No weak or filler songs here. Really well structured and produced. Incorporates elements of psychedelia, glam, and rock but is still fresh and timeless.

It’s fine.

Not bad, but nothing exciting or terribly interesting.

It’s good enough, but not consistent.

Country-rock with some jazz flourishes, which are refreshing. Definitely a product of its time.

Solid album as always from Queen.

Still a great, consistent album. Not sure it’s their “best” album, but definitely on the short list.

A

Layered, but I think I prefer anything by Swell Maps.

Better than I expected, but not my thing.

Some standout tracks, but not enough of them.

I like jazz, and I know this is a classic, but I just don’t dig it.

Quite good.

Really hit and miss.

Alright for a piano album.

First half is solid, especially since the remaster. The second half gets to be pretty boring.

Has its moments, but Zeppelin did most of this better.

Seems vastly ahead of its time

A couple of standout tracks, but overall pretty uninteresting.

Half an hour of jarring harmonica soloes and affected Southern-ness by Californians who are, somehow, even less convincing than Brits like Zeppelin and the Stones when they dipped their toes in the Bayou water. This stuff is why we needed punk rock.

One of the best albums to come out in the post-Nevermind era.

Delightfully noisy.

Nothing typical of either artist, but nothing particularly memorable, either.

A really solid album. Several really great tracks, and also Vicar in a Tutu.

Well balanced production. A little bit of something for everybody.

Quite good, but more than a little misogynistic.

Pretty excellent.

As always with Mingus, interesting from beginning to end.

“All in all” a bit overwrought and undeserving of its great album status. Not even one of Pink Floyd’s best.

Very creative and quite interesting.

Could be convincingly from any decade since the 1960s.

It’s like a satire of psychedelia.

Certainly not bad, but other than a few high points, not remarkable.

As technically proficient as the instrumental portion is, it isn’t terribly interesting. The vocals ruin it anyway.

Iconic.

Even the deep cuts are solid.

No weak or filler songs here. Really well structured and produced. Incorporates elements of psychedelia, glam, and rock but is still fresh and timeless.

Some of RHCP’s better work, but its appeal is still limited.

So, so boring.

A pleasant enough blend of 60s pop, bossa nova, and Black Sabbath. Definitely wears its influences on its sleeve.

A couple of interesting tracks interspersed with rather boring guitar noodling.

Solid. One of their better albums.

There are a number of albums that are both very relaxed and enjoyable; this is not one them.

Deservedly a classic. Delivers both quantity and quality.

Over forty years old and still sounds fresh.

A pretty standard paint-by-numbers, nü-metal adjacent, late 90s album.

Really infectious.

Really well done old-school country album.

Layered, spacious, and slightly dissonant. One of the best albums of the ‘10s.

At least as good as some of the more well known albums of the time; and it doesn’t seem as self-important.

An unintentional caricature of c. 1968 music. No thanks.

Interesting as a chill-out record, but nothing special as a trip hop record.

Nice production. Drums are bit too low in the mix.

Both nostalgic and ahead of its time.

Welcome to the Machine and Wish You Were Here are great tracks, but the rest is only alright.

Pretty good overall. It does have its moments that drag.

Surprisingly good.

This seems like someone found a reel-to-reel tape of cheesy background instrumentals for grocery stores and decided to lay down some vocal tracks on it. Terrible.

Amazing what can be created from other material.

Decent as background music, but nothing outstanding.

A good bit better than expected, though it definitely leans more towards quantity than quality.

Altogether pretty good, even beyond the big hits. The production is spot on.

Typically solid Kinks album. A bit of a step up from “Village Green,” honestly…

Falls somewhere between Juno Hendrix’s rock edge, Pink Floyd’s atmospheric bluesiness, and CSNY’s harmonizing cheese. But not bad actually.

Really diverse and good. No weak songs.

Pretty decent, but a bit “one-note.”

I like trip-hop, Asian underground, and Hindustani music, but this just not good. Its best tracks were only tolerable, but most were a good bit worse.

Chill, retro synthpop.

Very fast and very technical, but not very interesting.

Really well-written and produced rock and roll songs.

Feels a bit overwrought, but not bad. More interesting than the last several FJM albums.

Long form, layered and impeccably produced.

Mostly interesting because of the industrial elements, but not bad overall. Definitely a product of its time. Perhaps a more hip-hop version of Ministry’s The Mind is a Terrible Thing to Taste.

I kinda wanted to like this, but it’s just so boring.

A very solid pop album from the 80s, but like so many albums of that era it contains several great singles interspersed among a lot of filler.

I wish I could give it less than one star.

Really solid creatively and certainly the most deserving of the label industrial, but not the EN album I would’ve picked for a “must listen.”

The instrumentation is exceptional, but the vocals really don’t fit. Also, Dave Mustaine is a disappointing human being.

Quite a few excellent songs on here. No self-indulgent noodling or overproduction.

A legitimate classic.

You can definitely hear the seeds of a dozen other albums in this one.

The hits are good, but the rest is very repetitive filler.

Not a terrible album; in fact each song is pretty good. When you put all 16(!) of them together, though, it’s pretty monotonous.

At their core, most of these songs are alright. Unfortunately, they tend to be about twice as long as they need to be (see It’s All Over Now), crammed too full with Americana textures (see the title track), or there’s just too much Rod Stewart (most of the tracks).

What a great album. Not for people who just want their jazz in the background, though.

Good enough for those who like their pop punky or their punk poppy.

Quite good.

Really quite good. No filler; even the lesser-known tracks are solid. And the production is perfect.

Everything besides “The Softest Hammer” is really dull.

In the depths of my misery I checked to see how much of this was left; I lost all hope when I saw I was not yet halfway through.

Sometimes you can judge a book by its cover.

The instrumentation and production are fine, but it’s all just terribly sappy.

A longtime favorite and an all around great album. This is quite close to 5 stars, but is diminished a bit in comparison to the albums that bookend it: Black Celebration and Violator, either of which would get the full 5.

Succeeds at being both chilled out and, at times, heartbreaking. Nothing bad to say about it.

For the love of god Tambourine Man just play him his stupid song so he’ll shut up about it. Some of these songs would be quite good if they weren’t drowned in harmonica and if someone else sang them.

I still think this is their best album.

Your quintessential psychedelic rock album. Not the heavily produced, high concept Pink Floyd that was to come. Still a good listen.

Aside from “Waiting for the Sun,” this album is at best dull and at worst the musical equivalent of watching a philosophy major’s film project. I’m fairly certain it, and a dozen uninspiring albums like it, only get love because they came out in or around 1970.

The lyrics are excellent and heartfelt, while the vocals are diverse and perfect, but it feels like the production is just missing something.

Some really good tracks, and some others that are less impressive, but not bad. Brings in a range of styles and approaches.

Not bad, but not memorable. Like early Radiohead, without the hooks.

It’s pretty good, if you can get past Sting’s voice.

Really quality blend of genres and moods. Every track stand on its own quite well.

Very dull, vanilla rock. It’s almost as if someone made a checklist of rock tropes and these guys just went by that.

Some of the beats and lyrical flow are inspired, but that doesn’t make up for the absolute garbage lyrics. The takeaway is that c. 2000 Eminem was a man child who couldn’t handle criticism and compensated by threatening to rape women.

Dull, monotonous, cookie cutter rock.

It’s well-written guitar rock that spawned dozens of followers. But it’s a bit monochromatic. Once you’ve heard the first three or four songs, don’t expect anything different.

Slightly more interesting than that Norah Jones album, but still unlistenable. More music to be piped into mall bathrooms.

Amazing to hear how many hip-hop tropes came from this album. A generally enjoyable listen, but I have to deduct one star for Aerosmith’s inclusion.

A bit trip-hop, a bit lofi, and more than a little (dark)ambient. An audio Rorschach test.