really love it either, the mix between Britpop and then-current NYC garage rock just isn’t my thing, although a good riff or hook did show up enough to catch my attention. Just a D for me

I’m going to be frank- I have a deep-seated aversion to “Brass in Pocket”. Heard it one too many times, so this was always going to be a tough sell for me. But the album is pretty decent all things considered, a solid mix between punk, new wave and (ugh) ska. If it was a little shorter and didn’t have the cod reggae stuff I’d rate it higher. C+

I saw a take suggesting that while The Clash were trying to break global, The Damned were content with keeping their targets right towards the UK, and that tracks. Even though they’re in New York on this cover and the other band was about to drop London Calling lol Anyway, terrific punk that could have been bigger than they were, but is just as good by not making that happen. B+

Never totally understood the hype for this album, it doesn’t sound that different from most other hair metal albums from the time, just with one of the most obnoxious singers ever. There are moments where I get the hype of this as the best of hard rock, like “My Michelle” and chunks of “Rocket Queen”, but I’d rather listen to the Aerosmith albums they ripped off. C+

That was pretty neat! I prefer the instrumental numbers, but it’s a good time through and through, solid folk music. C+

Decent but hardly life-changing indie rock. I definitely preferred the female vocalist to the main guy, wish she had more stuff here. C

Is this our first Zappa? Took us long enough. His music became especially indulgent into the 70’s, but there’s already shades of that here as he keeps reminding you why he doesn’t like hippies. But damn if most the rest of the album doesn’t hold up. It’s still funny all over and the musicianship is incredible. I’ll take it over Sgt. Pepper any day. A-

That was pretty good! I’ve heard the name before, not really the music, but I like the variety of influences they have and the guitar tone. I could have seen this blow me away as a teen. B

I could’ve sworn that we already did this, but no, we’ve just done other Dylans. Anyway, this is one of the better double albums from that period. A little too loaded still, but there isn’t a truly weak song on here. The best stuff in particular is among his most exciting and lyrical. Definitely a highlight in his career. A-

Cool but pretty samey. Makes for nice background noise. C

I usually associate Eurythmics and Annie Lennox as a one hit wonder which I suppose isn’t fair, in more than one way. This is good stuff and has some tight songs, including that one hit. Worth a listen. C+

Quite good, although I never felt that this was one of most essential R.E.M. albums for whatever reason. That still kind of rings true but it’s a classic. B+

I have a hot take about Leonard Cohen that I’ll save for another day. I do really like his music for the most part, and this has some incredible material. More lyrical than musical, but there are some killer harmonies and his voice leaves such an impact that it’s hard to deny. I can see a case made for this being his strongest LP. B+

Finally trying to play catch-up. I never really listened to M.I.A. back in the day, but she sure does have more than just “Paper Planes”. This was fun if a little too much at times. B

I used to despise U2, but I’ve warmed up to them a little bit as the years go by. They’re all talented performers and Bono has pipes, and I do admire their ambition. But that’s mostly true for their material up to the early 90s at most, almost everything since does next to nothing for me. Like this album, which is the kind of bland, tempoless rock that explains why the music went out of style in the new millennium. There isn’t even a banger like “Vertigo” to shake things up. No thank you. D

Wait, I didn’t review this? Classic post-hardcore, I can see this as a contender for Fugazi’s best, although I have a softer spot for Kill Taker and appreciate their last LPs. Still good shit though. B+

Nick Cave never really went as weird or heavy on his solo/Bad Seeds material as he did with his old band and it’s kind of a shame, I like this sound. Still, I’m grateful to live in a world with Murder Ballads and Skeleton Tree, so I’m not too sad that he changed course. B

This isn’t really my sound at all, but I’m at least starting to understand the appeal of Massive Attack. I appreciate the aggression and versatility of their style, which is evident here. C

Stripping the songs down does them favors, they sound better with less bells and whistles even if Cobain’s spotty lyrics are as plain as day. But at the same time, he really strains his voice harder than he needed to here. I don’t think I’ll ever get the Nirvana hype. C-

It’s a cool experiment, but idk if it’s a hugely successful one, in that it combines rap and blues, but both sides are kind of substandard. This was probably the coolest thing on earth to some teenagers 30 years ago but it’s only a curio to me. C

I actually rewatched Todd in the Shadow’s excellent One Hit Wonderland video on Dexys, and his take on their “difficult” third album never inspired me to check it out. And yeah, I’m not impressed by hearing the “Come on Eileen” guys make 12 minute “epics” or interlope “Werewolves of London”. They’re not as weird or artsy as Faith No More, this doesn’t really work. I added a few points for great ideas scattered around, I don’t feel comfortable giving this below 3 stars, but it’s not for me. C-

Earns bonus points for that “Comfortably Numb” cover. C

Pretty chill! C

I understand why this nearly derailed Kate’s career, it’s a little out there even for her. But it has a lot of her best ideas too, enough so that it could stand neck and neck to Hounds as her finest work. A-

I watch Todd in the Shadow’s music reviews, and for his Trainwreckord series (where he covers albums that derailed an artist’s career- think St. Anger, Van Halen III, Katy Perry’s Witness) he used Cyndi Lauper’s career as a typical example of a decline- a couple of big albums that were followed with diminishing examples. Because when you listen to her debut solo LP it’s understandable why she was comparable to Madonna- girl had hits. And taste, covering Prince before he blew up. This has some of the best songs of the 80’s and production that still holds up. I’m only reserving it from 5/A status because her voice can be a little rough. Ending with a Betty Boop impression is pretty on brand for Cyndi. Still, an easy B+

Wow, I kind of love this? It’s like I discovered a prog rock classic from that period. King Crimson-ish in the best possible way, and kudos to Nick Mason for solid production. B

I don’t own this? Classic Wu project, although Rae himself seldom steals the show. It’s tight shit and a lot of fun for most of its run. B+

“Take on Me” is one of the best hits of the 80s and “The Sun Always Shine on TV” is even better. There are other highlights, this is more memorable than a lot of new wave albums tend to be to me, but those definitely overshadow everything else. B+

Probably Clapton’s finest work. Terrific blues all around and Duane Allman was a perfect six-string buddy for him. Just misses out on A status for a couple of slower tracks I don’t vibe with and a mid cover of “Little Wing” (dear guitarists- stop covering “Little Wing”), but still essential. B+

Cool but a little overlong for my tastes. I’d rather play something like King Crimson who usually had tracks half as long, but I can’t deny the talent here. C

I vetoed Taylor, but I should have saved that for Kid Rock… credit where it’s due, this has its charms, I think he works better as a white guy trying his hand at Black music, the rock stuff clearly isn’t his wheelhouse at all. More often than not though, it’s a tedious listen. D

Oops, forgot to do this. It’s alright. C-

I didn’t rate this? Excellent stuff, exactly the kind of disco I am here for. B+

Zappa made some gross music from a lyrical standpoint, but his compositions are among the finest in the popular canon. This being his first straight-up fusion album makes his work all the more appealing and just sounds incredible from beginning to end. An all-time favorite. A

You’d think Butthole Surfers would be right up my alley, but I’m not that hot on them. I appreciate the weirdness to their craft but I’d rather listen to Melvins or Mr. Bungle. C

Not bad at all! C

Polly Jean forever. B+

Pretty smooth, definitely see this as the female D’Angelo as compared to with a bit of Erykah’s BFF Andre to it. A little too long for my taste, but it’s an early aughts R&B album, what should I expect? C+

Decent for what it is but not my thing, and it doesn’t do much to change my mind in that regard. C-

One of the best and most important albums in rock history, but if I can be honest, that’s mostly true for the first 2/3rds. It peaks with “The Chain”, but while I still think “You Make Loving Fun” kicks ass, the last 3 tracks have historically done little for me. They seriously dropped “Silver Springs” for “I Don’t Wanna Know”? A-. Wish I could drop the minus, but I shouldn’t

C+

Wait, I didn’t rate this? I was never a Springsteen fan and I’m still somewhat of a skeptic (give me Petty every day), but this is the album that made me accept that he’s pretty good, actually. The fact that he was able to go to such a dark and intentionally unprofessional-sounding release during his height of popularity shows range, and his collection of murder ballad-esq ballads are worth repeat listens. I can take or leave his voice, but I get why he’s the Boss now. B+

I love how Captain Beefheart was basically Zappa’s answer to D-12 or G-Unit, but with more of a legacy. This is probably perfect if you want a less politically aggressive We’re Only in it for the Money, which probably means that it matters less, but I’d recommend it for any serious music lover’s collection. A-

B

It sounds super pretentious, but almost in a kind of fun way? The theme near the end is a little extra, but I can see why this would click for so many. C

I own and adore Solid Air, but Martyn’s other material is unfamiliar to me. Lovely stuff, especially that closer. Should definitely invest in more of his LPs. B

Quite smooth and likable, I can understand the appeal. Maybe a little too long but this is how I like my 90s R&B, more inspired by jazz and the classics than rap. B-

Surprisingly never been a huge Ramones fan, always found them a little one-note, which I suppose is the appeal. I understand their importance to punk and appreciate how in and out the experience is, but I largely prefer what else was going on at CBGB or across the pond. C+, but I’ll make it a 4 for historical purposes.

I really should listen to more Jesus and Mary Chain, this is neat. B

The greatest rock album ever? Absolutely not, especially when Brian Johnson screeches like a castrated hyena through the whole thing. I appreciate not wanting to match Bon’s specific energy, but he was always a serious downgrade. Still, there are some all-timers here, even if the title track and “You Shook Me All Night Long” have overstayed their welcome in the pop culture lexicon. And Mutt Lang really was one of the best producers of the game. C+… bordering on a B range

Groovy yet sophisticated. Consistent yet varied. Quite good! B

Skynyrd were a little less varied than the Allman Bros- you won’t find much jazz influence here- they’re a more pure take on southern rock, and put out some of the scene’s best songs right away. It’s a little overplayed but still about as good as it gets. B+

this has always been one of my lesser favorites of Prince’s peak era (which is basically the whole of the 80s but likely stops with Sign o’ the Times). The songs here largely feel like 12-inch remix versions of the original tracks, and I’d rather here those shorter takes. But it’s still classic Prince and has some incredible work. The musicianship is insane and his songwriting only continues to impress with time. Close to an A-range, but I’ll stick with B+

C-

That was cool. Merry Christmas! C+

He was definitely a gifted songwriter, but Christ was Lennon an awful person. This album especially shows off his faults and makes work like the title track sound hollow. The good stuff is quite good, but I could never get behind that song. C

I thought I owned this one, as I have about half to 2/3rds of Tom’s albums, but nope. It’s a good one, but I don’t know if it’s one of his especially revelatory releases. It has some strong compositions, but I would go with, say. swordfishtrombones or Nighthawks at the Diner first. B

For the second coming of Prince, this is kinda dated in a way his best stuff never will become. Luckily I still love 90s R&B so that’s not a problem, but I do think D’Angelo perfected his sound on Voodoo. B-

Honestly kind of boring, nothing really stood out. D

Solid psych-ish, prog-ish album. I don’t think this is game-changing, but it’s a good time. C

I prefer the funky instrumentals from Check Your Head and Ill Communication, but this is still excellent, a brilliant use of sampling throughout and a worthwhile evolution from their legendary first LP. Definitely essential. B+

The Eagles are a little too boring and lightweight for my taste, some highlights aside. Said highlights include biggest hits like the title track and “Life in the Fast Lane”, which deserve their overplayed nature. C+

Permanent Vacation put Aerosmith back in the forefront and Get a Grip had more ubiquitous hits, but Pump is their best post-classic album by far. Stronger production, tighter setlist and a perfect blend between hard rockers and their softer side. This is as good as slicked-up hard rock can get. B+

Vol 4 over Master of Reality or Heaven and Hell? Sure why not. Always had kind of a hard time with this one, as I don’t love every song here like I do with other Sabbath LPs from the peak days. I do prefer the experimental instrumentals to “Wheels of Confusion” and “Changes”, but I can’t knock this too much, it has two all-timer GOAT Sabbath songs and the band sound as tight as ever. If I could only include 3 of their LPs, this wouldn’t be one, but I still think that the first 6 Ozzy’s and all 3 Dio’s are essential. B+

I have a lot of nostalgia for Britney. She was my first concert (it was my sister’s birthday gift for the Oops I Did it Again tour), and those big singles sound just like going back home does. This isn’t a very good album, the non-singles aren’t very memorable and frontloading all the hits at the beginning is never a good idea (see also: U2), but seeing where Britney the phenomenon started is always fun to go back to. C

Not really my thing, sounds more like background noise. I liked the song that sampled Jetsons, George of the Jungle and Jungle Book, though. D+, can round up to 3 stars to be nice. Not being my thing doesn’t mean it’s bad.

C-

Pretty solid country rock. I’d be lying if I called this my thing, despite warming up to honky tonk stuff, but I get why it’s here. C

A classic debut, shows off the band’s folksy future while prepping us for their legendary glam side immediately. I prefer the latter, so For Your Pleasure is my RM album of choice, but this is also deserving. B+

Not really my thing at all but pleasant enough for background noise. I don’t really recall a lot of it though tbh C-

It’s crazy how CCR put three great albums out in one year. Some acts may not be able to do that in their whole career, but each of their 69 LPs hold up. I prefer a couple of others, but this is a damn fine half hour of swamp rock. Funny enough, I just span this over the weekend, so I went over that recent memory. B+

This is one thing I like about this project, discovering gems I haven’t got around to. Pretty fine rootsy punk, I can’t believe I missed this! B

I really like this album but I know none of Tori Amos’ other stuff. Wild, but I recall picking this up at the request of Dan Harmon of all people, and he’s right. Incredible songwriting throughout. B+

Maybe my favorite Tom Waits? An undeniable high mark, good shit throughout A-

Good shit. B

I think Hysteria is a classic, but Pyromania blows it out of the water. An absolutely massive sounding and still killer hard rock album with unforgettable hooks and tight performances throughout. It’s pop, it’s rockin, it even still has a touch of metal. Cannot recommend it enough. A-

C

C+

B+

This is the one album from Kate’s “classic” era that I don’t own and I really should fix that. It’s largely mid-tempo and while that’s usually not my thing, she’s too talented for me to not give her a pass. Beautiful stuff. B+

Excellent psychedelic surf rock, long enough to leave an impact but concise enough to not overstay its welcome. B+

C

I liked the other k.d. lang album we covered better, but this is still pretty good and her voice is out of this world. I think the variety of sound actually hurt this a little in comparison? I’m not as into the poppier stuff and prefer the more soulful material. Still a solid listen. C+

Not really my thing, but that shouldn’t be a surprise to anyone. It’s incredibly well-crafted and has tight af production, enough for me to appreciate it, even if I’ll probably never think about this album again. C

C+

Why? F

I feel like this is an album that exists to shelter the hits, primarily “Papa Was a Rolling Stone”, an objective masterpiece, but most else is standard Motown stuff, which I love but don’t find this particularly special. C…+?

I like Lupe’s (immediate) later stuff better and def didn’t need a 12 minute credits track, but he’s a legend for a reason. Decent debut. C+

Pretty decent, surprised I haven’t heard this before! Not really a fan of the vocals but I am otherwise on board. B-

B

C-

A lot better than Vauxhall and I, glam is a solid sound for Morrissey. I can still go the rest of my life without his music, but if we needed to keep one of his solo albums, this should be it. C-

How have we only just now hit our first Sinatra album? We hit so many samey new wave and Britpop LPs instead of the original pop star, smh. This is one of the best albums ever AND the prototypical concept album. You can feel the melancholic dread in Frank’s voice as he can tell that his marriage is ending, whether he’s ready or not. each song is a different punch to the gut. A

D+

Pretty nice music, soulful while being its own thing. Not so sure about that Talking Heads cover, but oh well. C

Jurassic 5 isn’t a name I’ve heard in a while, but this is good shit. Had fun listening to these guys again. B

Tusk feels like the kind of bloated follow-up to a blockbuster that a lot of filmmakers were making around this time, ala Heaven’s Gate or One from the Heart. And like most of those, there’s plenty of brilliance to dig through in between fluff. This might just be TOO much Fleetwood Mac, while Rumours was almost perfectly paced, but the good stuff is worth digging through. The title track especially, even if that will (or should, anyway) forever be associated with The Americans. B-

Enjoyable old school hip hop, even if it definitely overstays its welcome, even in the shorter CD release. Of course “The Humpety Dance” is undeniable. C

One of the best punk debuts ever, still as fresh ad ever. B+

Not really my vibe at all, but I can’t say that I hated it. Just makes me kinda sleepy. D+

I’ve always preferred Closer to Unknown Pleasures, the kind of difficult second album that just clicks better for me. “Atrocity Exhibition”, in particular, has to feature on a greatest opening tracks list. A-

Why do we need to listen to solo Morrissey before we die? What makes his music so important? He’s a little less whiny here, but hardly essential. D+

Way better than Oasis, this is the Britpop I can get behind. Catchy as hell and with a slight, not overwhelming, sarcastic edge to it. B+

Learning that Wilco are kinda cool, actually, has been a fine experience. This is solid alt rock with a light southern twang, and while it’ll never be 100% my thing, I’m glad I can appreciate it now. B

A classic to end all classics, how do I not already own this? B+

I’ve never quite subscribed to this being Prince’s best album, when Purple Rain is tighter and Around the World in a Day has a stronger vibe. Additionally, I just prefer Prince having more of a rock n roll edge. But it’s hard to deny that this has a lot of his strongest ideas and he’s still great when aping P-Funk and Tower of Power. Easily an all-timer double LP A-

I prefer Fagen’s more sarcastic work with Steely Dan to his more crushing lyrics here, but it’s hard to deny how good this sounds. Incredible, timeless production and leaning into jazz was a good call. B+

It’s aite C

The only LL Cool J album I really know, but it’s a good time. The title track is as good as it gets, but this is a breezy hour. B

That’s the stuff. B+

Another recent development I’ve enjoyed having- Sleater-Kinney are pretty cool. Solid punk rock that doesn’t overstay its welcome. I don’t love the vocals but everything else hits. B

Always found Electric Ladyland maybe not overrated, but a little overstuffed. It’s good, but didn’t have to be a double album imo, and some of the longer experiments definitely could be trimmed. The best stuff is as good as it gets, though. B+

A top 5, if not top 3, if not top 1 alt rock album from the best decade for alt rock. Nearly everything about this is immaculate, from the songwriting to production to the performances. There’s maybe one or two songs I don’t love as much, but it’s close enough to perfect. I think I’ll stick with an A-, but give it a 5.

Funny that this is the best-selling indie release of all time when it sounds super commercial. Maybe it’s just me, but I can’t imagine a time when this wouldn’t be successful… the past 15 years notwithstanding. The Offspring are pretty mainstreamy, which is a turn-off in my rock music, but I can’t deny that this has some bangers and its place in the canon. Thumbs up from me. C+

Dwight Yokam is pretty dope, I won’t lie. A damn fine guitarist with a penchant for solid songwriting. I own his first album and could definitely see this join my country collection. B

C

A landmark release and undeniably a sonically cohesive work… but in terms of songs, not something I come back to much. I mean, who has much use for “Lovely Rita” or Mr. Kite on their own? Also, Zappa did it first and better. Best I can do is B+

Enjoyable enough alt rock, but not something I see myself really remembering even if I get why this would be someone’s favorite kind of music. Feels like a band I’d check out at a festival sandwiched between other acts I’m more buzzed for. C… maybe +?

I actually kind of loved this? Gorgeous stuff. B

Easily high-tier Tom. A really cohesive collection with some of his best work. It’s maybe not my favorite but I could easily recommend it to newbies. A-

Goddamn is Missy good. I had a blast with this, even the weaker songs like Beyoncé’s feature. Takes me back to childhood. B

I get why this inspired Springsteen to make Nebraska. Awesome shit. B+

I’ve never totally taken Hanoi Rocks seriously tbh, they also kind of felt like posers, but I’ll concede that this is better than most hair metal. C

Good! B-

Everything But the Girl is another act that I primarily know from their big hit and Todd in the Shadow’s One Hit Wonderland series. I understand that this is their album after “Missing” blew up, which doubles down on the trip hop sound, and it’s pretty good. She has an incredible voice, which carries even the flatter songs. I skipped the remixes at the end, but still had fun. B

All-time masterpiece, nuff said A-

C

A little too jammy to be true punk, but has the energy and aggression to be a perfect proto-punk album. Sounds as fresh as ever. A-

An absolute mess of a narrative, but I’ll take this over The Wall any day. Brilliant songwriting and musicianship throughout. A-

I respect Todd Rundgren more than I like his work. His material is a perfect example of that kind of singer-songwriter style from the 70s that is easier to appreciate than to spin. So while there’s some killer stuff here, 90 minutes is just way too much for me. C

Not an Elvis Costello fan- not sure if it’s his voice or the Buddy Holly glasses that turns me off- but this is as good as he gets. Credit where it’s due. C-

Good shit, a landmark for a reason. B+

I’ll never fuck with Springsteen the way others do, but it’s clear that this is a landmark of rock music. B-

If this is what all glam rock sounded like, it would still be at the forefront of the music scene. Brilliant stiff. A

C

I hate sounding like a basic-ass boomer, but Dylan really is that good. I usually consider this an average-ish album between two game-changers, but no this is ace. Some of hus best work. A-

B

Yeah, Pavement rule B

Probably her best album, Polly Jean forever. A-

Pretty primitive proto-punk, which I find charming but not something I aspire to listen to much. Definitely belongs here though. C+

s/t is always going to be my Bad Brains of choice, but this is a worthy addition all the same. Terrific mix between punk and dub. B+

C

I prefer Wonderwall Music, but I can’t deny how much of this is George’s best songwriting. A little too long and I don’t love that last side, but a definite classic. B+

An undeniable classic that I mostly vibe with, but could go the rest of my life without hearing “Perfect Day” again. B

Okay, I get the Dr. John hype now. A-

This is no Supreme Clientele, a little too mid-aughts rap/R&B for my taste, but it’s still Ghostface and has great parts throughout. Especially surprised to hear Ne-Yo go as hard as he does with his verse. B

Pretty, but not really for me. I’m glad I got to check this out but I don’t see this being something I go back to. C… +?

I’ve always rejected The Sensational Alex Harvey Band because of their name. What, is this Stan Lee’s band? But I’ll admit it, this is solid glam rock. Not on Roxy Music’s level, but there’s def some good stuff here. Catchy with solid performances. B-

C

Kinda surprised that Music was picked, this really feels like M was chasing the trends instead of forming them. Additionally, William Orbit’s production doesn’t really hold up. But, this is the first Madonna era I really remember- I knew who she was and some of her older songs, but I vividly recall hearing and seeing the videos for the title track and “Don’t Tell Me” often. So there’s definitely nostalgic attachment to it, even if this isn’t her best. C

B

Janelle Monáe is one of those artists I wish I could like more than I do. She has such a unique sound, a real past-present-future scenario, and is a literal protégé of Prince, but I only admire her work instead of truly loving it. So I admire this but don’t especially vibe. C+

The Doors were one of the first classic bands I really got into, but now that I’m older, I keep flipping between still vibing and finding Lester Bangs right. Currently I’m on the former side, and this is still my favorite album of theirs. It felt like they had all of their best songs ready at the getgo, even if “The End” has always been hogwash to me and other songs come close. Despite Morrison’s poetic lyrics and haunted performance, Ray Manzarek is the real MVP here, his melodies are what gave the band their edge. A-, but four stars

I get why this wasn’t a big hit, a little too experimental for audiences. Rules though, a solid balance between funky and psychedelic. B

Meh, I’ll never get this. D+?

Is this better than Wee Small Hours? Some of Frank’s best works and performances for sure, only held back by the terrible decision to use the phrase “whoopee” to initiate sex. But god, this is it. A

B

Easily one of the most overrated albums of my lifetime. I can’t deny the artistry, but I don’t think that I’ll ever personally connect to it. C

This is pretty neat! I prefer the jazzier material to the more “modern” stuff (the hip-hop beats are not it), which means that I preferred side 1, but it’s still a good time. B

C

Oh wow, I really loved this. Incredible mood music, how have I never heard of this before? A-

This is better than their big pop hits I guess, a little funk, but still sounds like crap to me. D

I have a friend who traveled to Germany just for an Eels show, but I’ve never listened to them before. Sorry Steven, but they’re just alright. I love good 90s alt, and it’s decent stuff, but not world-traveling good. C

Really quite possibly the best album recorded. A

As an aspiring goth, of course I love the Sisters. Killer stuff here, although I slightly prefer the first. B+

This is fine. C

B

What can I say, it’s a ten. A+

Pretty solid LP, but it’s no Odelay or Sea Change. Wouldn’t be my first choice for Beck. B

Meh. C-

I’m really running out of things to say, aren’t I? But this is pretty good stuff, I can see why it resonates. B

I think I prefer Roxy Music for my glam, but I cannot deny Marc Bolan’s guitar tone (his voice, however…). Really killer set. B+

This is what I love about this series, finding something new to me that blows me away. Really cool hip hop with a genuine blues influence, almost a compliment to what A Tribe Called Quest was doing with rap. It’s not as tight as their imperial stuff, but I def want to go back. B

I want to give Randy Newman credit, but even listening to his classic stuff, I’ll always see him as the guy who made the Toy Story songs I didn’t like even as a day one fan. I just don’t vibe, sorry guy. C-

That’s the way you do it. B+

I’m still not a reggae guy, probably never will be, also not a weed fan, but this is a little better than usual. There’s slightly more variety and Tosh has a decent voice. Won’t return to it, but it’s fine. C-

B

D+

Like Minor Threat, I have their complete discography release, so I spun that instead. Incredible punk, highly recommended. B+

This is the kind of 00’s indie I can get behind, reminds me of Of Montreal before they got a little too whimsical for my tastes. Pretty decently paced throughout, and being only a little over 45 minutes is a plus. C+

I’m surprised by how much I love Eno’s ambient stuff, but he does it better than anyone else. I could listen to him tinker with a soundboard for hours. One of his greatest works. Thinking A-

George Michael really was that good, huh? The hits are timeless and the deep cuts are pretty decent, too. I even really like the Stevie Wonder cover. B+

Christina is probably the first pop girlie I stanned, and I’ll always hold a special place in my heart for her earlier stuff. Her voice is undeniable and when she finds the right track, it works like magic. Unfortunately, she’s always been kind of spotty and never really seemed to find her sound. Going from basic pop star to “dirrrty” R&B to throwback to Gaga wannabe is a direction that I don’t think totally lands. So I don’t think I’ve played this all the way through although I recall a solid chunk of it. There’s gold, but some of it doesn’t work at all- did Xtina really need to make a 5 minute track thanking her fans, especially when she uses phone calls from them as the beat? But embracing her soul and jazz-influenced roots is a good fit for her, she should have leaned into this instead of whatever Bionic is. If she trimmed the track list or at least turned some of it into bonus tracks, we’d really be cooking. B-

Pretty dece alt rock, the Simon & Garfunkel cover is fun but not even one of the best songs on here. It’s a breezy spin, I get the appeal. C+

C+

Meh. D+

Probably one of the top 5 most important rap albums ever, the gateway between Run-DMC and Tupac. It shows its age a little, but much less so than NWA does- you can’t top Chuck D and Flav at their peaks. A-

This might be one of my favorite soundtracks ever, it perfectly fits the film and Coppola’s world building. Even the closing track, which interloops dialogue samples, gives me chills. B+

I’m gonna be honest, I was expecting something different from this album by its art and title, something a little more camp than the Wilcoy indie stuff, but it’s not bad. I like the almost hoedown-ish turn the last couple of tracks took and would have preferred if the whole thing was more like that, but it’s not bad. C-

I won’t lie, I think the songs they perform in Made in Japan sound better there, but this is as good as hard rock can get regardless. Martin Birch is one of the all-time great producers and the band was firing on all cylinders. A-

Good shit, hit at the right time as a middle ground between radio friendly alt and metallic but not necessarily metal. “Cult of Personality” is the kind of song you’d be proud to be a one hit wonder for and “Open Message (To a Landlord)” is the perfect balance between anger and sincerity. I don’t love the Talking Heads cover- somehow the least funkiest song on here- but everything else is classic. B… maybe +?

It’s insane how good the clan sound together and how they play off each other. The nerdy ode to martial arts shlock really sells the whole concept and makes this essential listening, one of the best rap albums ever. A-

Color me surprised- this is actually quite good. Most of the new wave albums on here tend to disappoint, and I was scared when I saw this was a double LP, but the hits largely pull off the length, and some of the deeper cuts are pretty cool too. Even the lengthy stuff is varied enough to work. B

C

D+

I am just not a Radiohead guy, this made me drowsy. C- I guess.

Decent 90s punk. Not sure if this is totally essential, but I can see this fit in a skater’s CD collection alongside Randid and The Offspring. C+

I prefer Post and Homogenic, but this still deserves to be part of Björk’s trilogy, really good stuff. B+

Peak Bowie, maybe not my favorite, but still essential. A-… fuck it, 5 stars

This is just diet Talking Heads, which is fine, I adore David Byrne and I’ve heard worse rip-offs, but I don’t see what makes this essential. C

‘Salright. I love when pretty male and female vocals mix together, so I’m a sucker for parts of this. Just not my speed for rock, but it’s a breezy listen. C

A little more pop than I prefer my punk to be, especially if it’s not as varied as The Clash’s style. But it’s still good, impressive stuff. B

Of the two Megadeth albums featured, Rust in Peace is the stronger one, something you could show to someone who doesn’t like metal and they would appreciate it, but this is probably a better thrash album. This also shows how strong Mustaine’s songwriting and guitar skills are and how he had a unique (if not necessarily better) ear for melody than his former Metallica crew. If he had the Rust crew behind him, this could be their best. B+

Silly me, I always assumed that Public Enemy were a two-album wonder act*, but that’s just not fair or right, this is good! A worthy follow up to Fear of a Black Planet and features some killer tracks.. B *for some reason, I always thought the Anthrax remix of Bring the Noise was a non-album single. I’m used to it on my Attack of the Killer B’s CD

Brilliant vintage rock and roll! I know Blueberry Hill of course, but most else is new. Walkers had a lovely voice and incredible piano skills, and the melodies are tight. Good stuff. A-

I think I like this better than Mezzanine, it rocks a little harder and the vocals are more impressive. Still not my first choice but I understand why these guys matter to many. B

B+

Apparently this is one of Henry Rollins’ favorite albums? I can kinda see it ngl B

Lennon is a bastard, but by god did he make incredible music. A-

C

I know it’s cliched at this point, but this really is basically perfect. A

Shit rules. We need more instrumental bands blowing up. B+

I’m not familiar with later Björk, so this is all new to me. Sounds like her classic stuff- yes please! B*

C

Maybe their best? A strong contender, anyway. A-

Top 5 punk album? A-

C+

Probably a better punk album than London Calling, especially the US version. B+

Always kind of a trip to hear older, pre-falsetto Bee Gees. They’re almost like two different bands, although they’re both charming in their own ways. I do like how smooth the music is here, even if not much of it is especially memorable. Has a couple of undeniable bops, but it will lose points for having a pro-Israel song. Sorry not sorry. C

The “weird” Stooges album- s/t is the rough debut and Raw Power the angry “if no one’s gonna listen to us, fuck it” release. I used to prefer s/t, but I get why the other two are traditionally more revered now and really vibe with everything. For proto-punk, the musicianship is solid and there’s plenty of memorable hooks here. If you want something Velvet Underground-adjacent with more of an edge, this is for you. A-

B-

I know many hate that this beat Abbey Road for AOTY at the Grammys, but sorry, it’s nearly as good and probably deserved. Sounds as smooth as ever. B+

I’ll always slightly prefer Closer, the uglier younger sibling, but this is an amazing debut, and sounds as biting as ever. A-

B-

I’ve been listening to Anthrax since my teens, but I don’t really know if they’re THAT essential. I’d easily swap this for another, less-represented metal genre or even another Iron Maiden or Black Sabbath album. Still, this is as good as they get, and it makes sense that half of it still gets played every night. What made Anthrax stand out is their ability to have fun with themselves, but still take themselves seriously when needed. And that still holds up, on top of solid songwriting. B

D+

C

About ad good as rock n roll can get. A

Jamiroquai Good! Genuinely enjoyable, well-crafted blend of soul and dance, I’m glad that I’m able to embrace them now. B-

Another album I was surprised to like so much. Not really my thing, but my rock n roll soul appreciated the Stones and Doors covers enough to vibe with the whole thing. Some really cool stuff throughout! B

I like how even though he gets the album’s only feature, Eminem blows Hov out with his guest spot. Anyway, still a landmark for rap. B+, bordering on the A’s

I need to get more XTC albums besides English Settlement. This is lovely stuff. B

As much as I love Björk, I haven’t listened to her band before. Glad I did, this is pretty neat. B

This is when the Stones really found their own, doubling down on bluesy hard rock instead of trying to play catch up with the Beatles. Some incredible work, but they get even better from here. B+

C

C-

I’m still famously a Radiohead agonistic, but I’ve always liked Kid A better than OK Computer. I think the change in sound made sense at the time, and “Idiotque” might be their best song. Still not that into it, but I understand the placement. C…+

Okay, wasn’t expecting this! Getting the likes of Tom Waits, Nick Cave, and Scott Walker together to help you out? Yes please! (You could keep Elvis Costello, though) Some great songwriting, obviously, and she sounds lovely. B-

Always respected Beck more than I truly loved him. He’s one of the few artists who’s combined rock and rap near-seemlessly, probably by sticking to college rock instead of metal, and this is probably his best collection. I just never feel like pulling it out. B-

Fucking love The Cult. Their early goth rock is incredible, but I also dig their pivot to AC/DC hard rock here. Ian Astbury’s voice is just as well-suited for the latter as the former and his bandmates deliver. Top-tier shit. B+

C

I prefer their earlier, more straightforwardly punk material, but this is unique enough for a thumbs up. B-

This is generally my least favorite kind of rock, but it’s not terrible. Solid energy and decent performances, which I guess is enough for me. C

B+

This is actually quite lovely, might inspect further. C+

Shit, I actually played this yesterday but forgot to log it. Anyway, C-

Nah. C-

I really don’t have much use for The Smiths anymore, but this is probably their best album, even without “How Soon is Now?”. It has some of their strongest and least overplayed compositions and Morrissey isn’t whaling as hard as he does elsewhere. “Barbarism Begins at Home” is probably as funky as white British people can reasonably get. C

I usually don’t have much use for new wave albums, they’re singles acts more often than not. Double so for one hit wonders like Soft Cell. Somehow though, this is pretty solid and has more memorable songs than I’d expect. C+

Probably my favorite Tom Waits LP. A

B

I have much more nostalgia for BSSM and One Hot Minute than Californication, where only the hits really stand out to me. And the album is frontloaded with the singles, so that’s not a great look. The band’s funky roots do show up more profoundly later, which is good, but there’s still too much midtempo fluff to really appreciate, which is not. Eh, a C

Been busy the past couple of days, but this is a good palate cleanser after the election. Solid, angry shit. B

Basically sounds like MacArthur Park the album, and as someone who doesn’t hate that song it’s fine. Could live without it, but it’s decent background music. C-

I’ve always found this slightly overrated, I prefer the tighter pace of Stevie’s single LPs, but it’s hard to deny how much he’s cooking during this period. A wealth of masterpieces. A-

She seriously had the best voice ever, and basically each song she touched was tailor made for her inflections. B+