Pros: -Has some absolute bangers, like "Baba O'Riley", "Bargain", and "Behind Blue Eyes" "Won't Get Fooled Again". -Serious trailblazers with their electronic synth work. -The more Roger Daltry lead vocal tracks are good, like "Getting in Tune" is a solid track. Not as great as the bangers above. Cons: -Some tracks are lackluster. "My Wife" flat out isn't good. It's like a funny song about running from your wife and buying a tank and protection? -"Going Mobile" is a nice tune but the drums sound off at times. Not off rhythmically, but there's whole sections where Keith Moon stops playing cymbals and continues a kick-snare and it sounds like the cymbals are missing there rather than a cool stylistic choice.

Pros: - some real bangers on here. "Tonight, Tonight", "Zero", "Bullet with Butterfly Wings" "1979" - Very ambitious - 1979 is one of my favorite songs from the 90s and I think even with all of it's hype it's still one of the most underrated 90s tracks. - production is clean when it needs to be clean, and dirty when it needs to be dirty - orchestral elements are so good and don't overtake the foundational strengths of the songwriting - "Cupid De Locke" has some spoken word in it which is cool as heck Cons: - flow of the album is a little weird right? "tonight tonight" into "jellybelly" is a stark contrast, and "to forgive" is a sad boy track right in the middle of two slammers. Misc: - The only spotify version is the deluxe version which is 92 songs long and 6 hours. I don't really have an interest in "Tonight Tonight's strings parts but pitched down 1 semitone and 3bpm lower v6 FINAL.wav", but I get it- that's for the mega fans. - To me they are the Kings of 90s Cringe. "Love is suicide" is a lyric that is repeated over and over in the track "Bodies". It's cringey; like "wow this is so profound"

Pros: - nice music to do some chores to or have on. it gives you a groove to moove to. - "Apache" is the original version of Sugarhill Gang's song "Apache" and I had no idea. Amazing! Cons: Misc: I really wasn't expecting an album like this on here. It's very surprising! Overall, while I'm sure influential, I don't know if this album to me is a "must" listen to or a top album of all time, so I am going to rank it low.

Pros: - Really brings me back to being a kid in the 90s. I was 4 when this album came out so I probably heard it on the radio. - YOU GOTTA KEEP EM SEPARATED Cons: Misc:

Pros: She's got such a genuine, romantic sound that is so alluring. Cons: Maybe I'm jaded by the prevalence of amazing current soft-female-vocal led indie bands these days but the energy of this album isn't really dynamic and doesn't show much besides the one sound that she has. I know that that's like her sound right? it's soft, piano driven pop-jazz, but even the softest cats in jazz get some fast meows in sometime. The most energetic song IMO is "I've got to see you again" which is a wonderful moderate dance-like track that is perfectly ambiguous with it's lyrics that i have no choice but to steal a few lines for my own songs. Misc: production is very clean and well done. I did hear a blip of clipping on her voice on one track, "one flight down" at 2:42 which is hard to find on any professional mix of the last like 25 or so years.

I know she's highly respected but the album is a little boring for my tastes. It has some nice songs on it but I don't know if it's on my personal 1001 albums.

Pros: - really, fantastically amazing and timeless songs. Cons: Misc: - I thought Dusty Springfield was a 70's male singer. Fuck!

Pros: -It's one of the best albums by probably the best artist in this genre (reggae). -He wrote this after a failed assassination attempt, that's pretty wild. - It has two 100/100 tracks: "Jamming", and "One Love" Cons: - Outside of a few A+ tracks, many of the others are easy to forget. Misc: - hard for me to stay objective because I really don't love reggae. To me, it's like the most background type of music/art ever; more background than a computer's background image of a sprawling mountain vista. More background than the soft jazz that plays 24/7 on the TV guide channel. That's OK though, that's totally ok! It's just not my thing. I think ultimately what hurts the genre for me is that the smaller musical ideas that define the genre are the same things that limit the genre. Like there's a limited pool of rhythms / tones to pull from for reggae songwriters and that keeps the genre in a smaller space. - I'm giving it a 3 but I feel it's more a 2.5. I'm giving it the benefit of the 0.5 to make it a 3 due to the greatness of "One Love" and "Jamming"

Pros: - track one, at like 00:30 there's a wild shuffle- did yall hear that? it sounds like a CD glitch but it's not. It's in the snare and how it "reacts" to the rest of the band. That's really cool!! - Production is really good and the instruments are really distinct for late 80's. In my mind this time period for music was a lot of like maximalist production techniques and a ton of synths, ton of compression, and unnecessary layers because recording tech was getting better and better, but they kept it simple while still interesting and full. GREAT use of panning instruments to left and right ears without overdoing it. - So track 1 is like irish pop punk and track 2 is some middle east folk rock? This shit slaps Cons: Misc: - not naturally what I would be into but it's a cool overall sound right? - impressed overall!

Pros: - very creative melodies. I can see why the taylor swifts / olivia rodrigos of the world exist when someone like her paved the way - very creative random parts too, like second track "my old man" at 1:33 the piano starts playing a scale that is in a different key; almost like something you would hear out of classical music's subgenre "new music". - instrumentation is superb. I'm a sucker for folk instrumentation in pop / singer songwriter contexts - title track is fantastic. - Really enjoying the album Cons: Misc: - I've never actively listened to her which sounds shameful but is also the purpose of this album project.

Pros: A+ songwriting / storytelling A+ instrumentation. Took rock and made it even cooler with Spector-esque wall of sound production and made saxophone a rock and roll instrument Cons: Misc: - Somehow I did not grow up with Bruce and didn't get into him until college and probably because of Jake Ehrlich. My metal friends all made fun of his voice and thought he was too storyteller-y; that he couldn't write a song unless it met a criteria of mentioning A. the road he lived on when he was a kid, B. every car on that road, and C. workin' hard. I've of course since come to the realization that those same friends who would make fun of that would listen to bands that couldn't write music unless it mentioned something like "trampling people with tanks" and had lyrics like "why should the fire be shared by so few, let bombs explode- cause that's what they do. Nuke Mecca, New York, the Vatican too- give me a bomb, I'll drop it on you!" So to that I really say to each their own. Bruce is a true king and no one captures that very specific idea of growing up, leaving your hometown and doing your own thing better than him. And Born to Run probably does it best. Part of the magic of him for me is that his sound is inherently tied to a time period. I'll speculate that it's a reason why people our parents age like him so much; because 5 of his best albums (this, darkness, the river, nebraska, born in the usa) all came out when my mom was between her early teens and late 20s. Of course those are really formative years and he's there singing about New Jersey and growing up and getting out of the town. Hard to not resonate with that. Many of his lyrics are specific to those lived years and that helps that idea of gluing the listener to the songs. Unfortunately I think that it would be hard for future generations to appreciate the artistry in the storytelling due to this deep set tie-in to the time periods, but I am hopeful and optimistic that the music itself would stand the test of time. Part of what made it work for people our age is that a lot of us grew up listening to Bruce on the radio on car rides. For me it looked like this scenario: school ends for the year and it's in late June, it's 90 something degrees out, you're on your way to the Jersey shore, you just spotted the first girl in a bikini of the summer, and Bruce is on the radio. Magic.

Pros: - WOW what an opener. Love the performances, love the production. - Most of the songs are quite good with elements to like from each track. Cons: Misc: - Another artist i have not fully listened to. Haven't heard a full album through, and ashamed to say I've probably only heard around 10 songs of his.

Pros: - Yet another album I have not heard from start to end. I will probably stop mentioning that since it's becoming common. - It's more like in-your-face rock than i remember. I like the energy shift from the first track into the second track. I'm really big on the idea that a good album should have an upbeat song for it's first or second track - Amazingly crisp production. Guess I've never heard "walk this way" on nice speakers/headphones but WOW is it crisp. Cons: Misc:

Pros: - Songwriting is great and unique and fearless, like Prince. No one was like him and I don't think there will be many like him. - I bet if I was 18 in 1982 and I heard this come out I would be like "this is amazing". It's a great amalgamation of ideas and sounds in this unique Prince musical vernacular. - I do think that Prince leans a little toward maximalism in the production; there's so many instrumental layers of little guitar licks, synth licks, vocal "mm yea"'s and super processed vocal layers that all sound cool but at times can be a little annoying. Maybe it's just that this album is now 40 years old and it's age is showing. Overall I'm happy with the mix though. - It's fun music! Cons: - some mix choices are annoying Misc: - I wish I could hear the original mixes on a lot of these albums on spotify. It seems like the service mostly just has official remixes of these 30+ year old albums and they don't offer the original ones. Small gripe but that's for spotify / the record label and not with Prince. - I need to do a deep dive and see what songs Prince played guitar on. He's a legit shredder and I was always curious to see how much of the album songs he actually recorded the guitars for. - 1982 was an interesting time period for music production. New and immediate prevalence of synths meant that there were lots of questionable mix decisions being made and you can hear that across this album. "1999" hard panned to right ear warble synth is a little grating at times. "Let's Pretend we're married" - listen to the delay on the snare. interesting. can't tell if i love it or hate it. At 2:46 I swear you can hear a sneeze. - this album for me is a great reason why there should be more than 5 options/stars to vote for. This is around a 3.5 for me without context. It's a very solid album, and on a list of 1001 albums you have to hear, I would think of it as being a 3, so I'm going to give it a 3. I'm leaning more for a 3 instead of a 4 because the second half has tracks that tend to run on the same ideas.

Pros: - Really funny stuff. I love that "Heinz Baked Beans" is trumpets and very deep timpani. - I Can See For Miles -- a solid track Cons: - while it's a nice album, I don't think it's as good as WHO's NEXT. I'm interested to see how many other artists have multiple albums on this list. - A couple songs tend to run on a little - I'm giving it a 2. It's a nice album, but for me it probably sits in the top 80% of best 1001 albums. Misc: - If I had more time I would have read more about the album. I'm assuming it's kind of a response to them being called sellouts? - so funny to hear a full album in mono. I don't think i'd ever do it but I think it's a good songwriting trick to write / record a song in mono to limit yourself and then pan instruments afterwards. - "Tattoo" is not mono

Pros: - Really beautiful melodies and voice - "Henry Martin" has some great chromatic / out-of-key notes around 00:23 in the melody and it's refreshing to hear. Would have liked more of that. It's haunting! - A song in Spanish was nice! - Covers are really really great. "house of the rising sun" and her variation on "girl of constant sorrow" (i might have missed another) Cons: - I don't connect particularly well with this album for some reason or other. It's a nice album; it's nice to have on and to simply enjoy. She is definitely someone who has inspired many many other artists and is unquestionably important to modern music. Misc: - Kind of limited instrumentation and arrangements, but it's 1960.

Pros: - Exciting free jazz! - While listening, I didn't realize that I had another chrome tab open that had a chess streamer talking in the background at a very low volume. She was talking about pawn promotion and when the songs finished I would hear that faintly and it enhanced the experience! - If you forget to grab a coffee in the morning, just put this on. It'll wake yo ass up! - In the big scheme of abstract music / modern music / new music, this is totally palatable. Cons: - While incredibly dynamic, I would love some dynamicity (had to google that to check) in the tempi! Let's get some slow jams in there. Misc: - John Zorn is a cool wild dude. One of my regrets from when I was in music school was not going to his music venue The Stone ever- which had an arrangement with my school program where we would get reduced/free tickets and then we would get school credit for attending a modern music performance. Friends went a few times and ended up meeting him, gah! the regret! - He's definitely a modern pioneer of free jazz, and the genre is so important to popularizing the idea that any type of music can be free and untamed. I'm speculating, but a large amount of people probably find it novel and/or interesting but maybe without seeing the value beyond a single listen through. But outside of that large amount there's probably a few people that find the concept of this kind of music really intriguing and love it. For that reason alone I think it deserves a place on the list. I genuinely feel that every musician who writes music has a little bit of a duty to do something new with their music that expands music as a whole, even if they are a 99% clone of their favorite artist, if they just do 1% of something new that allows a new younger musician to make something with that 1%, then that is fulfilling a duty to the worldwide community of music. John Zorn is probably more like 75% new ideas and 25% built on the backs of people like Ornette Coleman, so John Zorn is a real one.

Pros: - It's so good. - Her sound checks so many boxes of what I would like for an artist. It's approachable, it has great hooks that are not only catchy but unique, it is confident, it's exploratory, it's memorable. - Her lyrics are so incredible and unique and have a quality that makes them sit in your head long after the song is over. - Amazing for a debut album. It sounds like someone who has been working on their sound for years and years! Cons: Misc:

Pros: - Imagine is probably a top 100 song of all time (right?) so any album that has a top 100 all time song on it should be rated high for atleast bringing that song to the world. - There's a lot of Beatles hangover ideas in here, and it's a cool amalgam of those ideas (the rock-ness early Beatles that comes in "Crippled Inside", a random "and when I hold you in my arms" lyric, the yelling fast psychedelia Beatles sound reiterated on "Gimme Some Truth", etc) and the later John Lennon sound. Cons: Misc: - I feel like there are 4-star albums that are better than this one, so it's a 3.9 for me which I'm rounding to 4.

Pros: - 1994 this came out. Grunge was the shit and they release this wickedly noir, vibey, cool, sickly blend of post rock that's been hanging out with minimalist electronics and somehow make it all work so good that it still makes me wonder ~28 years later how they didn't get asked to do a James Bond theme song. - Sometimes when I have random daydreams about running off to the desert and making an album, the final output in my head ends up sounding like this album and this band. - This is a great mixture of foreground and background music for me. I could have it on while my brain is 99% doing something else, like reading a book. I could have it on while my brain is doing 1% something else, like doing the dishes. - Listen to "Strangers" at the 1:12 mark. The pulse of the song from here on is what sounds like a phone ringing off the hook. How cool is that? Cons: Misc: - It just oozes "cool".

Pros: - One of the most evocative and romantic voices in popular music - This album is less in-your-face than Back to Black, and while I like in-your-face music, I appreciate the contrast in the two albums. This one is more romance from a positive light. - Lots of different \"feels\" on this album which I really appreciate. Cons: Misc: - The only con for me when listening to Amy is that I can't think of her without thinking of the word \"tragic\". I'm cursed. I think/hope in the future that will go away because I completely adore her and her music. To me it's like being a kid on Christmas day and getting the most fun video game console and a few games, but then after a week or so there aren't any new games released for that console. It's still new! It's still amazing and powerful and brings you so much joy! But you have this sadness that there won't be any new games. I don't recall any other artists that I feel this way about who have passed.

Pros: - Has some ABSOLUTE bangers on this album. - "Everybody wants to rule the world" is one of my favorite songs of all time - "Shout" is so moody and such a strong opener. - "Head Over Heels / Broken" - another damn slapping BANGER. - I just love their sound. This was 1985, right smack in the middle of the 80's. They had that weird 80's "we're embracing this new synth world" sound that was weirdly serious and I will forever love that. - The first track is super synth heavy (with all of the limitations of early synths), and then the second track comes in with an evocative and VERY human-y saxophone. Then bongos. Such a cool contrast to start an album. I really can't say how much I love the ground covered instrumentation wise in the first two songs. I don't know if I've ever heard another pop album cover so much ground so quickly while also being effective and now adding timbres for the sake of adding timbres. - LISTEN TO THE INTRO GROOVE ON EVERYBODY WANTS TO RULE THE WORLD. UGHHHH - "Mothers Talk" bass part at 3:48 is literally videogame battle music. - "Listen", the outtro is really so amazing. Lots of moods. Cons: Misc: - It's hard for me to give a quantified star rating for this album. It's a high 4 for me. JUST a 4 is too low IMO but 5 is too high for me. It's an amazing album, with 3 songs that are probably in the conversation of being 3 of the top 25 songs of a decade, which is amazing- specially so because the 80s were such a wild time for pop music. This is really my hardest vote yet. Ok I'm giving it a 5, it's just too good.

Pros: - First time hearing this album (i think) and possibly artist too. Overall the sound is really nice and cohesive; by the time her voice comes in on the first track it was pretty much exactly what I was expecting and my ears wanted to hear to match the instrumentation. - The instrumentation and recording are all really well done. I love that first piano run up in the first song only seconds after the acoustic guitars set the tone. The second track also has some nice behind-the-scenes piano/keyboard lines. - Love the tempo / meter change in the second song about halfway in. Songs that change tempo/feel in pop music are kind of rare these days so it's nice to hear one here that is drastic but still within the overall vibe of the song - really nice flow to the album, the placement of the tracks are really great. that's usually a gripe of mine with any style of music but specifically with singer songwriter-y styles it can be pretty bad at times. Cons: - not a lot of memorability for me Misc: - While it's a nice album, it doesn't have a lot of standouts for me, and in context of 1001 albums you need to hear, I think it's probably in the lower 40% so I'm giving it a 2/5.

Pros: - origin of "let your freak flag fly" - it's a dope classic rock album - it's the best selling album of all members' careers. - Super-group bands I think often have weird dynamics. It's weird but also probably inherently hard to avoid right? These guys don't really have that issue in this act I think. It all gels well. A good example is going from "Teach your children" which is a beautiful, heartfelt song, into "Almost cut my hair" (David Crosby singing) which is very funny and silly, and then finally into "Helpless" (Neil Young singing), which centers around Neil's very soft and distinctly different voice and ambiguous lyrics. You would think that these sounds and sentiments in 3 consecutive songs wouldn't work that well but they really do! - The title track, Deja Vu, is very cool and experimental for them. Starts with an almost-scat part, has some weird chords in there (Gab and i found a GSus4 chord into Emsus2 chord (I think that's how its' written?) and they SING these! That's very experimental! Hard to sing! Lots of tension! It's at 2:37) - "Our House" is way ahead of it's time to me. It's like a modern indie pop song in instrumentation arrangement, even the hook is very modern yet also somehow Beatles-esque. Cons: Misc: - It's tight all around. I've heard this album many times throughout my life but by isolated radio plays of the tracks, and never full through in one sitting. I really like how the album doesn't just start hot, play some hits, and then fades off; it keeps energy throughout the album and keeps the diversity throughout.

I had a writeup that accidentally got deleted so i'm summarizing: It's a really dope album that is definitely deserving of a spot on this list. Production is incredibly tight and the added layers of instrumentation are impressive, quirky, and really elevates the overall album.

Pros: - It's a very unique sound. It's got this 50's ish thing, but the guitars and vocals are more experimental then what they were doing in the 50s. Cons: - One reason why I don't have this up higher is that I think there's something with the songwriting that keeps it from being a 4 or 5 but I can't exactly figure it out. "Dance This Mess Around" for example is a really cool song- it's energetic yet also laid back. The vocals yell in your face while the guitars play a minimalism riff that repeats throughout. It's a great sound, but I can't help but feel like the recording engineer hit the "record" button and they just jammed this track out. What makes it even harder to pinpoint is that the album has tracks like Rock Lobster, which show multi faceted strengths in songwriting; the structure is super well thought out, the instrumentation really great, the lyrics are funny and a little simple but have such a unique theme. It makes me think this song had a lot of thought put into it. Misc: - Overall I enjoy the album and it's a fun listen. I think maybe if it was a little more dynamic and strayed a little further at times from the variables that seem to appear in most tracks: mid tempo / drumset / clean, spanky guitar / fun vocals , then I would rate it a 4. It's always hard to say (write) something like that though because I do understand that this is their sound. Rock Lobster is one of the quirkiest songs of all time.

Pros: - Very cool sound! It's my first time actively hearing this band. They are very dynamic and the overall sound does a lot of things right. - Even though it's 1966, the production is really crisp. - It's a dynamic album while also existing inside of a defined sound. Track 1 is a "tough" psychedelic rock song with a harpsichord shred part. Track 2 is a gushy ballad, Track 3 is another sweetheart track, and then Track 4 is a "The Who" type rabble-rousing shout-off. That's a lot of moving around. Cons: - Some tracks' lyrics are not exactly bad but a little uninspired. - I'm assuming it's a victim of the time period, but man I can't comfortably listen to hard-panned instruments and layers for very long. Track 3, "Que Vida", has the FULL drumset 100% in the left ear, and guitars in the right ear. I'm personally a big believer in symmetry in production and while panning is a great condiment to add to your flavors, you can't have things sound balanced with 70% mustard in your right ear and 30% ketchup in the left ear. Don't put condiments in your ears. Misc: - Interesting that the total length of the album is 36 minutes 9 seconds, and the final track is over half of that, coming in at 18 minutes and 58 seconds. This track is mostly a jam though, as the vocals leave around the 3 minute mark and only come back briefly before leaving again.

Pros: - Opener is a great track. Love the chord progression in the chorus. I can't put a finger on it but the line "I might never reach you" has some great Beatles-y chords under the vocals. - Second track, "The Fear" is like a more modern Neil Young track. Very cool sound. It even has some Radiohead type sounds underneath the vocals too. - SO many chordal mood shifts. I'm hearing a lot of major chords getting moved to minor over the course of a chorus or phrase. - "As You Are" is even more radiohead-y! Cons: - Some songs come across as being pretty like.. medium? I find it hard to describe but there's a very "agreeable" sound to this record. "Inoffensive". I tend to gravitate towards some kind of offending going on in music. Not so much of a knock against them because they do have a great sound and this is very listenable. Misc: - This is pretty new to me, maybe I heard it on the radio as a ~9 year old but I don't recall this album or band name at all. - Great sound! I'm impressed with this a lot. - While it's a nice album, in the context of 1001 albums you need to hear, it is a questionable decision. IMO it lacks memorability.

Pros: - One of the best guitarists of all time. With that should come the notion that any of his albums on his unfortunately short discography could be listed on this. - This album has some absolute slappers. "Crosstown traffic" is super underrated and is the only badass song I know to include kazoo's predominantly. Cons: Misc: It's just great. Some album-flow things are weird, like a "filler"ish 1 minute track after a 13 minute track. Some tracks linger on a bit long. I'm not personally big on albums that are mixes of structured songs and also longer jam sections and this one does that a little, but it's still a classic album.

Pros: - Wow very Bruce Springsteen-y! - Funny how production wise this is a throwback. It was released in 1977 but songs like "No Dancing" sounds totally like a 1950's boogie woogie. The album cover is a throwback too. - On the topic of the album cover, how interesting is the choice of the text on top of that checkered background? Weird isn't it? Cons: Misc: - pretty nice album all around!

Pros: - I really just love moody noir music... and this album feels like it was created out of red wine, cigarettes, a one night stand after a chance meeting in a jazz bar, and the sound of footsteps down a Parisian alley. - Chunga's Revenge - what a name. Love the snare ghost notes that pull the rhythm off-beat. Cons: - It's place on this list is IMO debatable. It's a very cool overall sound but I wonder what albums aren't on this list that this album has taken the place of. Misc:

I lost my notes on this one for some reason. My computer restarted overnight but I always hit "save" but not really sure what happened. Overall, I liked this album, it's very stereotypical classic rock that leans a little more John Denver than Led Zeppelin. My big gripe was that after listening it didn't have much memorability for me. A common strength of classic rock in its unconscious quest for churning out timeless tunes is the memorability factor. So many songs from that era are memorable, catchy, and have remained on radio stations because of that. This album didn't really deliver on that for me.

Pros: - Prodigy has such a cool sound. They are serious groundbreakers. - Yea, let's take glass smashing and make it a rhythmic element. Yea! - Oddly enough, it's great background music. - Drum n Bass is just a great discovery in music. Cons: Misc: - Their follow up album to this, "The Fat of the Land" is also very good, and contains probably their biggest hit, "Smack My Bitch Up".

I lost my writeup (second time this week!) due to a computer overnight restart and the website not saving my text so this will be short. I liked it, I think the big thing with them is that they were THE pioneers of electronic music. What is cool about this album is that it's actually listenable and easy to enjoy though. I think sometimes pioneers of genres are good at making something new but are not always the best at refining the sound, but to me this album sounds breaks that stereotype and gives us music that is not ONLY experimental or new. The only downside is that it's pretty minimalistic and can get repetitive.

Pros: - First track - I love that experimental ending, with all of the instruments just gradually pulling apart rhythmically. Very cool sound! - Then the second track starts with some spoken word! I have to admit though as this track went on that I became a little bored by it. I've mentioned it before but I'm a big believer in albums starting with a song or having their second song be some kind of moderately uptempo / interesting sound regardless of the genre, and this one was really interesting to have the second song be a repetitive 8 minute long spoken word song. - The experimental-ness of the album and overall sound is really intriguing. Specifically experimenting with vocal deliveries is really cool. Cons: - Not every act needs things like choruses and hooks, but I think they could benefit from having some of them? Or more of them? I found myself bored at times with some of the songs. Ultimately I didn't love the album..

Pros: - It slaps! Great grooves on the intro song. - I put this on while doing some chores and it made the chores really really enjoyable. This is a great experience. - The repeatability of the choruses is very fun. - The grooves continue throughout. Very pleased with the grooves. Cons: Misc: - Lack of free time and general unfamiliarity with some albums on this list has stopped me from doing deep dives into the lyrics side. While I love writing about things like production and song structure, I really love getting into lyrics and concepts and I think Bowie is probably a really great lyricist that is hurting me a little to not have the time to dig through. Wah. - Looking at this album solved a mystery for me. One of my favorite bands, Okkervil River, has a song where they mention "TVC16" and I never knew what it meant. The lyricist has some great web-like lyrical themes and sometimes I will listen to one of their songs a few dozen times before actually looking at the lyrical connections because frankly it can be exhausting. In this song, called "Plus Ones", they mention some really specific themes from other bands songs that have numbers in them, and they add a "+1" to each. So they have lyrics like "100 luftballoons" instead of 99, "8 Chinese Brothers" instead of 7, like in the REM song, "51 ways to leave your lover" instead of 50 like Paul Simon wrote about. I feel silly looking at it now, but seeing a track titled TVC15 on this album made me finally turn my brain on and look at the Okkervil River lyric. Mystery Solved! It's pretty obvious now that I think of it.

Overall a tight album, and probably my first time listening to all of the tracks together. Sometimes I think some of these albums from this era are often looked at with rose tinted glasses but this was a great listen for me.

Great originators of emotional rock and roll that is as unpretentious as it gets. They might be the founders of the genre of post-rock too. Which is funny to write. I listened to the heck out of this. It's a high 4 for me.

It's Sabbath! This isn't the best Sabbath album, but it's still jam packed with great tunes. High 4 for me!

Great album, surprisingly sparse? Really didn't expect so much instrumental outtros and intros but I thought it was nice. It's a tight album! I love this super emo kind of sound when taken real seriously and they take it seriously I think.

Pros: - It's an interesting sound. Reggae music with sort of melodic sort of spoken word vocals --<>-- is how I would try to understand it? Cons: - Surprisingly boring for the amount of experimenting and looseness going on? Maybe it's the reggae sort of backdrop behind the vocals?

Pros: After the third track, the lead guitar playing gets kind of weird and experimental in both tone and melody. I like that. Cons: - It feels a little... kitsch-y to me? Listening to the third track, Mr. Spaceman, sounds like some faux classic rock music? Like something Tim and Eric would make in order to make fun of classic rock?... - I kind of felt bored by it and I don't really have a great reason for it being on this list.

I like that right from the start you *get* the sound. It's fun, energetic, electronic, and unique. David Byrne has had several genius moments in this career. Solid album!

It's one of my favorite hip hop albums. I have a black and white t-shirt of this album cover. The songs are weirdly jamm-y and have big instrumental gaps, and yet also have a smattering of lyrics about slavery and race issues on top of music that is fun and energetic. It's a crazy sound.

I tend to innately enjoy raw music but this didn't do much for me. The lead singer's voice sounded kind of boy-ish, like a neighborhood bully trying to act tough. He was 21 when this was released though so maybe that's why. This is Pat Smear's first band which I didn't know! He was the second guitarist for Nirvana's amazing unplugged performance and also is a member of the Foo Fighters. Reading about this band and the singer Darby Crash (great stage names in this band- the bassist was "Lorna Doom") has been enjoyable. Maybe more enjoyable than listening to the album. Darby naturally had a fucked up youth and went to a very weird school that blended elements of scientology and allowed students to make their own classes; so Darby and Pat made a Fruit Eating class where they would go to a market and eat fruit and then return to school. Like most albums, I ended up enjoying this more after reading some background about the band and also hearing it more. Sometimes I write these in a more formulaic way but I find this stream of consciousness way to be fun at the moment so I'm not going to remove my initial thoughts which were more negative than my final thoughts on the album. Overall I think while maybe it was influential at the time, this one didn't do too much for me.

Pros: - Really dig the lead singers voice. I'm going to bastardize it by saying it sounds like bands/singers that are way younger / newer but it's the only way I can describe it. It's like punky while also having an approachable sort of Rivers Cuomo type of sound to it. - I don't know what this lyric means but it's funny to hear "Marshall stacks" in a song. This means really big and loud amplifiers in their biggest form/configuration- something that bands like this really loved. "Everybody's coming from the winter vacation Taking in the sun in a exaltation to you You come running in on platform shoes With Marshall stacks to at least just give us a clue" - I really love the spoken word parts (similar to what they do 2 years later on GOO)- like the track "providence". - I love how the second track "Silver Rocket", just stops around the 2 minute mark. It just falls apart. Experimental structure! Cons: Misc:

The yardbirds are dope because they launched the careers of Jeff Beck, Jimmy Page (I think), and Eric Clapton (fuck clapton). I always thought the band was good but not nearly as great as those guitarists follow-up bands. Regardless, they deserve a spot on this list.

Personal Jesus is a banger. Legitimate slaps. For me personally it brings back memories of being ~14 year old, playing Grand Theft Auto: San Andreas, driving around the desert in a convertible, and blaring this song through the car speakers. Enjoy the Silence is also a genuine certified slapper. The ending is very weird. The rest of the album isn't as strong for me and doesn't offer anything in the same level of quality as Personal Jesus and Enjoy the Silence. Either way, the few tracks that stand out on this album warrant a 3/5 at the least as they are staples in this electronic genre.

I was starting to think after around ~50 albums rated that the genre of metal was being forgotten about as I think we’ve only gotten a single other one so far (Black Sabbath). Thankful to be proven wrong here with MOP >:O >:O This album has so many definable characteristics. It is DYNAMIC in its instrumentation. The first thing you hear is Battery, with acoustic guitars that start to increase in harmonic complexity, adding harmony on top of harmony... until you get hit at 39 seconds in, and are given an EPIC soundstage on your ears. then at 1 minute in you get the ENERGY OF THE RIFFFFFFFFFFF >:O >:O And then you are set on a crash course where it’s hard to take a breath without hitting the pause button. I genuinely love this album and I think it's a masterpiece in not only the genre but in music as a whole. Metallica gets an interesting response these days from metal people as they are seen as generic compared to the breadth that the genre has expanded into, but their music is classic songwriting genius- track after track after track. Master of Puppets might be their magnum opus and is in the running for the magnum opus of the genre of metal. It is so dynamic, energetic, surprisingly approachable, monumental, and even catchy. After one listen through you will have parts that you remember. You will remember guitar parts that sound like a cat scratch or tires screeching on a road. You will remember vocal parts! That is so incredibly hard to do in metal, as most metal vocal parts are rhythmic and devoid of melodic qualities or obvious pitches. Somehow my biggest takeaway from this album has always been trying to figure out how a metal band from 1986 has the tracks Orion and Master of Puppets on one album. Both have so many emotions and standout variables for me- with distorted guitar chugfest sections, with soaring guitar solos that are still tasteful, fun offset rhythmic groovy parts (Orion at 2:12 specifically), and yet they are somehow introspective, contemplative, and still unrelenting and epic. This album was released March 1986 and only 6 months later the bus accident occurred where bassist Cliff Burton died at the age of 24. The section in Orion that starts at around the 4 minute mark is one that I’ve always shown to naysayers of the metal genre as an unquestionably brilliant testament that the genre can produce genius level music composition. That section starts with an emotional Burton bass line, that evolves into Bach-like lines at around the 5:40 mark (seriously listen to the bass at 6:00 - with headphones it is breathtaking) and then further evolves into more emotional playing – 6:33 the bass re-enters with distortion with Burton’s infamous no-plectrum technique and then syncs up with the lead guitars. Unquestionable. I’m always a little sad when I hear Orion because of this (and there’s the slightest hint of some chopped onions here as I write this on a Monday morning at 9:39am) but it usually doesn’t take long for me to remember how that song and this album are timeless and will be listened to forever. Easy 5/5 for me and possibly a 6/5.

I feel like there's more to this album than what you first get on a first listen / initial listens of the more prominent tracks. It has standout performances, like the guitar solo on "Stolen Car", and it has songs that are really sonically different and dynamic that show a good strength of songwriting with different tones and timbres. One down side for me is the track list has one little quirk: I'm estimating here but the BPMs are like this per track: 1: 120~ish bpm 2: 90~ish 3: 100~ish 4: 80~ish 5: 85~ish 6: 85~ish 7: back up to 90-100~ish last track (which is a remix): 120~ish bpm To me, this is kind of weird because it starts with a track that moves and then gets a good bit slower for the rest of the album until the last track. Most music acts have "their" sound and don't deviate too much from it, but I find it weird to sandwhich the album with two upbeat tempo tracks and then have a lot of slower tracks in the middle. It's not a terribly bad thing, but for someone like me who likes the idea of logically placing tracks to create a well-paced listen, I think that it's a weaker variable for the album. Overall I liked the album. As I mentioned above it is more than just a singer songwriter thing, and there's some real nice moments on it.

Always loved his playing and never really did deep dives into his albums. He's known as being a (the?) king of alternate guitar tuning / singer songwriter music and this album is really a masterpiece of that style of playing, singing, and overall composition. I love his voice. It's very evocative and yet approachable and not overly dramatic. Biggest gripe is that his music to me can get boring. #shotsfired I know this time period is an interesting mix of 60's and 70's folk music, but I would love for more dynamics or energy in a track here or there. The closest we get to more energetic tracks are in "Poor Boy", which is a bossa nova type track, or "Bryter Layter" which has the faintest hi-hat rhythm that moves the song forward. We hear it a little on "One of These Things First" (which is a lovely song), but his voice is just ~too~ soothing and slow to really push it at all even though the guitar and piano are trying.

He's got one of the best voices in classic rock / rock / folk rock. It's so notable, distinct, and full of emotion. This album starts off with some tracks that have the music underneath his voice sort of meander around and he just kind of "does his own thing" on top. Lots of rubato and free flowing rhythms in his vocal melodies that just sit on top of the chord changes. I'm not sure if the majority of his music/songwriting is like this, but I like it. Sometimes vocalists have such good voices that they really just have the agency to do what they want on top of music without the need for things like structured repeats to enhance the catchy-ness quality of a melody, and this seems like the case with him. He can seemingly just grab a mic and go "lllluuuuuhhhhhh yeeeaaaah" and it sounds great. The one downside of this that I've seen happen is that it makes this sort of disconnect between the vocalist and the band members. I like a certain amount of homogeneity in the vocals and the music; it is just another instrument after all. I don't find it as much of a downside for Van Morrison though because I know that he is a songwriter too and not just someone who gets put on stage in front of a band and told to "do his thing". I think Steve put it well in his review of the last album on the list - (where he ironically mentioned Van Morrison- not knowing that next up on the list WAS Van Morrison lol) this is a great Sunday morning / afternoon album. Put it on while you are drinking coffee and tidying up your place, or put it on while you wait for your grill to get hot and for your friends to arrive. There won't be any objections to the music choice.

Some cool lofi type hip hop type of music. I dig it. This came out in 2001- was this some early inspiration to the lofi hip hop beat youtube genre? I dig it. There should probably be a lofi hip hop sort of album on this list and this one is pretty dynamic. It has some upbeat tracks (Poor Leno), some vocals (Remind Me), some that sound like videogame music (In Space), and overall it was a nice listen!

It's fuggin rock and roll. When I was listening to this band as a boy I would get them confused with "Counting Crows" (because I was probably like 8). I think this band does deserve a place on this list. This album is a solid rock and roll album. I will admit that I listened to it in full background-mode and I think that is where this band shines. The singer has such a great rock and roll voice and some of these songs are bangers but I'm personally biased because I've heard them so much that they are ingrained as backing track music. "Hard to Handle" is one of the best post-1980s rock and roll songs ever. "She Talks to Angels" is as pure as a rock and roll ballad can ever get. I bet these dudes wear a ton of fringe.

I like how this album starts with some energy and keeps it up. Even the third track, "I know it's Over" which is a little slower and somewhat ballad-y, has a drum and bass groove that keeps it moving. Morrissey just has such a great evocative voice. It's sensitive and yet still has a touch of tough-ness to it. Hearing this full through has given me some new tracks to put in my current rotation. I never really gave The Smiths the time of day but I really enjoyed this!

Never heard this band before- I like the sound! - As it was proposed, this makes me think a little about a beach house. Some nervous excitement, some calm warmth, some beauty, some chill. - The first track, "Zebra" is such a lovely buildup. I was really let down by the drum tones/performance when it finally hits though at 2:20. The kick and (more specifically) the snare sound so weak. Regardless, the rest of the track is really nice! Great chord progression and textures. I sort of back-burnered the rest of the album and didn't really focus too hard on elements beyond this first track though. Nice album!

I didn't get into Frank Ocean until this past December (2021) because he got a ton of universal hype across indie review websites and I would always be almost insulted when I would see him atop "Best Indie Albums" lists. I would think- "Is this hip hop guy's album really more monumental for indie music than the Strokes "Is This It"?" or I would question "Frank Ocean is more indie than Neutral Milk Hotel?". But then in December I heard one of his tracks covered live and I was like "oh man is THIS Frank Ocean? The time has come." Frank Ocean is the Fucking Shit with a capital F and S, and Channel Orange is a masterpiece. To me he has that one magical thing about his voice that he could sing literally anything and it would sound beautiful, hip, emotional, contemplative, and cool. His persona only adds to it- he rarely gives interviews and keeps a bit behind the curtain, he's so cool that he performs on SNL and his guitarist in the back - in the dark - is John Mayer, he even announced his sexuality via his personal Tumblr by just saying "4 Summer ago, I met somebody. I was 19 years old. He was too." (It's a beautiful short thank you note that you should check out if you haven't and are a fan. I love how frank he is about it in an environment where being gay or bisexual isn't so widely accepted)... he's just a cool guy. "Thinkin Bout You", "Super Rich Kids", and "Lost" are modern classics! This is an album where I would love to have had a rating system out of 100 instead of out of 5. To me it's hard to say that this album is only a 4/5 because that's an 80/100. It's also not a 5/5 or 100/100 like a few others on this list are, but I think that it's closer to being a 5/5 than it is a 4/5 so I'm going to give it the benefit of the doubt.

This album is a great one to show when showing people Beck. It's a solid representation of him: strong songwriting mixed with outstanding production techniques. Beck is such a stalwart, and I always appreciated his music and the way that he was a gateway musician to a lot of other genres. I think it's easy for a young kid to listen to this album and then get into slightly more abstract sounding indie rock for example, and I love that.

On Steve's bachelor party trip, on the van ride back to NJ there was a discussion about favorite Bob Dylan albums. I listened to him but never played through one of his albums from start to finish (blasphemous for a singer-songwriter). When I was asked, I think I responded with \"Highway 61\" because it was the one that had tracks on it that I actually knew and knew the names of. Someone had said \"Blonde On Blonde\" (Steve? Or was it Steve Fingerhut?) and so the next day or a few days later when I was at work I threw it on and loved it. It's a great album and a strong follow-up to Highway 61 Revisited. It feels fun and energetic compared to the common idea of what Bob Dylan sounds like. The only downside of this album is that it relies so heavy on the blues chord progression, and there's really only so much you can do with that in similar keys and instrumentation before the songs start to blur together and get a little predictable. It's still an amazing album but for someone who has drilled the blues progression a few hundred times, my mind can't help but drift when listening to it in an album format.

This really surprised me, I didn't know what to expect as it's my first time hearing this band and this album. I do have a penchant for 80s acts that write somewhat "cheesy" music but take it really seriously and they appear to fit that bill. Pros: - Great mood shifts in the music. The first song really is blowing my mind with the incredibly interesting layers. The piano starts to shift a pretty "grey" sounding track into happy and sad areas by just changing a few chords- then meandering- then going back to the "grey" and neutral mood. When the children come in in the chorus and sing the callback I was really impressed! Really unique all around. The name of the album is The Colour of Spring, and it's got me thinking about how true they have stuck to that idea and theme. Spring is of course the idea of awakening / rebirth / beauty / change. Across the album I can hear ideas that to me sound like "a fresh start", but I can also hear the rainy days that you get randomly scattered throughout Spring. If I have any critique it's that the vocals are a little low in volume in the tracks across the album. This might be purposeful as there is definitely a focus on the wide instruments. My standout tracks were: "Happiness is Easy", "April 5th" and "Living in Another World". Ultimately I really enjoyed this album. There wasn't a single track that I was bored with, and having a first song that starts out with some really cool mood changes along with instrumentation/voice changes made me have this feeling of "anything can happen" which continued throughout the album listen. Even their more jam-y songs, like "Life's What You Make It" was still interesting throughout. I LOVE the piano that comes in around 2:20.

Solid progressive rock. Production values are very high level, and I think ahead of their time for 1974. This could have come out in 1984 and I would have had the same sentiment. Cons: Even though I mentioned it being great production, I think that synths in the 70s were still a newish tech for bands and acts around this era tended to overdo it. For me, the synth solo throughout the track "In The Cage" really is quite annoying. Synths most often are devoid of any dynamic qualities. They are 100% volume 100% of the time (unless the volume of the instrument is changing at the mixing stage), unlike a piano or a guitar. These solos are blistering runs that lack any kind of interesting layer in them beyond "speed". Not really my thing. Could be my age speaking since I don't really like any kind of solo that's only interesting quality is "fast" "Back in NYC" is really cool. I love the lead instrument. It's repetitive yet really cool and interesting intervals, and tied to the drums to make a really fun groove. "Hairless Heart" sounds like a Final Fantasy video game track. So cool. "Counting Out Time" is very obviously about erogenous zones. Gotta love that. "Colony of Slippermen" is so weird- it's like goblins talking into your ears.t The in between / instrumental tracks are really well placed. This album is an adventure. It really goes places. I thoroughly enjoyed it. The only thing keeping it a 5 is that it doesn't really have any huge memorable / catchy tracks that the band is capable of. Or maybe it's just that it's my first time hearing these. I'm giving it a 4 but it's a very high 4.

Rob Halford has one of the greatest metal voices of all time and this album showcases it perfectly. He does such a good job at everything a rock vocalist could want. Powerful chest voice, legendary shrieking high register yell, incredible finesse with when to release his voice and also when to keep it tame and build the tension. He's also a pioneer for gay men in rock and I think he probably single handedly made the biggest difference in heavy metal fans' outlook on accepting gay people into the culture. He's flamboyant in his own way- he doesn't make it his whole personality or make it a point that sees him stand out from others / take the attention away from the music. And yet at the same time he wears a ton of stereotypical biker leather with spikes (the whole band does as well- and the rest of the band are straight men) and has a "I'm gay, you don't give a fuck, let's jam" attitude. I love it. I once went to an Ozzfest when I was like 14 and Ozzy was set to sing with Black Sabbath, with Priest being the act right before Sabbath. Ozzy was sick and couldn't perform. Rob Halford sang the Sabbath set. One of the most amazing moments for a fan of metal to witness. I simply love this album, this act, and the musicians. When I hear Priest I think nothing can stop me- nothing can fuck with what I'm doing.

Great album, great band that was always being played throughout my life but put on by someone else- like a radio DJ or a family member at a BBQ. The band is really tight and the songs even at their foundations sound really great. There's also this sort of "epic" quality to this album (and probably the rest of the bands music as well) that I really appreciate. It's like the guitarist would go into the studio and say "can i do this huge guitar solo?" and the rest of the band says "hell yes". Good example of this is the track "Poem 58".

This was used in the exorcist! I thought it sounded familiar. Nice album, probably ahead of it's time with modern world music / new age-y sort of feel to it as it came out in 1973. Many of the transitions are kind of blunt in my opinion and don't have much finesse which weakens the overall experience. A good example is halfway into the first track, about at the 13 minute mark it goes from a computer-y dual clean guitar part - to a groovy distorted guitar chunker section for a total of 20 seconds- then immediately into a humming piano part. and it kind of lacks panache. To me it comes across as a million ideas all stitched together without a lot of development.

It's a nice album but it's a little too -backgroundy- for me. It was hard for me to be grabbed by the music without sitting intently and paying attention to everything going on. The vocals being so soft probably played a part in this. The track "XL-30" was cool- I think it's like mimic-ing what a robot would sound like with some early electronic sounds? That was unexpected and while I do like things like that, I think that it's just kind of added to this album for the sake of adding something different? I'd rather they got experimental in the other tracks and throughout the album rather than all at once to try to spice things up. Got nothing wrong with chill music but this didn't do much for me.

I love hearing Neil Young with some electric guitars behind him. This album has a few songs that come across as kind of podunky dad rock though, which isn't always the case with Neil Young. "F!#*in Up" isn't one of them and I appreciate how Neil comes across as a bit cooler and less caring in that track. Production wise this was pretty great for 1990. It's got a ton of grunge tones in the fuzzy, scratchy guitars, and I think it was probably a breath of fresh air for rock and roll fans trying to get away from the 80s. I also like how loose some of the tracks feel. There's a lot of room to breathe and the foundational elements - the bass and drums - tend to be pretty tight throughout. I do think the drums can be a little boring at times, but I think that for this period of rock music there isn't much exploration going on for drummers/ drumset players, so I'm looking at it coming from a place of modernity in rock music where percussion elements tend to be a little more exploratory and a little more engaging. These drumbeats sound like the first ones you hear when you open up a programmed drumset application as a music producer- "Rock Beat 1" "Rock Beat Ballad 3" "Mid Tempo Rock 6" etc. Overall I like the album! Neil Young is great and I love hearing him in a rock setting with Crazy Horse.

It's a tight album. Surprisingly short at 38 minutes for 12 songs. One downside for me is that in the production the vocals are too low in volume. I know that that is sort of their sound (along with a lot of other bands with similar sounds), but I wish the vocals were just a little louder. "Loveless" is often seen as their magnum opus, and it's fun to hear their sound evolve from this record to that one. This album to me feels a little less polished and a little less developed. There's moments where I wonder about their thought process for writing a specific song or even the inclusion of a certain song on the album. The track "All I Need" comes to mind- it's sort of this trance-like interlude that lulls you before one of the more energetic tracks "Feed Me With Your Kiss". It's a typical musical/album-flow idea to have some give and take, but it does make me ponder their thought process when writing that. Did they consider the "sound" that they want to have as a band and include that trance-like track? Or did they just write songs and put them one after another and say "whatever"? There's a lot to consider! Overall, I liked it! I think it has a great raw sound.

Some early punk rockin by one of the best to ever do it. I've actually never been a huge listener of the band but it would be hard to not respect them as pioneers of the genre and at the core even just good songwriters with a dirty sound. Highlights on the album for me: "Janie Jones" "I'm so Bored with the U.S.A." "What's My Name" If London Calling is a 5, then this one is a high 4.

I like this version of The Cure- the more melodramatic side from their earlier records (this is their second) before they started to get more poppy (I like the poppy version of them too). The third and fourth tracks "Secrets", and "In Your House" are good examples of this neutral / grey / mid tempo / lower vocal sound that I find attractive. The downside of this is that the tracks tend to meander a bit and don't often have any climaxes or dynamic changes. The song "Three" is painfully repetitive, and it's not the only one. It kind of typecasts the music for listening while you are a little bit down or on a rainy day. Unfortunately for The Cure, I listened to this on a beautiful late Spring / early Summer type of day and it didn't necessarily parallel my mood! I'll have to save it for the Fall. Ultimately I liked it but I question it's place on this list as there's too many tracks on it that I would consider "filler".

Interesting pock and rock album! Never heard of it or the band prior. Pros: - I like the funny spoken lines. Feels really raw! - Guitar work is really well done for a punk sound. - Lyrics are funny! - Oh dang this came out in 1975! After reading more about it, it's been called a precursor to punk. I'm not surprised! Very ahead of its time. Misc: - I've been following the play counts for every album on this list as they are on Spotify - and I think this one has the lowest counts. Not a single song is at 1 million streams, with the highest being 576k streams, and meanwhile most other albums easily go over 1 million for most tracks.

Interesting early punk / raw sound. I find the production to be very interesting - if you listen to track 4, "Dirt", and then track 5 "1970", there is a huge volume discrepancy between the two tracks. I suspect a different fidelity level too- "Dirt" sounds wider, with instruments panned out further into the L and R ears, and 1970 to be generally less stereo. "LA Blues" is very cool and wild with saxophones - it almost feels like a John Zorn piece in some areas.

Pros: - The production is really interesting. The panning on the first track is super wide and only gets more intriguing as the song goes on. The first minute and a half or so is mostly in the left ear, and then the next minute and a half is mostly in the right. That's something you don't really see too often. - I like the vibey moody sort of world of sounds that this guy is weaving on this album. Misc: Overall I liked it! Cool album from a band/act that I haven't heard of before.

I think this is Jethro Tull's most well known album. I love aqualung (the song), and locomotive breath, but the rest of the tracks don't ever really come too close to those two for me. Still a solid release. It's a great classic rock sound with some impressive genre blending and I think probably the best implementation ever of flutes in rock music.

Really great, timeless album. The hits are there, and I found myself enjoying the non-hits just as much, like "I Got the Blues" (with a great organ solo!), and the finishers "Dead Flowers" and "Moonlight Mile".

Interesting sound, it's like 80's electronic soul funk. Some of the mix / post production decisions are interesting and I find some songs have moments that sound pretty dynamically weak or a little thin. I do like the overall flow of the album; I think the artist did a good job at placing the tracks and there is a great mix of longer songs that explore / develop more, and shorter tracks that hang around a single hook and repeat it often and this was a standout idea of the album for me. Some of these tracks repeat the hook SO much that you can't really help but get them stuck in your head. "Wishing Well", "Seven More Days", "Let's Go Forward"... they are so short, repetitive, and romantic that it kind of feels like a.. love-making album? lol.

Beautiful album that was over before I even knew it. That was a good thing and a bad thing - I was having a great conversation with someone when I started this album and it kept me vibing and energized while in the discussion, but it also didn't have one track that really stood out.

I was waiting for Leonard Cohen to appear on this list. So we all know he has HIS sound, but man does he come across as tired and exhausted on this album. This is my first time hearing it and reading about it and apparently he recorded this in his living room after touring a ton and having medical issues for years. Then the release of this album came out only like 2-3 weeks before his death. It's fitting that the first track's main hook is "I'm ready, my lord." "Leaving the Table" is really amazing. It's such a Leonard Cohen song. Lyrics are really A+ for me. You can tell that he knew this was his last one, and it of course brings a sadness to that fact, but I love his tongue and cheek humorous acceptance. "Traveling light It's au revoir My once so bright My fallen star I'm running late They'll close the bar I used to play One mean guitar"

"Chain of Fools"... is there a better song in the realm of soul music? Oh yea, maybe it's "(You Make Me Feel Like) A Natural Woman", which is only four songs later on this same record. JEEEZ. I also really liked track 4, "Niki Hoeky", which surprisingly had the lowest amount of plays on the album on Spotify. The bass line pushes the track forward so well. After starting with a bop it really just continues. This album slaps you so hard all you can say is "thank you may I have another." Everything is so well done.

IMO this is one of the best live albums of modern music. The dynamic with him bantering with the inmates is so uniquely strange, energetic, tense, and yet somehow he is comfortable (naive?) enough to invite his wife, June Carter on stage to sing with him for a song. I think the setlist is fantastic, the performance is fantastic, and I think this album is fantastic. It's not only fitting for this list but also is an easy 5/5 for me.

It's a wildly good pop / pop-rock album. Despite it's current place in the world as a meme song, Wonderwall is one of the best pop acoustic guitar songs of all time, and both "Don't Look Back in Anger" and "Champagne Supernova" could be single one-hit wonders that could make another artist's complete career- and Oasis have all three of them on one album. That factor alone makes this album a 5/5 for me, and yet there's still more tracks on the album that are fantastic, like "She's Electric" and "Some Might Say". (side note- if i'm recalling correctly, this is the first time i'm hitting consecutive 5 out of 5's!)