I love everything about Bat Out of Hell. Everything is so extravagant, overcomposed, and just in general turned all the way up to 11. Steinman's melodies are rock-solid and his lyrics succeed in convinced you that the entire fate of mankind depends on whether or not this horny teenager gets to third base tonight in the backseat of a Chevy Camaro. EVERYTHING is at stake. Instrumentation is of course ridiculously on point with Todd Rundgren and members of the E Street Band combining to make this silly record one of the best and most enjoyable rock operas ever. Thank you Meat Loaf, you absolute legend.

Alright, this certainly is one of the albums ever created. Impossible to separate the artist and the mythology from the music itself, when the entire thing truly sounds like someone held talented musicians against their will and forced them to learn these horribly complex compositions. But in the end, the record really is a blast. Never boring, often humorous, and avoids being repetitive in its challenging of the listener. 'Bill's Corpse' really is a bop.

An unparalleled fresh and original sound in 1968 with strong ties to the American song tradition, and which served as a huge inspiration for countless acts to follow. The ties to Bob Dylan are strong, but it's incredible for The Band to create a record which sounds wholeheartedly different than what they did while acting as Dylan's backing band. Music From Big Pink is charming with a production making it sound like it was actually recorded in a basement. The vocal harmonies are raw but authentic, and the highlights are plenty: 'Caledonia Mission', the swinging 'We Can Talk', 'Lonesome Suzie', 'This Wheel's On Fire' and of course 'The Weight'.

FUN record with some great tracks in 'Kicks', 'I'm Not Your Stepping Stone' and 'Take a Look at Yourself'. A good portion of non-memorable tracks and 'Little Girl in the 4th Row' is a bit tedious. For a band who, according to their name, should oppose the British Invasion, they sure do sound a lot like their contemporaries - just almost breaking out into 'Day Tripper' on 'Louie, Go Home'.

Try To Listen To A Non-Christmas Album Without Thinking Of Christmas: Impossible Edition. It's got chimes. It's got Mariah Carey. It's got P Diddy. It sucks.

Strong start, weak finish

'Them Bones' is a top-5 track in Grand Theft Auto: San Andreas. 'Rooster' is also a song. Also: most ypt (yeah's per track) - Layne Staley or James Hetfield?

Phantom of the Opera, Transylvania, the transition into Strange World and Iron Maiden (x3) are all 'cheff's kiss'. Di'Anno, not so much.

This does very little for me. Half a star each for 'Make Me Know It', 'Fever', the melody of 'Girl of My Best Friend' and 'The Girl Next Door Went A'Walking'. The rest is incredibly bland. I don't believe this Rock 'n' Roll thing will survive for too long.

Soubour is a classic, Wayei great desert-trance, Petit Metier beautiful, and great finish with Desert Melodie and Mali <3

What a peaky record. 'Gasoline Dreams' hits harder than I remembered, and the lineup of singles is great: 'So Fresh, So Clean', 'Ms. Jackson' and 'B.O.B.'. The lows are quite low - looking at you 'We Luv Dees Hoez'... - but THAT PRODUCTION. Insane to induce frisson by the sound of pouring a drink. As a cherry on top, it's always nice with a bit of Killer Mike and Cee-Lo.

What a pleasant surprise! Someone has been hanging out with R.E.M. and Dinosaur Jr., and I'm all for it. Probably my second-favourite song titled 'Man on the Moon' released in 1992.

Not every composition is strong enough to be held up by basically only Cohen's guitar and recognizable vocal, and the melody of 'A Bunch of Lonesome Heroes' borrows a bit too much from 'So Long, Marianne' off his previous record. That being said, an album containing 'Bird on the Wire' and probably my favourite Cohen recording 'The Partisan' will never go below 4 stars. Ever.

Wow, okay. This has very few redeeming qualities to me. Some tracks like 'Planet Claire' and '52 Girls' are tolerable, but it was truly an annoying chore to listen to this. To top it off, the album finishes by absolutely ruining 'Downtown' for me. I don't know, maybe I'm just no fun.

'You Ain't the Problem' is an awesome opening track setting the tone for this entire genre-defying album. Then you have great tracks like 'Rolling' with a pulsing beat straight from Tame Impala, the beautiful 'Piano Joint (This Kind of Love)', 'Hero' with transcendent strings and a catchy indie-riff, and of course 'Solid Ground'. There is juuuuust a bit too much of filler in the form of interludes and intros for my tastes, but what a statement of a debut album!

FUN record with some great tracks in 'Kicks', 'I'm Not Your Stepping Stone' and 'Take a Look at Yourself'. A good portion of non-memorable tracks and 'Little Girl in the 4th Row' is a bit tedious. For a band who, according to their name, should oppose the British Invasion, they sure do sound a lot like their contemporaries - just almost breaking out into 'Day Tripper' on 'Louie, Go Home'.

Things I like: - Post-punk - Marxist ideals Things I do not like: - Fear - Whiskey - The fiddle With each listen the underlying melodies surface more and more, and 'Last Dance' is starting to convince me that perhaps the fiddle has some "raison d'être".

God, I love The Waterboys. But not like this... You can sense their greatness on 'We Will Not Be Lovers', which is an excellent track not at all suited for this album, until they smacked a fiddle on top of it. Speaking of which, I am still not friends with that instrument. Then you have other highlights like the title track and a great Van Morrison/Beatles cover on 'Sweet Thing'. Overall they are still at the top of their game when they lean into the grandiose or their Irish and Scottish roots as on 'The Stolen Child'. Then you also have 'Jimmy Hickey's Waltz'. Just, why? And can we please stop it with albums ending on a shitty cover song? Thank you.

Geez, leave some sweet melodies and groundbreaking innovations for the rest of the music industry. How does 'Tomorrow Never Knows' still sound so fresh 57(!!) years later?

The album that solidified Amy Winehouse as a household name is drenched in retro and Phil Spector-esque sound, while laying the groundwork for a lot of soul-inspired music that followed it. Don't pay too much attention to the lyrics behind the upbeat songs, unless you want to be sad and bluesy.

For virtually any other band, Amnesiac would be the definitive magnum opus. With Radiohead, you can make a somewhat reasonable claim that it doesn't even belong in a list of their top 5 albums. I won't make such a claim. 'You and Whose Army', 'I Might Be Wrong' and 'Knives Out' is a strong contender for the best 3 track-stretch in their entire discography.

The Ramones are not the world's worst band. They are, however, the world's most overrated band. 'Hey ho, let's go'? No. Come on, there is nothing punk about 'I Wanna Be Your Boyfriend' and then to have it as your second single. Fuck off.

One of the few albums where I can still remember the first time I listened to it. Incredible how Coltrane translates the incredible skills of the entire group of musicians into something spiritual and almost otherworldly.

Does it get any more 70's than this? A very ambitious blend of prog, glam and art pop (is art prog a thing?) results in an album that doesn't even sound like it's from earth. It gets a bit too flimsy on the art waltz 'Falling In Love With Myself Again' and 'Talent Is An Asset', but the highlights make this a very enjoyable listen. 'Thank God It's Not Christmas' is one of the greatest titles ever (mostly due a certain Queen song it predated quite a bit), 'Complaints' has some great Supertramp vibes and the catchy 'Equator' lives rent free in my mind, and I don't mind.

At first I was ready to give this 1 star, maybe 2 for 'Freedom! '90'. But it's a pop record, and its qualities lies within its catchiness and recognizability. And there are some catchy and beautifully composed songs on here like 'Waiting (Reprise)', 'They Won't Go When I Go' and 'Cowboys and Angels'. 'Waiting for That Day' is also quite a good tune, but like the man himself acknowledges, it is veeeery close to 'You Can't Always Get What You Want' in chord progression. On the other hand, you also have the ridiculous pan flute on the heavy-handed 'Mother's Pride', so I really don't know what to make of this.

Impressive showcase of creativity and musicianship fueled by strong and important beliefs. Efforts like these give a reason for publishing a new version of '1001' each year. A bit too few strong, memorable tracks to hit a 5/5 rating.

Wow, these The Smiths blokes make some great music. I sure hope that Morrissey isn't an insufferable prick and ruins an otherwise perfect album composed by Marr by smashing on bloody awful lyrics on 'Some Girls Are Bigger Than Others'. Oh well.

Tough record to boil down into a rating. Its greatest strength is Van Morrison insisting on defying conventions - lyrically, compositionally and structure-wise. This strength also makes the whole thing a bit inaccessible and makes you alter between a calm meditative state and frustration at the repetitiveness and runtime of the tracks. When it transports you to an entirely different state of mind, it's magnificent. I am just not able to stay there for the entirety of the record.

"Can we get much higher?" Probably not. The production and sampling alone is worth 5/5.

If this doesn't immediately transport you to a curbside café in Havana, nothing will. The impact this record had and the doors it opened for world music everywhere is difficult to overestimate.

Interesting production with some early highlights in 'Novocaine For The Soul' and the catchy 'Susan's House'. I'm not quite sure that the lyrics hold up, like on 'Guest List' which sounds like a sad RHCP song. There is a fine line between naïve and simple lyrics. That cover still gives me nightmares.

A classic with obvious highlights in the megahits 'Rio' and 'Hungry Like the Wolf'. Shoutout to the mean bass on 'My Own Way' and 'New Religion' - that shit slaps! Also amuses me that 'The Chauffeur' is the perfect song for the movie Drive - written 30 years prior.

Man I love 'Child In Time'.

Perhaps the most important underground band since the velvet kind? I believe the Onion was right when they wrote that Pitchfork wrote “In the end, though music can be brilliant at times, the whole medium comes off as derivative of Pavement.” 'Gold Soundz' really is a terrific track.

'Never Let Me Down Again' is the best Depeche Mode track ever released, and I am willing to die on this hill. In general, this is peak Depeche Mode - great with a little (a lot!) S&M action on 'Strangelove'. I don't understand closing an album with a small hidden instrumental piece at the end of another instrumental piece.

How on earth was this the successor to Astral Weeks? Quality is obviously still here, but the structures and lyrics are almost complete opposites of his previous output. There is still plenty of room for innovation, and the title track is just immensely impressive.

This is my jam. 10/10 cover. Absolutely insane production (just listen to 'Dragon Queen'!). Stunning highlights in the bangers 'Zero' and 'Head Will Roll' along with the wicked good 'Dull Life'.

When I first heard this record a while ago, I thought that maybe there was something I was missing. Now I am sure. I am not missing anything, it's too long and just not that good.

Peak Nirvana. Peak Grunge. Incredible run of tracks from 'Scentless Apprentice', 'Heart-Shaped Box', 'Rape Me' to 'Frances Farmer...'

New Order doing New Order things. At their best when the drum machine is kicking and the production is filled with tons of samples. Individual tracks go in just a bit too many directions which makes the record lose a bit of focus.

Peak MBV. Peak shoegaze (along with Souvlaki by Slowdive). Absolutely insane that Kevin Shields was able to create something so dreamy which at the same time insists on having an intimate connection with the listener.

Interesting choice of Massive Attack album to say the least. There are some definite highlights on this like the classical 'Weather Storm' and 'Euro Child' which would serve as the blueprint for the majority of tracks on Gorillaz' debut. However, when they decide to dip their toes into reggae like on 'Karmacoma' and 'Spying Glass' I lose all interest.

I knew the day would come where Prince would pop up. I mean, I can appreciate His Royal Highness’ virtuose talent and his take at bringing down gender barriers, but I am always bored, disappointed and wishing that the runtime of almost every track had been halved.

Greatest a cappella achievement since Don’t worry, be happy? All joking aside, it is impressive how much warmth and intimicy is created on Medúlla through the use of the human voice. This is amplified by the production on Björks voice, which makes you feel like she is either whispering or screaming into your ear - a great example is on the Icelandic 'Vokuro'. Maybe a bit uneven track listing favoring the first half - or perhaps the curiosity sparked by innovation quickly wears off?

I do not connect with the blues in any way, shape or form. The musicianship is there, but what else? Three of the tracks, including 'Mannish Boy', are re-recordings - perhaps because the remaining (original) songs are just not that great. Two stars for the musicianship and for not being actively annoying to listen to. I am just completely indifferent to this record.

Strong Zeppelin record, albeit a bit too long. If they had disregarded the need for adding material in order to make it a complete double album, this might had been in the discussion for their best. The run of 'Houses of the Holy', 'Trampled Under Foot' (if only they had recorded many more funk-inspired tracks!) and 'Kashmir' is incredible, even for them.

Cinematic triphop. At times the atmosphere created is magnificent, but more often than not the music fades into the background to the point that I didn't even notice when the album had finished.

This is a fun album. It is also an absolutely terrible album where I often genuinely wondered how on earth Soft Cell recorded, let alone released, these tracks. On 'Youth', Marc Almond can't hit a single note even if his life depended on it. The only bearable moments are 'Tainted Love', 'Seedy Films', and the closer 'Say Hello, Wave Goodbye'. Having sung and danced countless times in my life to 'Tainted Love', I've wondered why I hadn't dived deeper into their discography. Now I know why.

How on earth do you release this as your debut album in 1969?? It's completely insane to think about. Side one is out of this world - 'Good Times Bad Times', 'Babe I'm Gonna Leave You', and 'Dazed and Confused' are sublime. Side two doesn't quite keep the ball rolling with 'Communication Breakdown' being a highlight. I love this album, but somehow it doesn't quite feel like a 5/5.

A lyrical odyssey with great classic hiphop production. Storytelling at its finest and packs a great one-two punch in '4th Chamber' and 'Shadowboxin''. Impressive lineup of guests, and it's always nice to have the whole clan together.

I hadn't listened to this record in its entirety since the obligatory grunge-fanatic period as an angsty teen. I found it to be a surprisingly tedious listen, the album bloated and most tracks way too polished for my taste. There are obviously some legendary tracks on this, but then there's also 'Half' which is just... not that good.

Definitely a highlight of the late stages of Bowie's career. Incredible that he could keep this level of innovation and songwriting quality throughout. Perhaps also one of the most accessible and thoroughly enjoyable Bowie albums out there - which is certainly not a bad thing. 'Where Are We Now' really is magnificent.

What can anyone say about 'Highway 61 Revisited' that hasn't been said countless times before? Dylan perfectly captures the cultural landscape of his homecountry and creates lyrics and music defining an entire generation while driving his own evolution into rock instrumentation. Even though Dylan was only 24(!!) years old when releasing Highway, he speaks as though he has been around for centuries with lyrical references to literary works spanning throughout the anthropocene. 'Like a Rolling Stone', 'Ballad of a Thin Man' and 'Desolation Row'. What more is there to say?

Bang-average album by Costello. 'Blame It On Cain' and 'I'm Not Angry' were interesting, but overall the record sounds incredibly bland. Not looking particularly forward to the remaining entries by Costello.

For sure an influential album, but there are some real stinkers on this. 'Buried Alive' and 'Teachers Pet' make it seem like the album is more of a parody than an actual attempt at creating something, well... good. And the lyrics are often downright atrocious. Then 'Don't Burn The Witch' hits and you get to see why so many bands were inspired by Venom's sound.

Very interesting production with obvious inspirations from the contemporary post-punk movement and especially Talking Heads (especially on the title track). I like it! Crazy to do this as a follow-up to Rumours, and perhaps it was necessary for Fleetwood Mac to continue to develop and not get stuck in their previous sounds. As almost always with double albums, some tracks could have been omitted, but I even a length of 60 minutes might have worked.

There is some great classic instrumentation on this. The trumpet on 'But Beautiful' really is beautiful and haunting. With that said, I found the entire thing to be quite dull. Although her voice is magnificent and the arrangements are very pleasant, it tends to fade into the background. I was reminded of Nat King Cole's Christmas record, but unlike that I can't really think of an occasion to ever put this on.

The album where Paul is fixated on honey pies - the wild and domestic kinds - for some obscure reason. With 93 minutes this includes a plethora of first class Beatles songs: 'While My Guitar Gently Weeps', 'Happiness Is A Warm Gun', 'Blackbird', 'Revolution' to name some. But in all honesty it does also contain some fillers ('Wild Honey Pie', 'Why Don't We Do It In The Road?'), and I found side three to be actually quite weak. The record would probably have been stronger if Harrison had been allowed to get more songs in the final tracklist. My biggest surprise with this re-listen was that 'Revolution 9' was... not that bad? I actually quite enjoyed it, and they seemed like they were having fun.

I genuinely believe this is a perfect record. Joni Mitchell writes lyrics just as hard-hitting 50 years later and accompanies them with lush instrumentation comparable to Paul Simon. The melodies are catchy without ever being trivial. THAT moment in 'This Flight Tonight' when the music switches to what she is listening to in her headphones while on a plane... Come on! And the title track. Wow. That track is SO DAMN BEAUTIFUL. Closing out on 'River', 'Case of You' and 'The Last Time I Saw Richard' is also just completely unheard of.

Knopfler's (the Mark one) signature finger-picking guitar is evident from the first track 'Down To The Waterline'. But what really shines here is the drumming of Pick Withers. Never a dull moment! A really strong debut with highs - the funky 'In The Gallery' and 'Sultans of Swing' - and lows - the lyrically weak 'Wild West End'.

Hilariously dated and way too long. Perhaps you can find some redeeming qualities in som well-produced beats, and 'Sumthin' Wicked This Way Comes' was enjoyable, but it's just not enough for me. And can we just agree to drop it with pointless interludes? Thanks.

Honestly almost completely blown away by this. This is the missing piece of the puzzle bridging the gap between British psychedelia of the late 60s up to the British rock groups of the 00's. You can clearly hear the sound presented on Kilimanjaro in later British acts like Arctic Monkeys and Kaiser Chiefs. Some great tracks on this like the opener 'Ha Ha I'm Drowning', 'Thief of Baghdad' and the danceable 'Went Crazy'. Throughout the record is a controlled chaos of synth, organ, drums and erratic vocals, and it works really well! Unfortunately, 'When I Dream' is way too long - at least the version currently on Spotify. I wholeheartedly understand why it was originally cut down.

Without a doubt the most boomer rock band out there, but who cares. 'Take It Easy' is one of the greatest opening tracks on a debut ever. However, it's no coincidence that their best-selling album is their greatest hits. As you say in Danish, 'There is far between the schnapses', and for every memorable track, you have at least two that does not move me in any way. It's odd because I am bored during the acoustic tracks and then when the electric guitars kick in I am yearning for a more stripped-down instrumentation. 'Take the Devil' manages to hit a sweet spot though, and 'Tryin' is not half bad either.

evermore contains a lot of fine melodies, but Swift insisting on repetitions in her lyrics to cater to the lowest denominator really irks me. The intimate production of the instrumentation throughout (as on 'champagne problems') really is something special, and Swift is at her best when she channels her inner Phoebe Bridgers (''tis the damn season') or Lana Del Rey ('cowboy like me'). The collaboration with HAIM on 'no body, no crime' is another highlight.

A legendary album by a (now) legendary songwriter. His increasingly gloomy world view definitely seeps through on this, his third and final record. The emotions are never hidden and it seems like everything is constantly balancing on the edge of a knife. Indeed very haunting and it's very refreshing to hear songs which are absolutely cut the bone with no fill.

I love everything about Bat Out of Hell. Everything is so extravagant, overcomposed, and just in general turned all the way up to 11. Steinman's melodies are rock-solid and his lyrics succeed in convinced you that the entire fate of mankind depends on whether or not this horny teenager gets to third base tonight in the backseat of a Chevy Camaro. EVERYTHING is at stake. Instrumentation is of course ridiculously on point with Todd Rundgren and members of the E Street Band combining to make this silly record one of the best and most enjoyable rock operas ever. Thank you Meat Loaf, you absolute legend.

This is one of my favourite alternative rock albums of all time. The record is packed with power and beauty. 'Look at You', 'Sworn and Broken' and of course 'Gospel Plow' are incredibly beautiful. With each listen, my favourite track changes. First it's 'Dying Days', then it's 'Witness' and the next time it is yet another one. Very impressive! Mark Lanegan truly was a genius with a voice of his own.

"Alright so we got a Bee Gees record for you." "Okay, but I'm not the biggest fan of disco." "It's over 1 hour in runtime." "That's... a lot of disco." "It's from 1969!" "That's... a bit early for disco?" "Also it's a failed baroque pop concept album about a fictional ship sinking in 1899." "It's a WHAT?" 60's Bee Gees where have you been all my life? There are some genuinely great songs on this - 'Marley Purt Drive', 'Give Your Best' and 'Seven Seas Symphony'. The lovey-dovey songs are a bit tedious to get through, and the entire album seems a bit disjointed. It left me longing to hear more about the sunken ship!

My familiarity with The Beau Brummels is quite sparse, but on this 1967 record they sound miles behind their folky contemporaries. The songs are underdeveloped, and throw in an uninspiring and sloppy production and the end result is a truly unremarkable record. 'And I've Seen Her' and 'Old Kentucky Home' tempted me to give this a 1/5, but the 'The Wolf of Velvet Fortune' luckily manages to raise this to a 2/5.

What a testament to the absurd quality and depth of The Cure's discography that not a single of my Top 10 Cure tracks are on this record. Despite it being one of their strongest. The songs are grandiose, Smiths vocals desperate, and the lyrics gloomy as ever.

The influences from Master of Puppets are obvious, but Sepultura's fourth record is more brutal and experimenting in nature. And the drumming is just slightly more tight, as heard on 'Subtraction'. A monster of a track with a brutality in the higher end of the thrash metal spectrum. The legendary title track is equally as brutal and sets the tone for this entire tour de force of industrial-inspired thrash.

How the hell did Boston manage to create this as their debut album??? The style is fully-developed and the musicianship is at full display here. There are some great tracks on this - of course 'More Than A Feeling', but the follow-up 'Peace of Mind' is also extraordinary. At some point though, you begin to question what the purpose is of all this virtuosity. None of the songs succeed in moving me, and while this might not be the aim at all, it's still sad to feel no connection with these brilliant musicians.

Of course this album is immensely impressive - not only for being the prototype heavy metal album, but also for how developed the sound and style is. Tony Iommi's riffs are legendary - as on 'The Wizard' - and his unique way of playing definitely guided the band towards a heavier sound. 52 years later and 'Black Sabbath' x3 is still one of the best doom tracks ever written. Lastly, the production throughout this really is something else, with the vocal pan on 'Behind the Wall of Sleep' being a highlight. The whole process of recording the album in one session seems to have added a unique element to the atmosphere and overall feel.

For sure a milestone in the ever-expanding career of the Rolling Stones, Sticky Fingers contains some of Jagger and Richards' best songwriting. Mixed with a band that sound so incredibly in sync and the product is bound to be extraordinary. While 'Can't Hear Me Knocking' and 'Dead Flowers' showcase the band at their grooviest best, the biggest highlight is without a doubt 'Wild Horses' which is as beautiful as 'Brown Sugar' is creepy. The use of 'Wild Horses' in the Gimme Shelter documentary - with the camera panning over the faces of the then-young group contemplating their own lives and the stark contrast to the tragedy at Altamont Free Concert - is one of the greatest moments of rock and roll ever caught on film.

A refreshing departure from the usual radio-friendly disco tracks which catapulted ABBA into music stardom. Everything is still thoroughly composed on the album, but the tracks seem to have more air to breathe and space to develop in. The songwriting is of course extraordinary with the title track providing a strong start while warning the listener that this is not your usual ABBA endeavor. Good stuff.

How can you not like an album which includes the greatest song ever, 'Respect', as determined by the unassailable metrics imposed by Rolling Stone Magazine? Joking aside, Franklin truly is at full force on this record, making incredibly good choices in the songs she covers. A highlight is of course 'A Change Is Gonna Come' - Franklin might be one of a handful of artists capable of matching Sam Cooke's emotion and strength on this song.

For sure some underdeveloped songs on this album, where the sound and Jack's eclectic guitar playing can't quite carry everything. With that said, there are plenty of highlights throughout. 'Black Math' is awesome and it's refreshing to hear Meg on 'In The Cold, Cold Night'. The guitar on 'Ball and Biscuit' is so muddy and ugly, and Meg's drumming on 'The Hardest Button To Button' is vicious as hell. And then what the darn is 'Little Acorns'? I guess the only thing that's left to say is: lååå lå lå lå lå låååå låååå

Absurdly strong start in 'Chocolate Cake' which is never quite lived up to on the remainder of the album. A weird mix of catchy pop-psychedelica including the grossly overplayed 'Weather With You'. 10/10 artwork and title.

There are obviously some very talented studio musicians present here (and a lot of them!). And Bakers deep vibrato is smooth as silk. But overall the record is quite non-memorable, save for some few moments sprinkled throughout. The funky bass on 'Sweet Love' and 'Same Ole Love'. The discrete funk guitar on 'Been So Long'. And the layers upon layers of percussion on almost every track. But all in all the album is much too polished for my tastes. I understand why it was Baker's commercial breakthrough, because every track feels as though it was written and produced with the sole intention of maximizing airtime.

15 years ago this album was on repeat non-stop via Youtube in my room at home. A lot has changed since then, but the sound quality still sounds like someone ripped a DVD and converted the audio track to an mp3 file. The mixing and volume levels are all over the place. Everything is incredibly bloated - I mean, I've listened to Grateful Dead live bootlegs from the 70's with better sound than this. Then there's the setlist which is atrociously bad. Hetfield's voice is very rough on the first handful of tracks, and often time it feels as if the band and the orchestra are playing two different songs entirely. A few tracks like 'Call of Ktulu' and 'The Thing That Should Not Be' actually grow to something else entirely with the added orchestration, and both band members and audience seem to be having fun. Lastly, if this Metallica record is on this list, I will be very disappointed if the first four albums of their discography isn't on it as well.

Amazing to think that Ye was already an insecure megalomaniac with a victim complex on his debut album. The main message of the record is the dumbest of takes: "Kids, don't stay in school. Instead work a lot to make money so that your kids can afford to... go to school?". Overall, the production and sampling is off the hook with Ye being responsible for the vast majority - absolutely incredible. Apart from too many interludes/skits (why is this a thing?), the only true miss is 'The New Workout Plan' and maybe the last 8-9 minutes of 'Last Call'. The rest of the album is fully packed with absolute bangers - 'We Don't Care', 'Jesus Walks', 'Never Let Me Down', 'Family Business', and the mythical origin story that is "Through The Wire". Great debut setting the tone for hiphop for years to come.

Extremely enjoyable effort from the legend Tito Puente (perhaps most famously known as one of the prime suspects in the shooting of C. Montgomery Burns). The orchestration feels effortless but interesting and complex at the same time. Although the lyrics are completely non-understandable to me, the language of mambo is universal. Highlights were the classic 'El Cayuco' and the playful 'Hong Kong Mambo'.

'Close To You' is such an amazing song (although originally by Burt Bacharach). Rest of the album? Not particularly so. The cover of 'Help' really adds nothing new to the song. 'Baby It's You', another Bacharach product, starts off side 2 quite strong, and although the vocal harmonies are impressive, the remaining songs continues with a mix of blandness and sugary sweetness.

There is not a lot worth mentioning on this the sophomore major label album by The Lemonheads - most famous for an uninspiring but radio friendly cover of 'Mrs. Robinson'. 'It's A Shame About Ray' stands out as a decent track, and you can see why it was chosen as the title track. Nothing aggravates about this record, and nothing stands out. I most certainly did not need to listen to this before I died.

I don't really think that Nelson's vocal and melodies are strong enough to elevate the VERY sparsely instrumented songs on this record to something interesting. Then you finally get full orchestration on the terrible 'Down Yonder' which sounds like a parody more than anything else. While this may be a concept album dealing with a double-murder and subsequent newfound love-interest of the Red Headed Stranger, I was never truly invested in the story nor enticed by anything musically. Although the title track does have a nice melody and Willie-boy is quite good at conveying emotions (as on 'Can I Sleep in Your Arms'), this just wasn't for me.

This is REALLY not might kind of groove. 'Janie's Got a Gun' was nice and 'Hoodoo/ Voodoo Medicine Man' cranked the energy up a bit which was much needed. Hate the fiddle at the end of 'What It Takes'. Interesting that this album should appear the day after NASA redirected the trajectory course of an asteroid by crashing into it - just a shame that 'I Don't Wanna Miss a Thing' is not on the record.

I think it's difficult to realize just how amazing it is for any band to sound this good and play this well together. Every single part of the instrumentation sounds magnificent - both in isolation and in the interaction with the rest. The runtime is daunting, but Exile On Main Street is packed to the brim with top-notch tracks: 'Tumbling Dice', 'Let It Loose' and 'Shine a Light' just to mention a few. "I know I play a bad guitar" Jagger confesses on 'Living Cup', but luckily Keith Richard sure doesn't play a bad guitar on this record - perhaps the greatest collection of rock and roll tracks ever.

Strap in boys, this is gonna be a long one. Full disclosure, I believe that Kendrick Lamar's run of "good kid, m.A.A.d city", "To Pimp A Butterfly", "DAMN." and "Mr. Morale & the Big Steppers" is completely untouched in the world of hip-hop. It might be the best run of albums for a solo artist ever. The man is on a completely different level. "good kid, m.A.A.d city" is the record that catapulted Kendrick Lamar into superstardom. This is before Kung Fu Kenny and before creating a political and societal shockwave. This is K.Dot transforming into Kendrick Lamar. Both are storytellers beyond belief, though I prefer the latter. The whole album really is a long journey - into the depths of Compton and into the depths of his transformation. Starting off with a flash-forward to the ending of 'Sing About Me, I'm Dying of Thirst' is pure genius. It lets the listener know that the gangsta-rap persona is not here to stay and also plays into Kendrick being "thirsty" - but for what? Money, power, pussy or religion? In the spirit of transformation 'Bitch, Don't Kill My Vibe' and 'Backseat Freestyle', although clever, are a bit underwhelming compared to the later tracks. I realize that it's K-Dot representing his own self-image at 16, but the record REALLY takes off from the storytelling of 'The Art of Peer Pressure' and onwards. From here on out, maybe except for the less interesting Janet Jackson-featuring 'Poetic Justice', the album is a full 10/10. The one-two punch of 'good kid' and 'm.A.A.d city' is impressive - the vocal effects and panning are sick. Combining the lyrics of the latter with confessions in 'Money Trees' it's very understandable why a lot of people believe Kendrick once killed a man. I mean, at the very least that is what he wants us to believe. The darkest moment might ironically be on the abstinence preaching 'Swimming Pools (Drank)' which became the number one party anthem in 2012. And you understand why - the production is off the charts. Then you are hit with the closing 3 tracks. 'Sing About Me, I'm Dying of Thirst' is an instant classic with rich storytelling and introspective reflections. 'Real' is incredibly personal and then the tribute song 'Compton' hits with everything you could ever want - from Dr. Dre to Tupac throwbacks. I'm going for a 4/5 and saving 5/5 for the next 3 of his albums. DAMN this was good. But he was only just beginning.

Quite enjoyable effort from shock rocks grand old man, Alice Cooper. The themes are of course macabre and the content a bt difficult to take seriously. Overall there is just enough variation throughout the record to avoid it becoming a snoozefest. The cover 'Hello Hooray' kicks everything off with a lot of theatrics. I was surprised by the entire vibe, but then saw that it was probably due to producer Bob Ezrin who would later turn the theatrics all the way up to 10/10 when producing The Wall and co-writing 'The Trial' off of that. The album also includes a weird variation on the James Bond theme on 'Unfinished Sweet', a nice pop tune a la The Monkees on 'No More Mr. Nice Guy' and finally the classic 'I Love The Dead' which opened the door for many future metal bands concerning what you were allowed to actually sing about on a record.

Impossible not to enjoy Manu Chao's music and the impact his debut had on exposing people around the globe to world music. One of my go-to artists for chill music that anyone can jam to. And boy does he love his marihuana.

I have listened to A LOT of Queen, but mostly live recordings or greatest hits. I have always had the opinion that they were never that strong of an "album-band". Right off the bat I was actually blown away by 'Father To Son' and it was interesting to hear May and Taylor acting as lead vocalists on 'Some Day One Day' and 'The Loser in the End' respectively (although the latter does have some trivial lyrics). The production and mixing is intense with so many layers of sound sprinkled throughout the album. Although it's difficult to see the point of 'Ogre Battle', the backwards-played intro was wild. And then on 'The Fairy Feller's Master-Stroke' I begin to remember why I have a hard time listened to Queen studio albums. Everything is just way too much. All the layers and all the gimmicks are like non-stop stimulants, and at some point I grow tired - I am full. It's a shame actually, because 'The March of the Black Queen' (did someone say prototype of 'Bohemian Rhapsody'?) and 'Seven Seas of Rhye' are great tunes, but at this point my senses are just completely hammered and longing for silence.

I found it quite difficult to take this record seriously - it features A LOT of sound effects which could have been taken directly from GTA (just listen to 'Heat'!). Absolute highlight is on 'High All The Time' where 50 contemplates his need for a new fax machine. That line sure aged like fine milk. Standouts are 'Many Men' (great refrain), 'In Da Club', and the two Eminem features 'Don't Push Me' and 'Patiently' - including the great line "Shady Records was 80 seconds away from the towers, Some cowards fucked with the wrong building, they meant to hit ours".

I had absolutely 0 investment in this very 90's electronica record. 'Radio 7' piqued my interest, but that's probably only because I adore the James Bond theme. I don't know, I guess I like my electronica either more melodically or danceable than this. Maybe it works better as a soundtrack - I enjoyed Holmes' work on the 'Hunger' film.

Brian Warner is by all accounts a pretty shitty human being. Difficult to separate the "artist" from the "art", when his stage persona and narrator are equally pretty shitty. The album is also pretty shitty.

This record is the sound of the new Millennium. It's the sound of countless hours spent on Gorillaz' homepage in the early era of the internet. It's the sound of being so proud of writing a guitar riff in 5/4 time that you name the fucking song '5/4'. The first half of the album is so damn strong. On 'Tomorrow Comes Today' Albarn announces his follow-up plan to fronting one of the most succesful Groups of the 90's - just do it all over again in the new Millennium. This time standing on the shoulder of hiphop and triphop groups of the previous decade. Closing remarks: '19-2000' is far superior in the Soulchild remix version, and a special shoutout to Damon's hopeless flute playing on 'Rock Da House'.

This is my first dive into ELO except for the greatest hits. I guess there is such a thing as progressive soft rock? It's difficult to actively dislike this ear-pleasing double album and Jeff Lynne sure knows how to write a catchy tune. That being said, many of the tracks blur together and as cool as the retro-futuristic soundscapes are, they do become a bit repetitive and tiring during the 1+ hour runtime. 'Wild West Hero' is a great closing track though.

Why is this unneeded amalgam of boring ABBA and simplistic Beatles on the list? The album is ridden with subpar songwriting and clumsy transitions between segments within the tracks. I am inclined to give a 1/5 since this is now the second Bee Gees album where I cannot fathom why it is on the list. And for the love of God, please stop it with the vibrato on. Every. Single. Track.

It's quite rare that an entire album worth of songs works with as sparse instrumentation as on 'Tapestry', but the extraordinary songwriting skills of Carole King are more than enough to carry the entire record. I don't feel the same emotional connection to 'Tapestry' as to for instance Joni Mitchell's 'Blue' from the same year, but there are still so many strong tracks on this - 'So Far Away', 'It's Too Late', and the amazing (and frequently covered) duo of 'You've Got a Friend' and '(You Make Me Feel Like) A Natural Woman'. Crazy that 'You've Got a Friend' won two Grammys in the same year for two different recording (King's and James Taylor's).

I am having a hard time understanding the hype concerning this one. There are great bursts of energy and some catchy riffs along the way ('Pink Flag', 'Straight Line', 'Mannequin' and '12 X U' stand out), and Wire were of course completely ahead of their time when they released this in 1977. But the end product does not move me (neither emotional nor body-wise) and any innovations have long time since been thoroughly incorporated in contemporary punk and post-punk. Cool tunes though.

Now this is new-wave I can get behind! I really did not get Talking Heads in my younger days. Now I find myself enjoying them more and more with each re-visit. Their debut is rough around the edges, but very much points forward towards material yet to come. 'No Compassion' slaps hard, and 'Don't Worry About the Government' is so good and gives Byrne an excuse to flex his musicianship. Finally, 'Pulled Up' is a nice closer, but 'Psycho Killer' definitely steals the show. "Say something once, why say it again?"

'At Fillmore East' is an exhibition in stretching the six-note blues scale to last more than 70 minutes. The Allman Brothers Band does it to perfection and really shines when they switch up the dynamics and/or tempo during the lengthy tracks. The closing, original 'Whipping Post' is a great example. But alas, at the end of the day it's still just very talented musicians jamming it out and could just have well been a recording of the band in their rehearsal space. Albeit with VERY good sound quality!

Great unconventional gloomy post-punk from Siouxsie and her Banshees. Everything on the record is drenching with hopelessness perfectly captured by John McGeoch's theatrical guitar-playing. Even when the guitar is mixed all the way in the background, you can hear him giving it his all. 'Spellbound', 'Halloween' and 'Voodoo Dolly' are highlights.

The Pogues are charming as hell, and I love me some Celtic folk-punk. 'Rum Sodomy & The Lash' would have benefitted from a bit of fat-trimming (looking at you, 'The Wild Cats of Kilkenny'), but there are glimpses of greatness throughout with 'A Pair of Brown Eyes' and the cover of 'The Band Played Waltzing Matilda' striking a nerve.

Short and sweet. Playful, unpredictable, tender, with great melodies. I definitely need to listen to some more 'The Divine Comedy!

What's left to say that hasn't already been said countless times? Thanks, I truly did enjoy the show.

Eh, easily the worst of The Who's concept albums. It sure does not take itself seriously, but the concept of sprinkling annoying jingles out across the record really is horrible. And then BAM, 'I Can See For Miles' hits as the closer of side 1. What a track on an otherwise unremarkable album. I do not get the praise, but then again, you have to praise Moon for his drumming, Townsend for his guitar, Entwistle for his bass, and Daltrey for his ethereal vocals... Man what a group.

I have a hard time dealing with R&B. I can obviously hear that there are a lot of redeeming qualities - the smooth-as-silk vocals, the great beats and the stellar production. But I'm just. So. Damn. Bored. And then all the repetition. ALL the repetitions. Nothing about this grabs my attention, and it seems to work the best when playing in the background while doing household chores (or other, more interesting activities...). I'm probably just not sexy enough to get it.

Goddamn, I was completely blown away by this! At the beginning of my first listen, I had to get a bit into it, but when 'On The Lash' came on, it was like the combination of brutality and catchiness clicked with me. On 'Spike Island' Joe Cardamone's desperate but lazy vocals is easily compared to fellow rock-revivor Julian Casablancas. And what an insanely great sound on the bass and guitar! The brutality seeps through the record - on the vicious 'Kiss Like Lizards' or on 'Getting Bright at Night' where an intense cacophony explodes into energetic riffs. On top of that you have innovative changes in dynamics on the post-punky 'Big Sleep' as well as a jazz-inspired polyrhythmic sequence on 'White Devil'. The record truly keeps you on your toes. Industrial of course also makes a guest appearance on 'Meatmaker' (a 00's fad that I am not a fan of), and psychedelia is given a whirl as well on 'Sea Sick' (this I approve of). But then... For some inexplicable reason, they decided to end the album with 'Party the Baby Off'. What an insufferable, empty-headed tune sounding like it belongs on an Aerosmith album - and not one of the tolerable ones. So much fun. So disappointed. What a rollercoaster.

Quite enjoyable record, and it seems like the band had a blast in the studio. Nothing remarkable either, and the closer 'Sometimes I Make You Sad' felt a bit out of place.

'New York, New York' is a classic, but you have to wonder if the song and album in general would have the same status in pop culture if not for the timing of the release shortly after 9/11. With harmonica, organ and tight jeans the references to both Bob and Bruce are plentiful. And the music is pleasant enough. Original less so. I start to lose interest around 'Somehow, Someday' - track 6 out of 16. Whew. 'Nobody Girl' has absolutely no business being almost 10(!) minutes long. ‘Touch, Feel, and Lose' is a bright moment on the latter half of the record with Adams channeling his inner Prince, and 'Goodnight, Hollywood Blvd.' ends the album the way it started - on a classic. But man is it long.

I had never heard of Solomon Burke before, but I must say that I thoroughly enjoyed this vibrant record. There is nothing truly groundbreaking happening, perhaps if it was released 10 years earlier, and the lyrical content is not complex at all, but Burke's voice is magnetic and the instrumentation on point. The tracks never overstay their welcome, and there is plenty of variety both in genre, mood and dynamics. Pleasantly surprised!

A great, barebone musing on the state of the land circa 1973. Scott-Heron truly had a way with words and rhythm, as is extremely well showcased on the culminating track 'H20gate Blues' - transporting the listener back to the political landscape of the 70's. But what really makes the record shine is in the collaboration with jazz and soul musician Brian Jackson. On the groovy 'The Bottle' the worlds of spoken word and soul collide and merge to create a strong social commentary.

Incredible testament to noise and dissonance featuring the most playful duo of guitarists in the same band ever (example 1: 'Hey Joni'). The album is creative as hell, blending genres and creating a highly chaotic cosmos of its own. I have to mention Gordon's bass and Shelley's drums as well. They really are extraordinary and drive each and every song (almost metal-like on ''Cross the Breeze'). Also a shoutout to 'Eric's Trip' - what a tune! I do have a few issues with the record - the runtime IS exessive, and stuff like 'Providence' feels like filler - but by the time the last trilogy of tracks roll in all is forgiven and forgotten. What a way to close an album.

"Isn't Anything" is a highly impactful debut where mbv (Shields & co.) were in the process of molding lo-fi indie into what would become shoegaze. The result is more straightforward and bare than "Loveless", but it's still am incredibly earnest record with Shields' trademark ethereal melodies. It's a great ride but still a notch below what was yet to come.

Elbow really is a remarkable band. The Seldom Seen Kid almost overflows with intimacy ('Friend of Ours') and atmosphere ('The Loneliness of a Tower Crane Driver'). My personal two highlights where when the strings kicked in on 'Mirror Ball' and the über cool pseudo title track 'Grounds For Divorce'. Guy Garvey's voice truly is haunting and fits the entire feel of the album very well.

Even with a personal affection towards 60's and 70's psychedelic I find it a bit difficult to see why The Slider is included in the list. Sure the songs are solid, but it's very much style over substance for the most parts. Songs like 'Rock On', 'The Slider', 'Baby Boomerang' and 'Buick Mackane' feel hollow. The second side is stronger with tracks like 'Rabbit Fighter' and 'Ballrooms of Mars' almost dragging this record into three-star territory.

When Dinosaur Jr. works, it works so well. On 'No Bones' and 'The Post', the desperation in Mascis' vocals just connects with me somehow. Other times Mascis' singing gets very very very off-tune ('Let It Ride', 'Pond Song'), but it somehow never truly falls in on itself, and the distorted guitar and bass accompanies the rough vocals perfectly. But, I am really not a fan of the NU-metal-ish guitar sound on 'Yeah We Know' and 'Don't' simply becomes too lo-fi and noisy for me, making it impossible for me to enjoy (despise Murph's excellent smashing behind the drums). Had to give my ears a break after this one.

Such an atmospheric and theatric record which sounds as fresh now as in 1973. Bryan Ferry's voice is instantly recognizable and truly gets to shine on the wailing and dramatic 'Strictly Confidential'. 'The Bogus Man' is a very early prototype for The Cure's more gothic phases, and the bombastic 'In Every Dream Home A Heartache' is the true highlight for me. This is also where Brian Eno really sets his mark on the record with background vocals and excessive phasing.

When I first listened to Either Or several years ago when working my way through this list I was absolutely transfixed by Smiths songwriting. Years later I still find the record striking a nerve with Smiths sense of melody and guitar sound stealing the show ('Alameda', 'Rose Parade', 'Punch and Judy'). Although most compositions are fragile and intimate, like 'Between The Bars', Smith shows quite the range on a few tracks like 'Cupid's Trick' and the Sgt. Peppers inspired 'Pictures of Me'. Strong disassociation all over the place from a very strong lyricist: "Crooked spin can't come to rest, I'm damaged bad at best"

Kate Bush is magical and on The Dreaming she opens up her magical dreamland for all of us to enter. The record is ambitious, theatrical and full of sound bites and untraditional production fitting for a highly untraditional artist. 'Sat In Your Lap' is an incredibly powerful opener, but like a well-written piece of fiction, Bush makes sure to include both intense stretches and parts more suitable for reflection on the record. Baroque instrumentation floods the album with vocal inspired equally by Shakespearean readings as by Chinese operas ('Suspended In Gaffa'). And what vocal Kate Bush has. Dramatic, theatrical and with an incredible range. The vocal production is as adventurous as Bush ('Leave It Open') - her hoarse intensity on 'Night of the Swallow' is beyond belief. And what a tune! The Dreaming is simply a power performance by one of the most iconic voices ever. And just in case anyone had any doubt, it's quite evident: without Kate Bush, no Björk

Previously unfamiliar with both artist and album, I felt this was a very accesable introduction to The Only Ones. The melodies are on point and unlike many punk and new wave bands of their era, the musicianship is top notch. The standout track is 'Another Girl, Another Planet' which is insanely catchy while still carrying a lo-fi garage sound. No wonder it apparently became their signature song. 'City of Fun' is another catchy one, and 'Breaking Down' sees the group going full jazz with groovy 70s keys. The Only Ones might have been long forgotten along with the vast majority of their contemporaries if not for their capabilities behind their instruments. Moments like the tight 'Creature of Doom' and THAT GUITAR on 'Language Problems' make this album a very nice acquaintance indeed.

I really don't enjoy listened to Kiss. It's not the worst garbage ever, except for 'Great Expectations' which is horrible.

Imagine putting this record on in 1968 and being hit with 'Sympathy For The Devil' for the very first time… What an experience. With references to beggars, factory girls and salt of the earth, The Rolling Stones were determined to show that they were an act for the common man. Perhaps this was in strong opposition to the early stages of progressive or art rock emerging in the late 60s. In any case, the album saw the Stones returning to their bluesy and folksy roots. Although not quite resonating with me on the same level as Sticky Fingers and Exile on Main Street, Beggars Banquet is packed with great songwriting: The sensitive and acoustic 'No Expectations', the Dylanesque 'Jigsaw Puzzle', the classic 'Street Fighting Man' with its violent piano, and 'Stray Cat Blues' where the band plays like one living bluesy organism.

Way too long record with a weird mix of originals and covers from a guy who is quite good at playing the guitar but does not seem to have any other redeeming qualities. One star each for 'Bell Bottom Blues' and 'Layla'.

Solid record which really takes flight when The Replacements go from the more punky songs to the more posty-punky ones. The trio of 'Androgynous', 'Black Diamond' and 'Unsatisfied' smack in the middle of the album is clearly the peak.

I have a huge affection for Pet Shop Boys, and "Actually" is the boys at their most Pet Shoppy. There's room for power pop as well as sensitive, extravagant ballads. The obvious tracks to highlight are 'What Have I Done To Deserve This' (with a delightful feature from Dusty Springfield) and the smash hit 'It's a Sin' (whose melody is TOTALLY not a ripoff of 'Wild World'...). But for me the lesser known tracks 'Rent' and especially 'Heart' are just as noteworthy and work extremely well on the record as well as live. As always with the Boys: great melodies, a strong backbeat and an all around good time had by all.

How on earth do you review this kind of stuff? 'Timeless' is a long ass track. I like the beep-boop sounds around the 13 minute mark. 'Inner City Life' is the only part of the entire album that I recognize. 'State of Mind' is quite enjoyable and the album is atmospheric enough ('Still Life', 'Sea of Tears'), but it's just way too long. Even most movies have a hard time filling out such a runtime.

To call Groovin' an album is a stretch - it feels more like a collection of singles written with one purpose in mind: to climb the charts. Heavily inspired by the Beatles in both vocal harmonies and instrumentation (the knock-off sitar sound on 'Find Somebody'), I can't help but think that they were constantly a few years behind the Fab Four - and with less stellar songwriting in place. With that said, there are good moments on Groovin'. The soulful title track itself doesn't pique my interest, but the Spanish infused 'Sueno' and 'I'm So Happy Now' are enjoyable. The most interesting part of the record is the final trio of 'You Better Run', 'A Place In The Sun', and 'It's Love' which closes the whole thing on a quite strong note. What an odd collection of songs.

Great record containing the monster hit 'What's Love Got To Do with It' which I never actually held in high regard. But Turner delivers an impressive vocal performance accompanied by a smooth funky guitar. Some aspects of the album sound incredibly dated, like 'Show Some Respect', but almost every tune is still a lot of fun! 'I Can't Stand The Rain' is such an incredible tune, and TT does a great job covering it. I don't really get why 'Private Dancer' became such a hit? It's a lot of repetition with bland instrumentation a la Dire Straits (edit: lol, just found out that Knopfler wrote the track and members of Dire Straits recorded it for this album). A fun trip to glam metal on 'Steel Claw', an emotional rendition of 'Help', and a solid Bowie cover in '1984' closes out a surprisingly entertaining record.

I mean the tunes are great - but they are way better in their original form sans bongo. Why oh why?

The record that defined ambient as a genre, Brian Eno created this in 1978 and today it still sounds like it came from the future. I could actually feel my cortisol levels dropping while listening to this. Relaxing, but never boring. Beautiful, but still challenging. The heavenly choir on '2/1' is something else. From the liner notes: "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting". Eno fully succeeded in this - Music For Airports creates a space that allows you to alternate between being lost in the music and being lost in your own thoughts.

Echo And The Bunnymen sounds like the kind of act you hire for your kid's birthday party. Do not do this. Ocean Rain is filled with dark, dramatic post-punk just the way I like it. 'Nocturnal Me' is a prime example, and the erratic 'Throne of Crowns' takes it to the next level with its manic, energetic rambling. And 'The Killing Moon' is just incredible - easily a top three moon-mentioning track.

An unparalleled fresh and original sound in 1968 with strong ties to the American song tradition, and which served as a huge inspiration for countless acts to follow. The ties to Bob Dylan are strong, but it's incredible for The Band to create a record which sounds wholeheartedly different than what they did while acting as Dylan's backing band. Music From Big Pink is charming with a production making it sound like it was actually recorded in a basement. The vocal harmonies are raw but authentic, and the highlights are plenty: 'Caledonia Mission', the swinging 'We Can Talk', 'Lonesome Suzie', 'This Wheel's On Fire' and of course 'The Weight'.

The Kinks were one of the few bands who could go toe-to-toe with The Beatles without sounding like ancient dinosaurs. 'Tin Soldier Man' and 'Situation Vacant' sounds like they are coming straight out of Sgt. Pepper, and the records are from the same year - quite impressive! A bit more rowdy than the Fab Four (it's extremely rock and roll to be banned from touring the US), the album features stints into various genres with most of them being quite successful. 'Lazy Old Sun' is an innovative take on the psychedelic genre, and 'Death of a Clown' is a straight up banger blending Dylanesque folk with British baroque. Finally, 'Waterloo Sunset' really is one of the greatest songs out of the 1960s. Ray Davies' lyrics and soft vocals continuously sends chills down my spine and cements the status of 'Something Else By The Kinks' as a classic.

Extremely powerful debut which draws you in with its indie hooks and lo-fi production. The whole thing could easily have been 5-6 tracks shorter and benefitted from the reduced runtime, but the length also allows Phair to showcase a wide variety of song structures. The album takes a bit getting used to, but by the time the stripped down 'Dance of the Seven Veils' comes on, I start to get it. Highlight of the album for me: the groovy 'Mesmerizing' leading into the monster of a track; 'Fuck and Run'. What an extremely catchy and gritty track. This song has been living rent free in my mind for several years now since the first time I heard it.

What an absolutely infuriating listen with pretentiousness and dissonance in overflow. Absolute low-point is the useless hiphop beat in the middle of 'Useful Chamber' with equally useless spoken words(?).

Bob Marley does Bob Marley stuff. Instrumentation is on point with some nice horns sprinkled throughout. The songs do start to blend a bit together around the title track, but there are still some great tunes in the social commentaries of 'Them Belly Full (But We Hungry)', 'Rebel Music' and 'Revolution'. And the melody on 'No Woman No Cry' is just superb.

The thing that struck me during this particular listen of Bitches Brew is how incredibly groovy the entire thing feels. Something so experimental has no business inducing as much head-bobbing as this record does. Jazz-rock fans everywhere salute the incredible bunch of musicians who got together to bring this groundbreaking recording into existence.

Only one listen, but one listen was plenty. I tried noting down highlights but gave up around 'Death To Everyone' - every single track on this magnificent record is an absolute highlight! The desperate, heartfelt, post-punk delivered by Oldham is simply amazing. The entire thing feels fragile but with a solid foundation in melodies, lyrics and perfect choices of the very sparse instrumentation.

An excellent record blending noise, pop and jangle in one accessible mix. Adding a shade of melancholy on top, and the inspirations from R.E.M. are obvious ('Guiding Star' for instance).

Lorde has an incredible voice and writes some catchy tunes. The production is crystal clear and perfect, but I definitely miss a scratch or smudge on the very polished surface. A pleasant listening experience, but nothing stays with me.

Maybe I am a bit damaged, but I was expecting something truly awful and unlistenable here. Instead there is a huge variety on this groundbreaking record with the common theme being snapshots of industrial Britain in a time where the British music scene was trying to find its way in a tumultuous musical decade. The most difficult part of the record was the final two tracks 'Walls of Sound' and ' Blood on the Floor' which were both difficult but by no means horrible. The road leading to the closing tracks is however truly entertaining and diverse. From the rhythmic and enjoyable 'I.B.M.' the record visits a moody atmospheric (and sometimes scary) place on 'Valley of the Shadow of Death' and 'E-Coli'. On 'Hamburger Lady', Throbbing Gristle also gives their idea for the imaginary soundtrack to a spaghetti western set in a rundown factory in northern England. The band is also surprisingly groovy at times, especially when channeling their inner role as direct descendants of krautrock as is evident on the groovy 'AB/7A' and 'Dead on Arrival' - an awesome combination of space lasers and machine throttles. Further listens are of course warranted, but I imagine it is more likely to yield and extra star than make me think less of this record.

Welp, that's the entire MBV discography only 139 albums in. m b v is better than Isn't Anything but not as good as Loveless. So there it is, the definitive MBV ranking. Shields is still a master of blending dissonance and harmonies (as on 'who sees you'), but a few soothing songs ('is this and yes' and 'if i am') I actually found a bit dull.

While Albarn and Gallagher were battling it out as pretty boys on the cover of magazines, Jarvis Cocker was out there writing songs for the working class while banging high-class girls. Well done lad. And similar to what those girls told Cocker afterwards, the whole thing was quite enjoyable but a bit too long.

I don't know. On paper, Belle & Sebastian should be my jam. But the whole thing is just way too... sweet? In lack of a better word. It's nice with some sweetness as a palet cleanser after Throbbing Gristle, but a whole menu of this? It becomes way too much.

I think it is difficult to overestimate just how massive this record was when it came out. A handful of the tracks were utterly unavoidable, and the only reason why anyone would want to avoid them would be Kiedis' awful awful awful awful lyrics. But the rest of the band? Man what a group. The return of Frusciante is really evident and brings a lot of life to the whole thing. And then there is the production... What can I say, it truly is a product of its time.

Quite possibly my favourite britpop album of all time. 'Girls & Boys' and 'Parklife' are top notch tracks and deservedly so also smash hits for Albarn and co. 'To The End' and 'This Is a Low' are equally great, and it's great to see the lads having a sense of humor by closing on 'Lot 105'. Unlike other attempts at ending on a jokey song (looking at you Beatles), 'Lot 105' is a perfect ending capturing the atmosphere of the entire thing in one short catchy melody.

What a set of pipes on this one. Adele has a phenomenal voice and the production does not get any better than this. No wonder that sales were through the roof - this is music that you can put on either in the background of a romantic dinner or for when you want a crowd to scream along to 'Hello'.

Right now, this is my least favourite of Drake's trilogy, but that's really not saying a lot. Songwriting, atmosphere and intimacy is still incredibly on point, and this is undeniably an impressive debut. My short attention span was a little challenged this time around, since Drake's compositions are so bare that they demand full focus.

A flawless album if there ever was one. Everything is so goddamn smooth! From Paul Simon's melodies to the fretless bass (well done Bakithi Kumalo) everything seems to melt together in a perfect blend. Graceland is a true rebellion against division and the road to harmony.

For some reason I did not expect Sheer Heart Attack to be my favourite Queen album, but here we are! 'Brighton Rock' into 'Killer Queen' is an exceptional opener and a perfect taste of what to come. On this record, Queen manages to blend their baroque-inspired compositions with a more heavy instrumentation to great results. The listener is still bombarded with sensory impressions, but not to as high degree as on Queen II. 'Tenement Funster' displays a great set of pipes on Roger Taylor, and the transition into 'Flick of the Wrist' is flawless. 'Stone Cold Crazy' is two minutes of pure fun, and 'In the Lap of the Gods' is Freddie at his best. The song lengths are to the shorter side which does cause some genre-related motion sickness at times, especially towards the end with 'Misfire', 'Bring Back That Leeroy Brown' and 'She Makes Me (Stormtrooper in Stilettoes)' being quite weak compared to the first half (May proves on the latter that he by far is the weakest singer in the band). An unfocused but very entertaining record.

Thoroughly enjoyed this record, and we have to give credit to Buck Owens (and his wife Bonnie Owens???) for giving us the classic 'Wham Bam'. Not a lot of sincere emotions on this, but the tunes are catchy and fun.

My all time favourite U2 album. Let's start with the obvious: 'Where The Streets Have No Name', 'I Still Haven't Found What I'm Looking For', and 'Without or Without You' might be the strongest trio of songs to kick off an album with ever. Absolutely insane. But every. Single. Track. On this record is on point. 'Running To Stand Still' closing out side one and then starting side two with 'Red Hill Mining Town' is probably my current highlight of the album. The desperation in Bono's voice has never sounded better than on the latter. And speaking of sound, it of course goes without saying that the entire production and mixing of this is just magnificent. Well done Eno and Lanois. On a closing note, I know that The Edge gets a lot of flack for not being a particular good guitarist. While he's definitely not bombarding us with licks and solos, the sound that he manages to create on The Joshua Tree is iconic. His shifts in dynamics are excellent, and he never overstays his welcome with his characteristic, jangly, atmospheric, echoing notes. I mean, thousands have tried to copy this sound - most unsuccesful.

Amidst the early stages of rap, who knew that the worlds first album essentially created using samples would come from a bunch of very academic, very white, new wave pioneers? And through this very academic approach, Byrne and Co. managed to create a record that unlike any other resembles a stream of consciousness. Remain In Light truly is a unique piece of art and deserves all praise it has gotten. Off the bat with 'Born Under Punches (The Heat Goes On)' you know something special is going on. Every track is remarkable with 'Once in a Lifetime' of course grabbing a lot of the attention. But come on; the lyrics on 'Seen and Not Seen', the spoken words on 'Houses in Motion', the entire thing that is 'Listening Wind'. Just wow. I could go on for days. I think it's pretty safe to say that without this record, there would have been no Graceland by Mr. Paul Simon. Oh, and good luck trying to find a chord progression in this thing

What a pleasant surprise! Extremely nice jazz from the African continent, which I will have to dig a lot deeper into.

It had been a while since we had any songs from the soundtrack to GTA: San Andreas, so it was a pleasure to listen to 'Movin' On Up' for the first time in a while. What a great track. If only the rest of the record was like this. But it is not. The few times I have revisited this very 90's effort from Primal Scream I always end up feeling that it is very much a chore to get through this acid house inspired marathon record. I realize that it's only an hour long, but it feels like an eternity. Besides straight up boring stuff like 'Inner Flight', a lot of the tracks simply cannot keep me interested for their entire runtime (looking at you 'Come Together'). The number one drug anthem 'Loaded' just might be the exception to this, and there are other nice parts like 'Higher than the Sun', but in totality this is a record that just doesn't work for me.

So incredibly incredibly bland. 'There She Goes' is fine, but this entire thing is stuck in the 90's. I do not get the hype.

It had to happen at some point. This is the fourth Rolling Stones album on the list for me, and it's a dud. I realize the importance of Jagger and Richards developing as songwriters, but this felt quite repetitive. 'I Am Waiting' is nice, and 'Paint It Black' is simply legendary. Too bad that the version listed in the book is the UK release which did not include it...

Walk into a random jazzclub across the globe and there's a good chance that the orchestra playing is still trying to mimic the sound and atmosphere created on Birth of the Cool. With one collection of songs, bebop was surpassed by cool jazz, and smoke-filled venues never looked back. Highlights were 'Venus de Milo', 'Godchild' and 'Boplicity', but everything was just cool as heck.

Unbelievable how recognizable a lot of the tracks were. This is a blueprint record in so many ways. It does get a bit monotone, but the storytelling (and social commentary!) is great. Would have been a 4 if not for Flava Flav insisting on his "yeah boiiiiiii"…

New York Dolls are without a doubt a legendary band, although it's kind of hard to shake the feeling that they were really just a Velvet Underground inspired band sprinkled with some proto-punk on top. But it simply works. A plethora of bands followed in the slipstream of New York Dolls with Ramones being the most obvious example. But this debut is so much better than anything Ramones put out. Here you actually have plenty of variety while still maintaining a whirlwind of raw energy - exemplified by the frantic panning of the guitar solo on 'Vietnamese Baby'.

Very enjoyable indie record which is not afraid to be gritty and dissonant. Barlow is great as always.

Holy moly this caught me completely off guard. Insanely strong pop effort with pristine production and absolutely catchy tunes delivered by a silky smooth vocal. Everything feels so effortless but incredibly polished at the same time. The jazzy feeling on the closer 'Kissing a Fool' did feel a bit out of place and was just too sugary for my taste.

Tori Amos has an impressive voice, but I just cannot get into what she chooses to use it for. The lyrics are interesting and the compositions likewise, but I just cannot shake the feeling that Little Earthquakes is trapped in the 90s. Side note: it probably does not help that every single Disney tune since 'Let It Go' seems to be heavily inspired by Amos…

First time actually listening to Jane's Addiction. Good stuff.

How do you even begin reviewing something like this? Apparently, Minutemen wanted to have the overarching concept of the album be their cars. They definitely succeeded since the entire thing sounds like it's being played from a poor quality car stereo. And I mean that in the best possible way. It's difficult to highlight specific tracks, but the run on Side Mike from 'The Big Foist' to 'The Glory of Man' over both 'Bod Bows to Math' and 'Corona' is exceptionally good. The folk-punky 'Corona' opening with the words "The people will survive" was a bit eery. With a runtime of more than 70 minutes, it really is impressive how fun this record is to indulge in. Finally, I have to give 4 stars for making me laugh out loud from a song title only - 'Political Song for Michael Jackson to Sing'.

Not only did Don McLean write two of my favourite tracks of all time - 'American Pie' and 'Vincent' - he also managed to put them on the same album. A record that stood upon the shoulder of the hippie movement of the late 60s but managed to create its very own long lasting cultural impact. McLeans voice is hauntingly beautiful - exemplified on the very visual anti-war track 'The Grave' - and his phrasings on the guitar matches it perfectly. His rendition of 'Babylon' as the closing track is also phenomenal. I don't have anything bad to say about this record at all.

On paper, this should be a 5/5 for me. I mean 'The Fly', 'Mysterious Ways', 'Ultra Violet (Light My Way)', and 'Acrobat' are all great. And this is without even mentioning 'One', the most out of place wedding song since 'Every Breath You Take'. But I have always felt that there is something missing on Achtung Baby. Just that special feeling that is present on The Joshua Tree, but I cannot find here. Maybe it's the vast emptiness that Eno and Lanois managed to capture on the previous record which just suits Bono's vocals and The Edge's sound so well. Oh well, still a great one!

Obviously incredibly hard-hitting in 1965, and if there were one band that every rock-revival group of the start 00's were trying to channel, it was The Sonics (White Stripes, Black Keys, you name it). But almost 60 years later, it sounds VERY simple and monotonous. It's some groovy stuff, and their importance cannot be overestimated. It just doesn't rock my world.

Fuck the police. And women. And Mexicans. And... Surprisingly funky, but very little for me in this.

The Boss is far from dancing in the dark on Nebraska, where he channels his main inspiration Bob Dylan to create a collection of intimate tales of outsiders across the nation. The harmonica is haunting and the instrumentation sparse. Springsteen was always a great lyricist, but unlike 'Born in the USA', Nebraska is an album were the listener is actually forced to listen and consider each and every word. I will never be the biggest Springsteen fan, but where some of his biggest hits are perfect for hitting a 6 lane highway, tracks such as 'Atlantic City', 'State Trooper' and 'My Father's House' are perfect for driving on a dirt road in the middle of nowhere in complete darkness.

At the same time Bowie wrote and recorded Low, he starred in The Man Who Fell To Earth, and the two projects are unmistakably intertwined. I might be biased by a recent viewing of the film, but to me there is a strong recurring theme of loneliness and alienation in both projects. This is especially felt during the second, mostly instrumental, side of the album. Released in 1977, it's a rare album that still sounds impressively fresh to this day while showing full transparency in its inspiration from krautrock. It really doesn't sound dated in any way.

First of all, 10/10 album cover. Faithfull's voice is incredibly haunting and she manages to be equal parts fragile and gritty (as on the closing track 'Why D'Ya Do It'). 'Broken English', 'Witches' Song', and 'Guilt' are all great, and 'The Ballad of Lucy Jordan' paints an all too clear imagery while borrowing a bit of melody from 'Desolation Row'. Also, her version of 'Working Class Hero' has been stuck with me since the first time i heard it. To me, it's the superior version. It really is a great record which, besides being carried by Faithfull's vocals, is driven by incredible guitar work. It's perfectly groovy, always in the background, but continuously pulsating and creating momentum.

Phil Spector you crazy cocaine-fueled murderer. This is the Christmas gift no one asked for and the wall of sound at its absolute worst.

Quite a cool experience to get this album right after their sophomore effort. Public Enemy turned the amount of samples way up, and Flavor Flav decided to turn his catchphrase way down. It's a win-win, and Fear of a Black Planet is a better record for it. At more than 60 minutes in runtime, the record is a mouthful, and perhaps it could be more focused if a handful of tracks were excluded (like 'Can't Do Nuttin' For Ya, Man!' and 'B Side Wins Again') or outros were trimmed - like on 'Power to the People'. But the storytelling is still incredibly on point with highlights in 'Brothers Gonna Work It Out', '911 is a Joke' (where Flav actually sounds great), and the cool 'Burn Hollywood Burn' with its equal criticism of typecasting and blaxploitation in films. Closing on 'Fight The Power' is crazy.

What a weird mix of britpop, art rock and glam. This is a record for people who want to dive into the musical history of Britain but have a very short attention span. I enjoyed the ride (I think?) but it feels like a tasting menu, where I never truly got to immerse myself into what was going on.

Today I learned a new music term - raga rock. While some efforts are enjoyable, I found this one incredibly dull and adding nothing new to the random Rolling Stones and Doors covers.

Simply magnificent album. Sigur Rós really are unique in the way they are able to combine incredibly beautiful sounds with something deeply primal. The result is an album that ressonates strongly with the listener and facilitates a wide range of emotions. ‘Svefn-g-englar', 'Flugufrelsarinn' and the title track are all masterpieces.

I mean, it's ZZ Top so you pretty much get what you would expect. I found the first side more engaging, but that might just be because a full albums worth of their signature hard rock is too much for me.

I completely understand why someone would not be into New Order, but I am utterly in love with their sound. I mean, just listen to 'Face Up'. Danceable desperation is my favourite thing. That being said, I always have a hard time finding outstanding tracks on a New Order record. It is the entire atmosphere that gets me, but it also means that I am never quite ready to claim that any of their records are masterpieces.

The album that started my initial obsession with metal music, The Number of The Beast is an absolute beast (get it?) of an album. Dickinson delivers one of the greatest vocal performances of the genre, and the songwriting from Harris is explosive and tight. Of course, American conservatives were highly offended by the album and deemed the band Satanists. But what these puritans actually should have been scared of, is the relentless attack on their world perception happening on the album - protagonists breaking free of conformity and violent descriptions of the imperialistic roots of USA. This is a band with something on their mind. Of course, you cannot write about this album without mentioning Side Two: 'The Number of the Beast', 'Run To The Hills' (Burr's drumming is one for the ages) and 'Hallowed Be Thy Name'. Absolute insanity to have these three tracks on the same side of a record.

Everything is so incredibly dense on Paul's Boutique, and the sampling and production are superb. Layer after layer of recognizable samples flowing together seamlessly. It really is impressive. The record flows nicely, and I completely understand why it's a go-to album for many people when setting up sound equipment. Everything sounds amazing. And while Beastie Boys are fun and sound great together, I always find it challenging to listen to them. Something just gets on my nerves, and I'm never truly able to enjoy it.

I must admit, I had never heard of Laura Nyro before this record popped up. The influences on Joni Mitchell and the likes are obvious from the first listen. Nyro's vocal is impressive, but I really do not care for the swing-jazzy pop she delves into on the album. Some interesting songwriting for sure, but the sudden shifts in dynamics and tempo from track to track leave me exhausted.

Holy smokes Todd, leave some drugs for the rest of us! This might just be the most 70s record of all time. Your favourite musicians favourite musician, Todd Rundgren, takes everyone on a journey through space and time. Space rock, psychedilia and progpop/rock melts together in an incredibly unfocused, too long, lovable record encapsulating an entire musical movement. I prefer the more surprising elements of the album than the rather dull Medley taking up around a third of side 2. Luckily, 'Just One Victory' ends the whole trip and a very high note.

So this could just be the early stages of a crush talking, but I might just have a new favourite world music album. I was completely hooked from the get-go and the interest never faltered through the 9 tracks. This record really is something else. Baaba Maal has an amazing and unconventional voice, and the acoustic guitar of Mansour Seck is hauntingly beautiful. Adding on top of that the idiophone on for instance 'Muudo Hormo', and the result is an incredible atmosphere transporting the listener to somewhere else entirely. What impresses me is how the record manages to be so so groovy while still leaving plenty of space for contemplation. Definitely worthy of a lot more listens.

First of all, Win Butler seems to be a shitty person. Apparently that's just how it is. Probably not in my top three Arcade Fire albums, Neon Bible is still an impressive record. Desperation, catchy tunes and unorthodox instrumentations all blended together in a shaker of solid songwriting. The highlights are plenty and the focus on religion and television is interesting. And, like I know that Montreal is close to the border, but I've always wondered why Arcade Fire has so many diss tracks aimed at USA. I mean, it's pretty weird to spend that much time singing about how awful another country is. But I dig it. 'Keep The Car Running', 'Intervention', 'Ocean of Noise', 'No Cars Go' and 'My Body Is A Cage' are all impeccable. The terrifying crescendo on the latter to close out the album is stunning. But there are also more forgettable songs, and I am not quite as emotionally invested in this one as in some of their other work. I will save my 5/5 for later.

I know I'm beating a dead horse at this point, but holy cow does The Black Keys owe a tonne to Jack White. Their sound is incredibly similar, but much safer than both White's solo output and his time in various groups. And much like most of White's output, I grow tired of listening to a full length album. Especially one as long as Brothers. The lyrics are vapid. It's garage rock that isn't gritty enough, and it's blues rock without heart. It's music designed for commercials. But it's not unlistenable. I just don't see the point in any of it. I like 'Howling For You' though.

This is it. This is an absolutely perfect album. The album art is 10/10. The production and mixing is 10/10. The lyrics, melodies, dynamics and overall songwriting is 10/10. The only argument against The Dark Side of the Moon is that it has been played and praised to an extreme. But just how in the world did this end up being one of the biggest commercial hits ever? The lead single is in 7/4 and it's not like Pink Floyd was a household name across the globe in 1973. The songs do not have traditional structures, a large part of the album is instrumental (and not just sweet guitar stuff), and it doesn't exactly lend itself to sing-along parties. And that's exactly why I think this is a perfect record. It has broad appeal independent of the listeners musical preferences. It doesn't rely on specific hooks or gimmicks which might alienate some people. It just exists in this perfect timeless space of universal themes and perfect sound. Even for Pink Floyd, this is not standard stuff. Oh, and Alan Parsons did all of this before turning 25… Jesus.

I knew this day would come. Hendrix was a virtuous. His guitar playing is ferocious and unparalleled. But I don't really care for listening to this for over an hour. A lot of non-memorable tracks and a handful of standalone greats. 'Gypsy Eyes' is groovy and '1983... (A Merman I Should Turn To Be)' is epic. The album sounds like it's a live recording with a group of friends as the audience, and while the atmosphere is great, I don't think there is enough interesting material here to warrant the excessive runtime. Then, of course, 'All Around The Watchtower' just hits out of fucking nowhere! Perhaps the greatest cover of all time and the soundtrack to countless movies set during the Vietnam war. 'Voodoo Child (Slight Return)' keeps up the pace with one of the most iconic riffs of all time and a powerhouse vocal performance by Hendrix. What a way to end an album - I just wish there were more moments like these on the first 66 minutes.

My French is very limited. So much that I took one glimpse at the title and thought to myself "Wow, cool to have a Spanish MC on the list"... That being said, the beginning of this album quickly turned into my current main motivation for learning French! 'Qui sème le vent récolte le tempo' is a great way to kick of the album, and the horn samples on 'Matière grasse contre matière grise' are top tier. MC Solaar shows an incredible range going from the everchanging flow and melodic rapping with plenty of intonation on 'L'histoire de l'art' to the harder, fast-paced 'Quartier nord'. I was ready to give a 5/5 until the complete meltdown on 'Bouge de là (part. 1)' and onwards. I have no idea, why this dull and repetitive track apparently became his breakthrough. Then the whole thing inexplicably ends on the scatty snippet 'Funky Dreamer', and what started as a great album ends on a note as tragic as the ending of La Bohème (which is Italian, but who cares?).

I mean, it's Ice-T. Clever guy doing stupid stuff. It's fun.

Fun enough, but hard to listen to with a straight face. Some nice pop tunes though.

Man finds guitar and starts playing. 5/5.

I'll keep the review short and sweet, much like Younger Than Yesterday itself. I really enjoy the late 60's psychedelic folk-pop-rock that The Byrds helped pioneer. It's laid back, but never boring. 'So You Want to Be a Rock 'n' Roll Star' is a finely written song. On this particular album they also do very weird stuff like 'C.T.A.-102' which I do not care for. Otherwise it's easy listening, solid stuff.

\begin_rant: How the hell did 'Suspicious Minds', perhaps the greatest song Elvis ever recorded, not end up on this album? Which absolute buffoon made that decision? It fills me with immense rage. \end_rant. Okay, I think I get Elvis now. This is some good stuff. We have an exceptionally strong start with 'Wearin' That Loved On Look', and the crooning 'I'll Hold You in My Heart (Till I Can Hold You in My Arms)' showcases a tight backing band with amazing dynamics. Elvis' voice really is incredible, especially on 'True Love Travels on a Gravel Road', and then 'In the Ghetto' is a perfect closer. Plenty of memorable moments, but also a handful of less memorable ones prohibiting From Elvis In Memphis from being a masterpiece.

I honestly don't know what to say. Synth sounds, Britishness and strange compositions in one weird blend. 'Conversation' is catchy, but I really don't know what's going on. Boy this was weird. I think I liked it?

Third and final Talking Heads album on the list - not even 200 albums in! I do find this selection a bit odd and would have chosen both Fear of Music and Speaking In Tongues over this one. Or maybe just include all of them, I wouldn't mind. On More Songs About Buildings And Food, Talking Heads are as tight as ever. Listening to 'I'm Not in Love' you get the feeling that the band is one large organism with each limb working in perfect unison. But there are individuals. The pulsating 'With Our Love' is peak Byrne with a crisp guitar sound and classic Byrne vocals with lots of phrasings. Weymouths bass is incredible on the whole thing, but especially shines on 'Warning Sign'. I think what is missing for me on this album is enough time and space for the songs to develop. We see a bit of this on 'Found a Job', where the track is given the time needed to evolve and create some of the grooves that would fill up the next two records.

On album number 194, we've got our first Neil Young album. The man has 9 albums in the list. The probability of avoiding Mr. Young for the first 193 albums is roughly 17%. Actually higher than I had expected. With Everybody Knows This Is Nowhere, Young kicked of a 3 long album stretch of unheard quality. While this is my least favorite of the three, it's still an iconic album with an iconic cover and an iconic backing band. The title track is Young at his best, 'Round & Round' showcases his classic wailing vocals, and the guitar sound on 'Down By The River' is crystal clear while still being desert-dirty. The closer 'Cowgirl In The Sand' always wins me over and cements why the record is often mentioned in the same breath as After The Gold Rush and Harvest.

The Jesus And Mary Chain are obviously an incredibly influential group. Their debut, filled with oppy noise, laid the groundwork for the shoegaze pandemic of the 90's. 'The Hardest Walk' is a prime example of this. Psychocandy is such a fitting title, because the whole thing is basically sugar sweet melodies drenched in noise and dissonance - starting with the terrific opener 'Just Like Honey'. At times, the noise takes on a too dominant role, as on the duo of 'In a Hole' + 'Taste of Cindy', and although the balance is occasionally perfect ('Sowing Seeds'), it seems to me that the group hadn't quite found the balance between noise and melody that they did on Darklands.

Delightful dream pop where the highest highs ('Silver Soul', 'Walk In The Park', 'Take Care') are ridiculously good. Victoria Legrand's breathy voice is mesmerizing and a Beach House track is recognizable in seconds. Perhaps the melodies are a bit too similar between the songs, and I feel that at almost 50 minutes, the whole thing is just spread a tiny bit too thin in order for this to truly captivate me.

Fuck, another way too long album by Ryan "I am a total piece of shit" Adams. Why? Let's go. So the whole thing kicks off with a skit discussing Morrisey, and you just know the entire thing will be insufferable. Even when Adams writes a catchy tune, he either gives it a horrendous name ('To Be Young (Is To Be Sad, Is To Be High)'), or his delivery just reeks of insincerity ('Come Pick Me Up'). The fucker does NOT have the voice for a song like 'Oh My Sweet Carolina' or the pathetic closer 'Sweet Lil' gal (23rd/1st)', and it really puzzles me that people actually enjoy this. 'My Winding Wheel' is soulless through and through, the fucking banjo 'Bartering Lines' is awful, and what the hell is the uninspired 'Shakedown on 9th Street'? This has Open Mic Night at your least favorite bar written all over it, and I hated every fucking second of it.

This is definitely music in space and NOT in time. It's long tracks having very little structure sprinkled with Buckley's musings. Using 'All Blues' as the backbone of 'Strange Feelin'' works quite nicely, and the melody on 'Buzzin' Fly' is excellent. However, this is where I hit my maximal dose. I do not care for 'Dream Letter' and I don't understand the mixing on 'Gypsy Woman' at all. Buckley's vocal is completely lost. The track itself is groovy enough, but Buckley's phrasings and moans delve into parody territory at times. A journey in space for sure, but Buckley loses me quite early on this record.

Every time I listen to The Flaming Lips, I am struck with the realization that I need to listen to a lot more The Flaming Lips. The Soft Bulletin is simply magnificent. It's accessible without ever becoming trivial, and each track is given enough time to create a micro cosmos of its own. Wayne Coyne's desperate and fragile vocal is instantly recognizable and matches perfectly with the melancholic melodies on tracks like 'Race for the Prize' and 'Waitin' for a Superman'. Also, I have absolutely zero idea what the entire album is about. Not a clue.

Album #200! I had never heard of either Shack nor Hms Fable before. Solid britpop with all the hallmarks: british accent, strings, and catchy melodies. 'Comedy' is a standout track.

Bloody hell what an album. Mustaine's voice fits the vibe perfectly and the harmonizing guitar riffs are astounding. Some tracks like 'Devils Island' and 'I Ain't Superstitious' feel a bit bland, but the two-punch of 'Good Mourning/Black Friday' and 'Bad Omen' along with the closer 'My Last Words' are all incredible.

The award for worst vocal performance apparently goes to David Thomas from Pere Ubu. This was borderline unlistenable, while somehow still being incredibly boring musically? God I hate this mix of new wave and post-punk.

Perhaps the greatest rock opera ever created? The Who were maybe the most complete group of talented musicians ever. Every one of the four lads shine incredibly bright on this theatrical and gripping record. Moon is an absolute beast behind the drums, and Daltrey's range of emotion is unparalleled. His naïve hope on '1921' is heartbreaking, and his desperation on the "See me, feel me" refrain first included on 'Christmas' is out of this world. The entire run from 'Go To The Mirror!' is a tour de force culminating in 'I'm Free' and 'We're Not Gonna Take It'. A dramatic end to a deeply personal and moving journey with sharp criticisms of postwar Britain. "If I told you what it takes to reach the highest high, You'd laugh and say 'nothing's that simple'. But you've been told many times before, Messiahs pointed to the door, And no one had the guts to leave the temple!"

Awesome jazzy hip hop. Q-Tip is a cool cat, and this fuzzy-sounding record is nearly a 5 in my book.

Latin acid jazz by a Serbian-born musician. Of course. I don't hate it, but I just wish that the album was as fascinating as Suba's story.

Wow, this was just really really good. No-nonsense punk with catchy melodies, decent instrumentalists and short, memorable tracks.

Extremely similar to their debut, on this listen The Band's second album doesn't quite get me as excited as Music from Big Pink. I don't appreciate their experimenting as much with 'Look Out Cleveland' sticking out as a sore thumb. But with songs like 'Across The Great Divide', 'The Night They Drove Old Dixie Down', and 'King Harvest (Has Surely Come)', this is still a classic.

Reading this horrendous/amazing album title, I had high expectations of the weirdness of the record. It lived up to the name - what a ride! Don't think I'll ever put it on again though, especially not if I'm around other people.

This is not a perfect record, but it's a goddamn great one. What a group of musicians. Jack Bruce's vocals are legendary. 'Strange Brew', 'Sunshine of Your Love', 'World of Pain', 'Tales of Brave Ulysses', 'SWLABR' and 'We're Going Wrong' are all perfect tracks. And that's more than half the album! I generally prefer the psychedelic and heavy tracks to the more pure bluesy ones, so the end of side 1 is a bit of a slump after an incredible start. But who cares, it's still a collection of some of the best songs from the 60's.

Kicking off with possibly the greatest pop song ever, 'Take On Me', a-ha's debut is highly emotional synth-pop; the kind that could only be made in the 80's. By now, Morten Harket's voice is instantly recognizable and it suits the genre incredibly well. 'The Sun Always Shines on T.V.' is almost as catchy as the opening track, and there are some lesser known gems hidden like 'And You Tell Me'. My only wish is that the group would have gone all-in on danceable synth instead of ending on some middle ground between nightclubs and new wave - not quite keeping my feet tapping and not quite keeping my interest.

The title of this STUDIO album is either brilliant or idiotic. I can't quite figure it out. But the music itself is exceptionally fierce and thoroughly enjoyable. A post-punk album recorded in a single day sounds like an awful idea, but it's clear that all members must have practiced an insane amount prior to the recording session. Especially the playful drumming of Karl Burns stands out on this frantic, yet quite streamlined collection of tracks. While there are less enjoyable moments ('Industrial Estate'), the highs definitely outweigh the lows: the awesome changes in tempo on 'Mother - Sister!', the perfect opener 'Frightened' and the almost prototype mathrock on 'Rebellious Jukebox'.

Otis Redding sings a bunch of classics while Booker T, & The M.G.'s back him up. Tough to not like this one although tracks like 'Rock Me Baby' feels a bit out of place.

High octane pure rock and roll from a Jerry Lee Lewis at the top of his game. His vocals and piano playing truly are exceptional on this recording, so much that you almost pity the piano for being put through this kind of relentless treatment.

Ugh, I really really really cannot stand nu metal. This particular record seems to be hopelessly stuck in 1999, and while some of the tracks are catchy enough, it absolutely does not warrant a runtime of almost 50 minutes. I'll give this one a low two as I know that my judgement is clouded. But in my heart this is a 0/5.

This is hardly an album but more of a curiosity and a truly great collection reflecting the American song tradition. I don't really care for the instrumental intro (or outro depending on track order), but as soon as Ella's familiar voice kicks in, everything settles into place. For most of the songs it's difficult to even imagine the renditions of anyone else. Her voice is smooth as silk and contains an incredible tenderness ('Embracable You'). My favorite tracks was 'The Real American Folk Song' with a captivating melody and a build up allowing Ella to show her full range from whispering to thundering.

If the intro on 'Witch Hunt' was just 20 seconds shorter, this album would be as perfect as Neil Pearts drumming.

What can be said about this, one of the most important album released in rock history, that hasn't already been said before? The western music world was introduced to Reed and Cale and never looked back. That tuning (!) and that viola (!) on 'Venus in Furs' lives in perfect symbiosis with Reed's chanting vocals. The mix of psychedelic instrumentation and traditional folk melodies on 'All Tomorrow's Parties' is a perfect example of the album being extremely re-listenable - with every listen a new layer uncovers itself. Of course, the absolute centerpiece of the album is 'Heroin' which must be one of the most haunting musical creations ever. A stark contrast to McCartney singing about his retirement at age 64 or Ringo singing about his friends. Oh and 'Sunday Morning' is perfect.

Okay, so this was miles better than The Slider on basically all parameters. It still feels slightly like generic late 60s/early 70s psych/glam rock, but the songwriting is solid. 'Mambo Sun' kicks it all of with a pulsating rhythm that is groovy as hell, and 'Cosmic Dancer' is a great tune. Of course, 'Get It On' is a stone cold classic. It sounds formulaic but mainly because it somewhat defined the formula.

This is what it would sound like if Dark Side of the Moon was a hip hop record based entirely on samples. Every single track perfectly blends perfectly into the next. What a mood.

A jangly nightmarish fever dream from start to finish.

"I don't want to touch you too much, baby 'Cause makin' love to you might drive me crazy"... This sounds like a vapid parody form start to finish, and it encapsulates everything I hate about 80s glam/hard rock music. For one full hour. 1 star for every arm on Rick Allen.

I could listen to members of Genesis sing "Picnic, Picnic, Picnic" for eight hours straight, and it would still be worth it for 'Firth of Fifth' alone.

I wasn't completely blown away, but the tracks were all well composed and never overstayed their welcome. Highlight for me was 'All Thoughts Are Prey To Some Beast' - a great track with an equally great title.

Side 1: Standard non-engaging US psych reminiscent of the musical "Hair". 1-2/5. Side 2: Holy smokes, what a track 'Revelation' is! Clocking in at 18.57, I was completely captivated during its entirety. Around the 5-8 minute mark there is a section strongly driven by the bass, where Ken Forssi is as close to being too early on the 1-beat as you can get while still being on time. The groove shift at 12.40 is pure bliss, and of course the whole thing concludes on a ridiculous baroque ending. This is everything I want from a psychedelic track.

Microphone stands falling over, forgotten lyrics, and a band who just won't end the song make out what might be the most live album ever. This is my first time listening to Sarah Vaughan, having only learned her name via a name drop in a Father John Misty track. What a voice and what a presence in each and every note. On 'Be Anything (But Be Mine)' it is as if you're transported to Chicago in 1957 with Vaughan singing directly at you and only for you. Vaughan is in complete symbiosis with her trio, and even when they disagree, as on 'Willow Weep For Me', the resulting improvisation is delightful. Jimmy Jones behind the keys especially delivers an incredible performance. And speaking of improvisation, breaking into 'How High The Moon' without knowing a single lyric is just phenomenal.

Insane debut album by Matt Johnson and company. 'This Is The Day' is one of the best songs ever written, plain and simple. 'Uncertain Smile', 'The Twilight Hour' and the title track are solid as well.

Greatest sing-along debut ever. It has been way too long since I last listened to Murmur in its entirety, so this was a nice album of the day. Mills' melodic bass is intoxicating and Stipe asserts himself as the voice of a generation. 'Radio Free Europe', 'Pilgrimage', 'Talk About The Passion', and 'Sitting Still' are all perfect tracks.

Perhaps Morrissey should waited a bit longer than 6 months from the final Smiths album to releasing his debut. An unsurprising lack of self-awareness from the man himself, who probably needed a bit more time to write some solid songs. This really could have been a wonderful EP with 'Everyday Is Like Sunday', 'Suedehead', 'I Don't Mind If You Forget Me', and 'Margaret On the Guillotine'.

Jimmy sure knew how to play the guitar. I think I enjoyed this more than Electric Ladyland, but the tracks still start to blend together rather quickly. 'Manic Depression' was one of the first songs I learned on the electric guitar because my teacher apparently was a sadist. Great track though, and the following bluesy 'Red House' is another highlight. Top three tracks were 'Hey Joe', 'Purple Haze' and 'The Wind Cries Mary'. Too bad none of them were on the original album.

The un-explicit version of a review of Dr. Dre's The Chronic: "This ------ is -------- fire. The beats are legendary, and you have to be a ------ ------ not to recognize the long-lasting impact of this ------ album. Some themes might be ------ silly, like -----, --------, or ------, but the overall production and vibe is ------- magnificent. The bass on 'Let Me Ride' is godsent."

Oh Slippy-Knotty. I have voiced my disdain for nu metal previously, but the non-polished, aggressiveness of Slipknot's debut is amazing. If Corey Taylor refrains from rapping (like on 'Only One'), then I can actually sort of enjoy this. '(sic)' and 'Wait and Bleed' slaps hard, and Joey Jordison is just monumental on the entire thing. What an absolute beast he was.

What a delightful mix of instruments and rhythms from Africa, Brazil and the funky parts of USA from one of the biggest legend of the genre(s). Jorge Ben (Jor) delivers endlessly pulsating tracks driven by his recently found electric guitar. The album is packed with catchy tunes, but especially the start with numbers such as 'Ponta De Lanca Africano', 'O Filosofo', and 'Meus Filhos, Meu Tesouro' is captivating. Also nice to hear 'Da Ya Think I'm Sexy?' hidden in plain sight on 'Taj Mahal'.

This is a record where the hallmarks of Ray Charles - the funky piano-playing and up-tempo gospel/swing/R&B/soul - is completely lacking. The result is a snooze fest through and through. Why is this one of only two Ray Charles albums on the list?

Just Rufus doing Rufus things for almost an hour straight. While this might be just a tad too long for my taste, the man really knows how to write hauntingly beautiful melodies over minor chords. The almost trip-hoppy 'Waiting For A Dream' was a nice surprise!

Hüsker Dü was just über cool. The record is obviously way too long, but there are some great tracks like the R.E.M.-like 'Friend, You've Got To Fall' and the jangly 'Turn It Around'.

I have tried about a handful of times, but I just cannot get into 'A Seat at the Table'. The production is perfect, Solange has some nice vocal phrasings, and the themes are important and interestingly covered. But I find the songs so so boring. Yes 'Cranes in the Sky' is really good, bu that's about it.

This is the only Steely Dan album on the list that I haven't listened to before. And what a shame that is. Pretzel Logic truly is pushing the boundary for what can be called pop. All songs are trimmed in length but definitely not in complexity. This hit turned out to be the incredibly catchy 'Rikki Don't Lose That Number', but my personal favorite is 'Barrytown' with an incredible melody reminiscent of Dylan. As always with the Steely D, the production is stellar. Every instrument has its own space to operate in, and does so in sublime fashion. The drumming on 'Parker's Band' is otherworldly.

I get why the album is on the list, but the music really is laughable. Such a weird band (and a weird wiki article with an introduction ending on "Miriam Stockley on backing vocals, who had also sung with Pink Floyd". a) this is super weird to write in an introduction to an album, and b) it just seems to not be true). Hanoi Rocks were not native speakers of English and the lyrics show it. They are even more simplistic than the bands they inspired. I will admit that I got my hopes up after the cool 'Beating Gets Faster', only to be vastly disappointed by the childish 'Ice Cream Summer'.

Starts off strong with 'Shining Star', and 'Africano' was a surprising delight! But the album generally contains more of the velvety smooth soul side of EW&F than the funky, disco sound that I prefer. Insane vocals though.

Less approachable than the follower Pretzel Logic, Steely Dan's second album features longer tracks, but the same stellar production. The flow of the album is not as good as on Pretzel, but the guitar sound on 'My Old School' is enough to get 4/5 score.

'Dandy' and especially 'Sunny Afternoon' are great tracks, but Face to Face feels extremely uneven compared to the following Something Else By The Kinks. Also, this has vastly more baroque pop which is not really my favorite thing.

Honky Tonk Heroes has some great melodies on it, like the groovy 'Low Down Freedom', but it is mainly packed with "hillbilly" country like 'You Ask Me To' and 'Black Rose' with a horrendously thin guitar sound. Then BAM, Jennings hits you with 'We Had It All' as a closer. Amazing track with an equally amazing vocal performance. Don't know where that came from.

Be it a horrible act of God, personal tragedy has multiple times been a catalyst for Nick Cave to create some of the most moving music ever created. On The Boatman's Call, Cave muses on losing the love of his life, blending the line between his personal life and the characters in his lyrical universe. "I don't believe in an interventionist god". With a single line, Cave rejects his worship of Old Testament Christianity, previously an all-engulfing presence in his work (The Mercy Seat, "An eye for an eye, And a tooth for a tooth"), and accepts a much more human belief in spirituality, accompanied by a disbelief in humanity. Everything has been uprooted - the connection to god, the connection to people - and Cave is right to question; 'Where Do We Go Now But Nowhere?'. Desperation is everywhere on 'The Boatman's Call', always paired with melancholy. 'Lime Tree Arbour' is an ominous warning of the revelation to come on 'People Just Ain't No Good', which is equal parts a warning and a denial acting as a coping mechanism. 'Brompton Oratory' manages to channel something primal in its pulsation, with a melody sounding so incredibly familiar as if Cave is musing over some internal truth hidden within all of us. The chorus of 'There Is a Kingdom' echoes this idea of a common connecting force even when the physical or emotional distance seems insurmountable as on the heartbreaking 'Far From Me'. But whether Cave believes this human longing for connection is something to appreciate or resent is not up for debate. The album's centerpiece makes it painstakingly clear. As the all to clear realization hits when the distance is already too far, Cave ponders "Are you the one that I've been waiting for?". And naturally, he receives no response. "Oh we will know, won't we? The stars will explode in the sky But they don't, do they? Stars have their moment and then they die"

Funky stuff. Nile Rodgers is a legend.

Welp, it might just have been a bad mood-fit, but this was very disappointing. Especially compared to Doolittle which is fantastic. It really feels sort of less stringent(?) in a way. Obviously influential, and great energy, but none of the tracks really stood out as highlights to me.

Love. Hate. Sex. Christianity. More sex. A raincoat. 5/5.

With 'Maggot Brain' as the insanely iconic opener and 'Wars of Armageddon' as the chaotic funky closer announcing the end of the world, you might think that the 5 tracks squeezed in between are fillers. But they consist of energetic, catchy pop, funk and psychedelic in just the right proportions. This album deserves all the praise. Although I don't know what the hell 'Back In Our Minds' is.

This is not as hard hitting throughout as nostalgia will have you believe, but boy is it hard hitting at its peaks! 'My Generation' really is a generational anthem, and although the James Brown tracks are less inspiring, Keith Moon never ceases to amaze me. The fills on 'The Kids Are Alright' and the drumming on 'The Ox' are out of this world.

Alright, this certainly is one of the albums ever created. Impossible to separate the artist and the mythology from the music itself, when the entire thing truly sounds like someone held talented musicians against their will and forced them to learn these horribly complex compositions. But in the end, the record really is a blast. Never boring, often humorous, and avoids being repetitive in its challenging of the listener. 'Bill's Corpse' really is a bop.

Hejira is Joni Mitchell in constant change and constantly moving. It's folk in the backseat of a car, progessive poprock on a plane, and jazzy fretless bass on a train. Always while looking up and realizing that the clouds and the world around her are moving much faster. Hejira somehow creates even more vivid mental imagery than the masterpiece Blue, and Mitchell constantly seems to be in complete control of not only her own voice but the expressions of a dozen genres. Everything comes together when she momentarily directs her melancholic gaze backwards in time on the phenomenal 'Furry Sings the Blues'. This is what every singer/songwriter should aspire to be.

10/10 accent and 10/10 Ideology (both his political standing and the track itself). I think I prefer the more stripped down feeling of his debut, but this was really enjoyable.

This is the sound of a menacing truck mercilessly tracking you down with no explanation at all. It's the increasing anxiety as the thundering engine gets closer and closer, pushing you deeper into despair. It's Duel (1971) by Spielberg.

This really bounces between being kinda cool and being kinda ridiculous. The closer 'Return to Heaven' definitely swings this more towards the latter.

Admittedly a big fan of this, I've always felt that the record drags om juuuuust a bit too much. 'Two Weeks' though. What a track.

The cradle of trip hop, the impact of Blue Lines and Massive Attack on music in the 90s and early 00s can hardly be overestimated. The reggae-heavy sounds of 'One Love' and 'Five Man Army' don't quite hold up, but the holy trifecta of 'Safe From Harm', 'Unfinished Sympathy' and the great closer 'Hymn of the Big Wheel' are perfect. Always a great listen.

If Radiohead had stopped making music after The Bends, it would have been the defining album of 90's indie rock and European alternative rock. Instead they had to ruin this album's legacy by releasing OK Computer and Kid A... The Bends is the most accessible album of Radiohead's discography, and the tracks are mostly just great pop tunes written in recognizable structures. Like, really great pop tunes. Thom Yorke is not as sulky (heh, get it?) as on later records, and Greenwood's (the Johnny one) guitar demands full attention with every violent outburst. 'The Bends', 'High and Dry', 'Fake Plastic Trees', 'My Iron Lung', 'Black Star', and 'Street Spirit (Fade Out)' (best Radiohead tune ever?). This is an easy 5/5. And it might not be in my top 5 of Radiohead albums.

As much as I despise Courtney Love, Hole did put out some cool stuff. However, on Celebrity Skin it's quite obviously the tracks written partly by Billy Corgan (title track and 'Malibu' among others) which are carrying the (w)hole thing. Stuff like 'Boys On The Radio' and 'Heaven Tonight' are downright awful, and Love's vocals for 50 minutes straight is a bit too much.

Such a gifted songwriter, John Cale gently grabs you by the hand and guides you through this pleasantly accessible record of his. It's a pop record, but you still never quite know what's coming next, as Cale takes you on a journey from his home in Wales to the edges of the world in Antarctica. The most memorable stops along the way are 'Andalucía' and 'Paris 1919'.

I'll keep it brief: heck yes.

Incredibly discomforting, this might the best breakup album ever. Greg Dulli delivers a vocal performance with as much diversity as the genres explored on the record, and the choices in instrumentation (especially guitars and relentless drumming) seem to match his emotional range perfectly. Having never listened to anything by The Afghan Whigs previously, this resonated emotionally with me on the first listen. A rarity, but something that a lot of albums can only aspire to do.

Pretty boring stuff, but at least the production is shitty.

Surprisingly enjoyable! Although I probably would have liked it more as an instrumental album. The production quality on the vocals really is rough.

Linking together punk, post-punk, new wave, alternative rock and some psychedelic, Marquee Moon truly is an impressive debut. It feels extremely tight, but still very adventurous. I think this listen was the first time the album truly clicked for me - it really is outstanding with each member delivering standout performances.

Pulp really were fantastic. Jarvis Cocker is obviously having a lot of crises on This Is Hardcore, but the resulting music is phenomenal. The record ends the 90s a few years too early and sort of kills brit-pop along with OK Computer also dragging everything to be more art-rock-ish. 'Sylvia' is a standout track, and although there really are no fillers, a runtime of 69 (heh) minutes is really too much.

Merle had a great voice and some great stories to tell. 'Drink Up and Be Somebody' hits hard, but even with only 30 minutes of runtime, I'm a Lonesome Fugitive still feels a bit monotonous.

Well, this was a bit of a disappointment after Crooked Rain, Crooked Rain. None of the great melodies, and although influential, Pavement's debut clearly sounds like a band trying to find themselves.

Kate Bush makes me feel things. Which is weird, because one of the limitations I often find with art pop and art rock is that the technical execution, gimmicks, and deliberate divergence from more standard structures result in an alienation of the listener. But Kate Bush channels something primal in her voice, songwriting, and instrumentation, and the resulting combination is heavenly. The first side is a monster with masterpieces like 'Running Up That Hill (A Deal With God)' (one of the greatest songs ever recorded), 'Hounds of Love' and 'Cloudbusting', and the second side is a chilling story told in 7 parts with 'Under Ice' being a personal favorite.

Wu-Tang's debut is obviously hugely influential and groundbreaking. Listening 30 years later, and the beats are still extraordinary - the lyrics not as much. Yes there are bangers like 'Bring da Ruckus', 'Da Mystery of Chessboxin' (coincidentally, today Ding Liren just became World Chess Champion... and I guess something happened in boxing as well), 'C.R.E.A.M.' and 'Protect Ya Neck', but it's mainly the production carrying the load. And goddamn intermissions on an hour long record should be banned. D'ya know what I'm sayin'?

I don't necessarily think this was bad. I just have no idea why someone would think that I needed to listen to this before i died?

Jeff Beck was a true guitar god. Unfortunately, it doesn't really show on his debut mostly consisting of blues covers. The production is poor, and the record seems unfocused. 'Beck's Bolero' is cool though.

Great to have such an early entry from the non-western part of the world. Miriam Makeba's voice was incredibly powerful, and on her debut stuff like 'The Click Song' and 'Mbube' are wonderful. Things are a bit less impressive on the more western-influenced covers like 'House of the Rising Sun'. And then I don't know what the fuck is going on on 'One More Dance', but I do not like it.

Huge debut by Baez with a perfect blend of sparse guitar arrangements and her authentic vocal. Also nice to hear the clear influence that she would later have on Dylan.

I mean, okay I guess? But hardly significant, and a weird choice in Madonna's catalogue. Obviously also too long.

'Blowin' in the Wind', 'Girl from the North Country', 'A Hard Rain's a-Gonna Fall' and especially 'Don't Think Twice, It's All Right'. Enough said. This is Bob at his best.

'Close To The Edge' is everything that people hate about prog rock. 3 tracks, 38 minutes. Love it. Chris Squire is an absolute beast.

A wild ride going from 'Close To The Edge' to this one. Skepta is cool and all, but Konnichiwa is a bit unfocused. Interludes drag and most of the tracks are forgettable. 'Shutdown' and 'That's Not Me' are absolute bangers though.

It's jazzy, it's funky, and the title track is pure art. Very cool indeed!

The sheer energy and power on this is off the fucking charts. Zack de la Rocha spits out every line with equal parts discontent and rage, and Tom Morello's guitar sounds like nothing the world had ever heard before. Of course the entire thing is sublimely produced as well. Though I will never quite forgive Rage Against the Machine for the horrid wave of nu- and rap metal which followed, their debut truly stands as a landmark in music history. From the cover, to the sound, to the politics. Iconic through and through.

This is extremely easy listening. Pleasant melodies and no real surprises. Enjoyable at first, but as the tack listing goes on, you start to wonder whether there is any actual substance beneath the digital drums and the loop pedal. I honestly don't know. 'Babylon' is great though.

So I apparently still don't know what to make of Jane's Addiction. On one hand, 'Been Caught Stealing' is a jam and a trip down memory lane to GTA San Andreas, and 'Three Days' is truly epic. On the other hand, stuff like 'Of Course' drags on way too long, and the intro to 'Ain't No Right' is mysterious to say the least. Cut down 10-12 minutes of unnecessary fillers/intros/outros, and this would have been a really strong record.

If a debut ever was a tour de force, this is it. Monáe incorporates elements from just about every major genre in popular music (okay, maybe not dubstep), and she does it completely effortlessly. It is an equal parts retrospective and futuristic bombardment of the senses. 'Cold War', 'Tightrope', 'Come Alive (The War of the Roses)', and 'Make the Bus' are all exceptional.

One of the best records of the 21st century. Simple as that. Although dedicated to James Murphy's late therapist, Sound of Silver is just as much an homage (or a hate letter?) to New York City with Murphy and co. staggering from rock joints to electronic clubs in their sales force suits. With opening tracks like 'Get Innocuous!' and 'North American Scum', you might get the impression that the record will be filled with danceable jabs at the world, picking up where Talking Heads left off at their most playful. But then things get intimately personal. 'Someone Great' is one of the most accurate portrayals of loss and grief in modern music, and it's incredible that Murphy is able convey so many aspects of the grieving process with so few words. An immense highlight of the album which then immediately gets overshadowed by the monumental 'All My Friends'. Jesus, this track is peak music. An entire adult human life told in just about 8 minutes, with quotable line after quotable line. It's danceable, but simultaneously incredibly moving. 'Us V Them' would be a hell of a track even without vocals, and like most of the songs on the album it's just layer upon layer of electronic and analogue instrument recorded in a room covered in tinfoil. Probably something you would notice, but something magical sure happened during these recording sessions. Finally, the bittersweet 'New York, I Love You but You're Bringing Me Down' sends us off with a reminder that life is multi-faceted and filled with conflicts - but everything is a little easier in the company of others. "You spent the first five years trying to get with the plan And the next five years trying to be with your friends again"

Survivor starts out way too strong with three absolute bangers back to back. And while Beyoncé's vocals really are out of this world, the rest of the record does not live up to the strong start. I am just not that interested in vocal phrasing after vocal phrasing, and that late 90's/early 00's RnB production is just goddamn awful. 'Brown Eyes' was cool though.

Great harmonies, forgettable songs.

Honestly a bit surprised by seeing this one pop up, but 'Wheels of Confusion' and especially the anthem 'Changes' are great.

Let's not kid ourselves: the only reason this record is remembered is because of the title track. And boy do I love it when a full side of a record is just one song. 'In-A-Gadda-Da-Vida' is a monster, the riff is instantly recognizable, and the stretched out organ parts create an eerie psychedelic atmosphere. Side A is fine, I guess.

On their debut, Lehner Skinnerd manages to sound like 3 people playing while being 6 people (7 on the cover?) in the band. Impressive. While much more authentic than the southern rock coming out of Creedence Clearwater Revival (as authentic you can get by telling the stories of hardship in the south from the point of view of some white guys), songs about guns and god just doesn't do it for me. Overall, the album just feels like one long wait until 'Free Bird' finally kicks in, and although that's a legendary track, I'm not quite sure it's worth it sitting through the first 7 songs.

Did not engage with this at all. Not terrible, but really bland, especially considering all the different sounds incorporated on the album.

Fucking perfect. Pixies figured out how to play real loud, then real quiet, then real loud again, and the world forever changed.

While obviously influential as heck, I feel that a lot of the ideas Tortoise present on their second record are somewhat underdeveloped. Especially 'Djed' feels more like a collage of sound ideas than a coherent composition, and although this is less of an issue on side 2, I am never quite moved in the same way as when listening to other post-rock bands like Mogwai and Godspeed You! Black Emperor.

Psychedelic baby! Horrible band name, but Country Joe and the Fish were actually quite cool. Electric Music For The Mind is obviously very much a product of it's time, and specifically San Francisco at a certain time, but there really is something liberating about the sound.

Iconic album, iconic cover, iconic dude. Band on the Run is very enjoyable, and the whole theme on escapism is universal. While some songs are quite forgettable, the peaks of 'Band on the Run', 'Let Me Roll It', and 'Nineteen Hundred and Eighty Five' are amazing. Both stylistically and vocal-wise this was a nice breath of fresh air for McCartney.

On Mama Said Knock You Out LL Cool J is witty as hell and his lyrics keep me entertained for the full hour runtime. 'Mr. Good Bar' is a banger, and it's cool to hear the origin story of Run The Jewels on 'Cheesy Rat Blues'. 'Farmers Blvd. (Our Anthem)' is also top notch with a way too funky beat, and we also get the legendary opening line to the title track - "Don't call it a comeback!'.

Hits aside, writing the songs on 21 at that age is complete bonkers. Hats off to Adele who obviously also kills it vocal-wise. 'Don't You Remember' and 'Take It All' were nice surprises drawing on very British sources of inspiration like Elton John, and the Sting-esque cover of 'Lovesong' was pleasant. As for the hits, you have to be a cold-hearted bastard not to be moved by 'Someone Like You', closing out the album on an absolute high note.

I like my Zeppelins electrified, and there's not a lot of that going on here. Obviously, 'Immigrant Song' and 'Since I've Been Loving You' are amazing, but stuff like 'That's the Way' is downright snooze-worthy.

This is very cool if you like drumming, Fela Kuti, and afrobeat. It's also cool if you don't like drumming, because Fela Kuti was the man. Maybe the most important figure in bringing non-western music into the Western hemisphere? Anyways, this live album is a completely enjoyable ride through and through.

Music for when Nicolas Cage has to steal 50 cars in 60 seconds. For 50 minutes straight.

A lot of mythos around this one, and I while the songs are great, I never quite understood all of the hype.

So 80s, So Gabriel, So Good

I was expecting a bit of a snooze fest and an album stuck in the 90s/00s. But unlike the man himself, Moby's Play still holds up. Once 'Porcelain' kicks in, the entire sound of the record opens up, and it's easy to just roll with it.

He, Buzzcocks.

Quite conflicted regarding this record. I have several issues with ska and reggae, but the punk nerve and general dissatisfaction on tracks like 'Little Bitch' are great. That being said, I'll probably never listen to this again.

Gatekeeping metal is a virtue as old as time, and discussions of Metallica selling out already began with 'Fade To Black' from Ride the Lightning. In any case, Metallica definitely did not sell out with The Black Album. Instead they smashed through all fictional doors in the music industry, and every single metal act in the last 30 years owe them for this achievement. And yes, perhaps we could agree to a 10 year break on playing 'Enter Sandman' and 'Nothing Else Matters' - who knows, perhaps even they can become listenable again at some point?

I... just don't know. This is extremely captivating and at the same time infuriatingly alienating. As someone who loves 'Goodbye Pork Pie Hat', this is... something else.

Legendary group, great samples, meaningful lyrics, and for once a +1 hour album, which doesn't bore me. All those skits though...

Now THIS is the Zeppelin album that does it for me. 'Whole Lotta Love', 'Heartbreaker', and 'Ramble On' are masterpieces.

Okay, I am officially fed up with 50+ minute, 30+ years old hiphop albums on this list. It's not that I think this is bad, I just cannot absorb content of this format anymore. 2 stars I guess.

If someone was completely unfamiliar with classic country, showing them this would certainly serve as a fair introduction to the genre. Too bad that, as with most country, the majority of songs are bland and toothless. Only when 'Knoxville Girl' kicks in does the album succeed in engaging the listener. And even though the final 4 tracks are solid, the extremely slow beginning is difficult to shake.

Was an easy, albeit surprising, 5/5 until the last track. Now it's an easy 4/5.

What can I say? I'm a sucker for vocal harmonies. The Mamas & The Papas have a sound making every song sound instantly recognizable.

Fucking flawless. A sonic masterpiece.

12 songs clocking in at a total of 35 minutes, ending on 'Time of the Season'. What's not to love?

I'm a simple man. I see Exodus, I give a 5/5 rating.

Intoxicating and enjoyable from start to finish.

Cannot believe that they made baseball music into a real thing!

This really was not that good, right? The guitar on 'Sold to the Highest Bidder' was especially insufferable.

American Idiot is the The Wall for millennials but with less hopelessness and even more political dissatisfaction. An anti-US, anti-consumerism and anti-capitalism monument, this record ended up defining large parts of the 00's music scene post-9/11. The album and Green Day themselves became synonymous with criticism of the Bush administration, and 'Wake Me Up When September Ends' was used in everything from protests of the Iraqi war to memorials after Hurricane Katrina. The songwriting is top notch, melodies are catchy but never boring, and the production on the guitar is otherworldly. It makes me want to bring out the eyeliner and the red tie, and I would not change a single thing about this teenage-angst ridden phenomenon.

I am completely exhausted only 3 tracks in. A good and tight hard rock song recorded in 10 different versions. Easy 50 million copies sold.

Oof, this is likely my least favorite Beatles record. There are hints of greatness, the melodies on 'All My Loving' and 'Don't Bother Me' and quite a few vocal harmonies, but nothing ever quite evolves into a truly great song. The cover of 'Devil In Her Heart' comes close to greatness, and the covers of 'Please Mister Postman' and 'Roll Over Beethoven' provide some much energy halfway through the record. But the musicianship of the Fab Four doesn’t quite hold up on these fast-paced tracks, and especially Harrison's solos are surprisingly painful.

Songs about the Deep South and the Bayou written by a guy born and raised in California. Starting your career out with the first 6 albums going platinum in the US. Easy peasy, keep on Chooglin' John.

Annie Lennox, you wonderful human being. What a powerful voice brimming with authenticity. This might be the most 80s sounding record ever made. No analogue instruments, heavy synth bass, and a drum machine. I am not a fan of the more atmospheric tracks, but when the bass and synths hit hard on 'This Is The House' and the title track (best dance song ever?), the stars seem to align.

An absolutely wonderful record, where Simon truly makes his guitar sound like a full orchestra. More of a solo album than a truly Simon & Garfunkel one, Bookends contains some of the best lyrics and melodies ever put on record. 'America', 'Old Friends', 'Fakin' It' are all intriguing - simultaneously deeply intimate while exploring the American consciousness of the late 60s - but it's the closing trio on the record that truly elevates it to a masterpiece. 'Mrs. Robinson' is iconic and is somehow upstaged by the incredibly addictive melodies of 'A Hazy Shade of Winter' and 'At the Zoo'. I still remember listening to the album for the first time and spending the rest of the week listening to the two final tracks on repeat.

So this is Morrissey's take on Britpop. Or, more correctly, it is Alain Whyte's and Boz Boorer's take on Britpop since they actually wrote the fucking music. I don't care for Morrissey's lyrics, but the music is high quality with excellent melodies on songs such as 'Why Don't You Find Out for Yourself'. I do, however, miss the energy of Johnny Marr which seems to match the whining of Morrissey to perfection.

Gangsta rap. Good shit. Shooting some people.

Neil Young's frail voice is just not suited for these heavier compositions. And some of the tracks just go on and on and on and on and...

I usually appreciate the heavy amount of Kinks on the list, but this one is a bit too unfocused and silly for my tastes ('All of My Friends Were There'). Still very impressive songwriting and adventurousness!

There is a comforting feeling of familiarity on this Lennon album but with just enough differentiation from his Beatles-era compositions to make this a standout post-breakup solo record.

This lady just does not miss! She has absolutely dominated this list with Blue, Hejira and now Court and Spark. Special shoutout to the gospel moment on 'Down to You'.

Toss-up between Supergrass' 'Alright' and Kendrick Lamar's 'Alright' between being the most important anthem in 20 years.

What's this? A tight, skitless, sub 45 minutes hip-hop record? Sign me the fuck up! The introduction might be the best I've ever heard, and it's clear from the beginning that Kanye "George Bush doesn't care about black people" "I'm a Nazi" West is at the top of his game here as producer. With samples of gospel, jazz and child voices, this sounds more like a Kanye album than anything else. The lyrics are clever (with the exception of 'Go!'), and tracks like 'Testify' and 'Chi-City' are impressive. Wests verse on the latter is a downright monster. And oh yeah, Common also appears.

Scream it James!

In a decade dominated by indie rock, nothing comes remotely close to sounding like Yankee Hotel Foxtrot, and it is just gorgeous. 5 stars alone for 'Jesus, Etc.'.

M.I.A. is widely praised for her innovative take on pop music. I fucking hate it with a passion.

One of the coolest to ever do it, and 'This Mess We're In' is certainly one for the ages.

Groovy as hell and equally as forgettable.

I was prepared to label this an unfocused and too lengthy run-of-the-mill 00s indie effort. But then around 'Cause a Rockslide' and 'Pissing in the Wind' the album seemed to open up. Don't get me wrong, it's still unfocused and too long, but it manages to stand out among a gazillion similar-sounding indie records of the time.

I am completely convinced that I would have had much more success on the dance-floor, if this kind of music was playing at clubs in my teens.

Such an incredible voice, but it's no Dusty in Memphis. 'You Don't Own Me' is always a powerful punch, no matter the version. And the Carole King and Burt Bacharach tracks are classics for a reason.

Often overlooked in their discography, Hail To the Thief is Radiohead at their most political serving a perfect blend of the electronic destruction-of-self from Kid A and the guitar-driven rock of The Bends. Is it probably a track or two too long? Perhaps. But it also has '2 + 2 = 5', 'Myxomatosis', 'A Wolf at the Door', and possibly their greatest song ever put on record, 'There There'.

'All I Need' and 'Faust Arp' hinders this from being a perfect 10/10 record, but every single one of the 8 remaining tracks are absolutely perfect and immensely beautiful. In Rainbows really is the kind of album that opens up to you the more you listen to it. It's the perfect next step in the evolution of the band after Hail to the Thief, and it marks the end of an unparalleled 6-album run starting at The Bends. This is the fourth Radiohead album on the list. The fourth 5/5. And that's without OK Computer and Kid A...

Never heard of this recording before. It's perfect.

Elastica's debut record is a perfect blend of brit-pop, punk and post-punk. It has a new-wave-like quality without ever sacrificing solid melodies and instrumentation for gimmicks and forced quirkiness. At centre of it all stands Justine Frischmann, perhaps the most overlooked influential character in britpop history. After forming Suede, she went on to create one of the best selling debuts in UK history and be a constant source of inspiration for Mr. Dan Abnormal who also features on keys here. It's difficult, because while she was the muse behind 'Tender', she's apparently also responsible for M.I.A., and I don't know what to make of that.

Fun enough, but just not very good? I think maybe you would need to have some previous experiences with Meat Puppets to be able to fully appreciate what they were doing here.

This record feels so much more coherent to me than most of the contemporary hard rock albums. Maybe it's the gorgeous synths. Maybe it's the proggy vocals of David Lee Roth. Or maybe it's that even with a generational talent, Eddie Van Halen is constantly flashy but never boring and uninviting. The lyrics are of course atrocious.

The ferociousness of this debut is unparalleled. Not a single miss - just a bunch of young Northerners writing about hitting the town and running from cops. 17 years later, I still know all the lyrics by heart, many bruises have been acquired "dancing" to 'I Bet You Look Good on the Dancefloor', and in the meantime no other band has released anything close to 'You Probably Couldn't See for the Lights but You Were Staring Straight at Me'. Goddamn I miss this version of Arctic Monkeys...

The Hissing Of Summer Lawns sees Joni Mitchell lean more into the Steely Dan inspired jazzy pop-rock without ever abandoning her playful vocal melodies. I am not a huge fan of the instrumentation, but this doesn't matter a lot, since Mitchell's lyrics and vocals are still at the center of everything. And with such a strong core, it's difficult to do anything but let the poetry wash over you.

Fugees were pretty cool, huh? The references to other recordings and artists are abundant, and the blend of hip-hop with soul and reggae influences works well. Still too many skits and soundbites though...

Tough not to get carried away and stamp your feet into the ground for this one. I could not understand a single word. Except 'Worms'. I unfortunately understood all words of whatever that was.

My all time favourite Leonard Cohen record. I love every last second of this - yes, even fucking 'Jazz Police'. 'First We Take Manhattan' and 'Everybody Knows' are certified classics, but it's 'Take This Waltz' that always gets me. Pure beauty exemplified in songwriting.

The doom, the riffs, the distorted vocals <3

Manic Street Preachers is one of those bands for me, where they've made some incredibly catchy and memorable tunes, but I just find myself immensely bored every time I listen to their records.

"A day when I was chilling in Kentucky Fried Chicken..." Obviously an incredibly important record kicking in the door to the mainstream for the hip-hop album, but between the beatboxing, interchanging MCs and misogyny, this sounds more like a parody than a serious attempt. The only thing saving this from total mockery is the early rap-rock attempts 'It's Tricky', 'Walk This Way', and 'Raising Hell'.

Incredibly refreshing, although I cannot say that I understood much of what was going on.

I had no idea that this Bragg/Wilco collaboration even existed! Their interpretations of Woody Guthrie's writings are powerful, and the previously unheard lyrics captivating. Ultimately though, this feels more of an anthology than an actual album. A special shout out to 'Way Over Yonder in the Minor Key' - what a wonderful tune.

If we just for a moment pretend that the record ends on 'Peace Like A River', then this is probably the best mini-album ever released. Simon delivers a masterclass in songwriting and impossible guitar techniques. It's intellectual but always packing an emotional punch. Even songs that start out as pretty straightforward, like 'Everything Put Together Falls Apart' and 'Armistice Day', end up evolving into completely different beasts. Heck, 'Me and Julio Down by the Schoolyard' isn't even a highlight among the first 7 tracks! And then we have the last 10 minutes which are incredibly bland - just barely saved by the earnestness of 'Congratulations'. Such a shame.

This is not quite Roxy Music at their fullest potential, but there are glimpses of greatness and darkness on 'Chance Meeting' and 'Sea Breezes'.

Immensely immature, but incredibly entertaining.

It's edgy, it's fun, it has spoken meta-interludes and a hidden track. Doesn't get more 90s than this.

With their final album, Simon & Garfunkel put a definitive end to the 60s with a beautiful, melancholic statement on isolation and human longing for connection. It's not a perfect album, but the heights reached on this are some of the finest recordings ever. 'The Boxer' is monumental, and 'The Only Living Boy in New York' is hauntingly beautiful with some of the purest vocals ever put to tape. That is, of course, excluding Garfunkel's ethereal vocals on the title track. Iconic and 100% guaranteed to induce goosebumps every single time. What a way to start an album and end a duo.

Easiest 10/10 of my life. TPAB not only changed the game for hip hop, but also raised the bar for what an album could be and how much societal impact it can have.

This is getting ridiculous. It's like saying that the dictionary is a book you have to read before you die - surely some important documentation, but not quite fitting the format. The title track and the following 'Both Sides Now' were delightful. Only to be immediately followed by more goshdarn fiddle and banjo.

The production. The jazzy beats. The rhyming scheme. The flow. This is perfection and the quintessential hip hop record. "I don't know how to start this shit" Nas confesses at the beginning of 'N.Y. State of Mind', and then delivers an absolute masterclass in rhythm and poetry. Ridiculous.

Goddamn boys, just release two solo albums instead. Or a 10/10 40 minute hip hop classic. Completely unforgiveable to release a 2+ hour record with 10 interludes/skits/intros etc… Last time I fought my way through this, I vastly preferred André 3000's effort, but this time around I actually found Big Boi's to be the most focused. Even though there are no clear lows, it will probably be another 10 years before I sit through the excrutiating experience of listening to this album yet again.

'Lover, You Should've Come Over' and Buckley's rendition of 'Hallelujah' are legendary for a reason, but I have always felt that the quality of this record has been slightly overstated due to the tragic circumstances that surrounds it. He surely was talented, but the self-indulgence keeps this from being a classic in my book.

So I get that it's a satire of the psychedelic scene, hippies, The Beatles, corporations, etc., etc., etc. And I get that it's an avant garde protest against selling out. But the moments that makes this record actually stick together as a coherent work are exactly the straightforward psychedelic pieces like 'What's the Ugliest Part of Your Body?', 'Let's Make the Water Turn Black', and 'Lonely Little Girl', as silly and scathing as the lyrics might be. Now isn't that ironic. Or satirical. Or self-referential. Or... something.

This is the Nick Drake record that does it for me. It's still intimate, but the orchestration really helps expand the songs. 'One Of These Things First' is simply sublime.

If I'm at your place and you unironically put this stuff on, I will straight up think less of you as a human being. It's vapid, uninspiring and there is absolutely nothing at stake here. Unless, of course, you are lighting up the dancefloor with your honky tonk - in which case, carry on!

Man I like jazz.

Dark, progressive and all-around high quality solo record from Gabriel featuring some innovative drumming - especially on the tracks featuring You-Know-Who.

The first two records from Pixies feel so absurdly ahead of their time. While not quite as hard-hitting as Doolittle, Surfer Rosa still sounds fresh even though it has evidently influenced everyone from Nirvana up to Interpol (who shamelessly copied the riff from 'Where Is My Mind' on 'Rest My Chemistry').

Starring, Written, and Directed by Dave Grohl.

Big Beats By Brothers vol. 2

It's dad rock, but it's pretty good dad rock. The title track is an iconic 5/5, but the final track, 'The Last Resort', is way too sentimental.

Laibach is one of the biggest will-they-won't-they bands ever. Are they nazis? Are they communists? Are they even musicians? Tough to rate an album that is 2/8 parts 'Life Is Life', 1/8 part Queen cover, 1/8 part Churchill "tribute", and 4/8 parts industrial with raspy baryton vocals suitable for a Nazi propaganda video.

After chilling for 70 minutes to this, the final track was completely awful. Will not listen again.

Almost blasphemy not to give this one a 5/5, but it really only ventures into greatness from 'Neighborhood #4 (7 Kettles)' an onwards. The three-track stretch of 'Wake Up', 'Haiti' and 'Rebellion (Lies)' is peak Arcade Fire and defining an entire new genre, giving us artists such as fun. (wuhu).

Meh, tough to see why Ice Cube deserves a spot here. Not awful, but obviously the lyrics are shit.

This is just so fucking cool, man. Punky, dark dance music.

Jimi does Jimi things and it works. 'Little Wing' and 'Castles Made of Sand' just rock.

As with most Talking Heads records, Fear of Music takes a few listens to get accustomed to. But when it finally clicks and you let yourself flow along with the impeccable groove set by the entire group, you'll never want to leave. While other bands where making rock operas and fast guitar-driven music in the late 90s, David Byrne was really out there pushing boundaries for what could be considered popular music. Thank god that Brian Eno and the rest of the band could tolerate working with him. 'I Zimbra' is an incredibly energetic starter, with 'Cities', 'Life During Wartime' and especially 'Heaven' fully living up to it.

Fairport Convention definitely knew what they wanted to do and executed their vision brilliantly. Is the result an actually enjoyable record? Tough to say. 'Matty Groves' is awesome, the medley with non-stop fiddle not so much, and the whole schtick of Sandy Denny's gorgeous vocals over non-standard scales does get old a bit too fast.

Classic rock peaked in 1971 with this one.

My first time listening to Joan Armastrading, and what a voice! Will definitely get back to this - especially 'Tall In The Saddle'.

I always start of being completely overwhelmed when listening to Nico's debut and then slowly realize that 'The Fairest of the Seasons' and 'These Days' are pretty much the only songs for me on this one. The rest just feels like more of the same, but of lower quality.

Having never listened to The Avalanches before, this just became a solid staple of mine. The attention to detail on this is off the charts, while still appearing coherent throughout. An absolute delight!

People complain a lot about this list having too many British records that are non-essential. Well this one might be the quintessential British album, and the entire band just plays absolutely phenomenal. "I wasn't born so much as I fell out".

This is so fucking good, but 'Jailbreak' is just extremely uncomfortable.

I learned a new genre today - "psychobilly". I do not care for it.

Although the musings are at times superficial, Michael Franti's vocals are mesmerizing and the themes seemingly more relevant today than in 1992.

'Finest Worksong', 'Welcome To The Occupation', 'Disturbance At The Heron House', 'It's The End Of The World As We Know It', 'The One I Love', and 'Oddfellows Local 151'. Stipe at his most political and a well-deserved international breakthrough.

Is it just me, or was this really good? In stark contrast to the effort of Ananda Shankar, The Sounds of India guided me into a flow where the instrumentation suddenly seemed very familiar. Oh, and all albums should start with an explanation of the musical theory behind the compositions - just as a service to the listener.

Now this is the definition of an album to listen to before you die. Maybe not so much because of the content itself (although interesting in its own right), but because of the unique circumstances surrounding the recording of the record. Gaye's vocals are of course velvety-smooth as always on Here, My Dear, but it's the brutally honest lyrics that makes this one stand out to me. The whole concept of writing an album for your ex, an album where she will profit of it's commercial success, is just wild. Of course, the entire thing is anti-commercial and pretty much unmarketable compared to Gaye's previous catalogue. And although the compositions meanders a bit too often, the experiment pays off, resulting in a very captivating listen.

Cooke's voice is magnificent, and the live energy of the venue and audience is wonderfully captured on the record. The actual music and songs, however, are quite uninteresting and unengaging.

For most ordinary bands, this would basically just be a greatest hits record, but this is ABBA and they are no ordinary band. Some wicked keys on this one as well.

28 minutes and still a tour of classical choir, intimate folk, Dylan-satire folk rock, and a news broadcaster overlaid with a Christmas carol. There really is not a single miss on this one, and the vocal harmonies are to die for - Simon's guitar playing likewise.

Just some guys cruising down the highway. Maybe the real friends were the musical genres we defined along the way.

Yeah Yeah Yeahs are so fucking cool, and their debut might be the coolest of their records. "Rough around the edges" seems to be the theme here, and it works pretty well even though the song quality varies quite a bit. 'Date With The Night', 'Tick', 'Pin', and 'Y Control' stand out, while 'Maps' is in a league of its own. Maybe one of the best songs written in the past 20 years?

I found this to be way better than Screamadelica, so a pleasant surprise indeed! Still meanders a bit through the long runtime though.

A stone cold classic for a reason. Is there such a thing as art garage rock? In any case, 'Free Money' is one of the best songs ever.

Delicious space ambient.

I have tried numerous times to get into 10cc and try to get what they were doing. At this point, I don't even think that they themselves knew it. Never boring, and tracks like 'Somewhere in Hollywood' and 'Clockwork Creep' work really well. But releasing 'The Worst Band in the World' as the lead single is just absolutely bonkers.

Basically as much a Emmylou Harris album as a Parsons one, Grievous Angel has just enough variation to make the well-trodden country formula tolerable enough. The ending trio of songs ends an otherwise pretty uneven album on a high note. The fake live medley is especially bewildering.

Always nice to see Sonic Youth pop up on the list. Dirty is a double whammy, but completely justifies the runtime. Every band member gets a chance to showcase their skills, and with only a few misses like 'Nic Fit', the quality on this record is undeniable. A special shout out to 'Theresa's Sound World' - 'The Unforgiven III' by Metallica anyone?

I definitely like my Stevie more funky than souly, so if we just pretend that Innervisions starts when the drums kick in on 'Living for the City', I am all for the 5/5 rating. 'Higher Ground' is one of the all time songs, and Stevie was, what 22 years old when he wrote this record? Incredible.

Meh, I guess this is cool if you enjoy listening to Nick Cave moaning and screaming like the devil over a layer of dissonance. Or Now That's What I Call Post-Punk Vol. 2

Perfection. There's a reason why this is the gateway drug for people looking to waste their lives listening to musicians insisting on playing the wrong notes.

Having Trout Mask Replica as my only reference for Captain Beefheart albums, this debut was completely underwhelming from the get-go. After adjusting to this new level of accessibility, I started appreciating the, still experimental, mix of blues and acid rock. The record peaks at 'Electricity' and 'Yellow Brick Road' and then never really lives up to those two tracks on the final songs. Toss in a less than stellar production, and my overall impression of the album ends where it began: underwhelmed.

The atmosphere and the vocals go hand in hand on this one. 'The Ocean' has been stuck in my mind the last 5 years, and I don't think it will ever unstuck.

Why on earth would you ever want to listen to the Ramones when this came out less than two years later and is just superior in every way imaginable?

Downside of not speaking french: Not understanding a word of this sonic voyage of a concept album from Serge Gainsbourg. Upside of not speaking french: Not understanding that the concept is just paedophilia and other parts of french culture.

Ugh, I had forgotten just how fucking good Coldplay used to be. When one of the weakest tracks of your debut is 'Yellow', you're doing something right. Even if you're just re-selling The Bends in a nice pop-wrap. Also, and I can't explain this, but Parachutes sounds exactly like the cover art.

It's Sinatra crooning to love songs, so you know it's predictable and incredibly enjoyable.

This just sounds like a parody of British rock history more than anything else.

At first I was bewildered why an album that seemingly was only successful in The Netherlands(?) would appear on the list. But this really is magnificent. The intersection between folk and country is explored in a very earnest way, with Clark demonstrating a clear melodic gift. It's not going to provoke you or push boundaries, but it's extremely pleasant.

On his debut, Iggy pop sounds like a Bowie clone while wearing a shirt for what I can only assume was the first and last time in his career. A damn good short-wearing Bowie clone.

Cool beats, interesting cover. Getting a bit tired of all the similar-sounding 90s hip hop albums.

So that was definitely two hours and twenty minutes of drum and bass.

'Candle In The Wind', 'Bennie and the Jets', 'Goodbye Yellow Brick Road' and 'Saturday Night's Alright for Fighting'. This is just a stone cold classic.

I'm a total sucker for the nu-disco that Scissor Sisters came blasting onto the scene with in the early 00s. Completely ridiculous that this is not a record from the 80s. -1 star for the few songs parodying Elton John instead of disco - no fun at all.

Stevie Wonder is a generational musical talent and Talking Book is clear evidence of that. I just wish that he would do way more funky upbeat stuff.

Just a mess. Adding ska to rock is not a smart move.

Grateful Dead is one of those bands where I think you have to be born in the 60s and/or in the United States to truly appreciate what they were doing.

Crazy stuff, especially Jaco Pastorius on fretless bass!

Never heard of American Music Club before, and that seems to be a mistake. California is a great showcase of songwriting and blending of americana, indie and post-punk with a great highlight in 'Pale and Skinny Girl'.

The vocal harmonies are nice, but that is literally it. I just don't get the hype. The lyrics are mindless, the instrumentation uninspiring, and the addition of 'Bull Session with the 'Big Daddy'' just plain insulting. It's 11 actual tracks in 27 minutes just barely constituting a "rock" album. You could then argue that this records holds historical value in being an early example of a rock album, but at this point in time The Beatles had already released A Hard Day's Night and would release Help! and Rubber Soul later that year. Why even bother with this one then?

One of those records where you just have to sit back and let Uncle Billy guide you through 9 tracks which combined would be a greatest hits album for the majority of artists. I will never get tired of 'Vienna'.

After listening I could not for the life of me remember a single melody or phrase except for 'Home of the Blues' (by Cash).

On their second album, Coldplay took their Radioheadesque intimate cosmos created on Parachutes and expanded it to consume the entire observable pop universe. 'Politik', 'In My Place', 'God Put a Smile Upon Your Face', 'The Scientist', and 'Clocks'. Complete powerhouse of an opening collection of songs, but it's in the final six songs where the group really gets creative. 'Green Eyes', 'Warning Sign', 'Amsterdam' and especially 'A Rush of Blood to the Head' are all magical. So that's 9/11 tracks being highlights? Pretty impressive. Almost as impressive as the guitarwork by Jonny Buckland on the record - constantly adding new layers, effects and licks perfectly suitable for the song at hand and surprisingly dissonant at times! This album is pop-rock perfection, and I will never get tired of listening to it.

A bit silly, but interesting enough. I thought I was having a stroke during the extensive panning on 'The Last of the Teenage Idols'.

Man the early 2010s was a weird time. This British band came out of nowhere with a psychedelic-infused world trance-like debut not quite sounding like anything else. Since then, I've re-visited Django x2 (x2) several times and it's quite clear to me that my enjoyment with this record is very dependent on my headspace - sometimes is just too much, and sometimes it's a perfect match. This time around it was the latter. 'Default' is such a banger.

It's Sinatra doing Bossa Nova, and it's just delightful.

Café Bleu is obviously an album that just tries to do too many things. I don't particularly like the hip hop elements, but the more jazzy stuff is really pleasant. Then again, for some reason the album has stuck with me since I heard it the first time - I just don't know if that's a good or a bad thing.

Completely overproduced and just downright delicious.

Completely different from his debut, Lust For Life is Iggy Pop developing into his own legendary persona and stepping out of Bowie's shadow (even though this is very much still a collaborative effort). It's aggressive without ever losing sight of musicality - reminding me that the name Iggy Pop is almost as false advertisement as the name The Killers.

So grandiose and so 70s.

From 'The Changeling' through 'L'America' + 'Rider On The Storm' this is a perfect album. The sound mixing is just incredible with each Door getting his due time to show off.

The musical equivalent of using a cheese grater to exfoliate your skin - surprisingly satisfying.

My all time favorite country/americana album. The images Lucinda Williams are able to describe with her frail but powerful voice are incredibly vivid.

I love britpop and I love psychedelic rock. So on paper The Verve, and especially A Northern Soul, should be a favourite of mine. And it's not quite there. Don't get me wrong, it's still quite good, but not more than that.

Disappointed in myself that it had been years since I last listened to this one. 5/5 just for being the inspiration for all 70s prog rock to come.

There's nothing new to be said about Head Hunters - it's a perfect, groundbreaking album. What impresses me is how easily HH and his ensemble lure you into the jazz-funk world with the build ups. Halfway through a track like 'Sly' you don't even stop and wonder how it all evolved into this funky, polyrhythmic, cacophonic beast.

There are actually some good tracks on this one, but there are just. so. many. long. intros. and. outros. everywhere. So. much. filler. What the hell is the benefit of this on a 70+ minute long record?

What the fuck, do I like techno now?

Setting the tone for thrash metal in the following decade, British Steel is straight up terrific. The sound of new wave of British heavy metal never disappoints and Halford is a legendary frontman. The only miss is 'United' which is barely half a song. I get that it was meant for live performances, but on an album it just doesn't work and really kills the flow of the record.

I had the pleasure of seeing The Cardigans live earlier this year. During the setlist, they played their, now quite well-known, cover of a legendary Black Sabbath song - you guessed it, it was 'Changes'. The inclusion of the cover live felt just as pointless as their cute cover of 'Iron Man' on First Band on the Moon. The performance equally as dull overall as this record feels. Definitely a “Greatest Hits” kind of band for me.

Pretty cool early garage rock album. Even the Elvis-rocking 'Evil Hearted Ada' works quite well!

Once again, The Divine Comedy is the best re-discovery of doing this list. It's funny, well-written and wonderfully arranged. I am going to tell my grandkids that this was Blur.

By chance, I listened to Chirping Crickets while on a plane. And I think that just like the aircrafts of 1950s have developed into something much more impressive now, so too has rock music evolved beyond anything Buddy Holly could ever had imagined in 1957. I just prefer the much more impressive rock and aircrafts of modern age than those from the 50s, and I think Holly would feel the same.

Crazy strong debut. The bunnies really are a vibe

I really want to hate this more than I do. Sometimes you just have to acknowledge that a few standout tracks (you know the ones) and a great set of pipes on Axl is enough to sort of carry an album in an awful genre. Really hated the artificial vocal effects like on 'Rocket Queen' (yuck, by the way).

Cat Stevens always feels incredibly intimate in both sound and melody, but the themes of the lyrics have universal relevance. At times it becomes just a bit too much with the full orchestration, but when you have song material like 'Wild World' and 'Father and Son' it's difficult to really mess up.

Idlewild is a collection of some very nice tracks. Too bad they are all the same.

Ugh, I really have a hard time with Linkin Park. Yes, even Hybrid Theory and Meteora. Chester Bennington obviously had some incredible emotional vocals, but besides 'Crawling', 'In the End' and 'Pushing Me Away', the tracks just blend together in this awful early 00's production. One star for each of those songs.

This debut is just too good. 'I Wanna Be Adored', 'Waterfall', the nice Simon & Garfunkel nod on 'Elizabeth My Dear' - it's all so enjoyable! 'I Am the Resurrection' pushes the album into a stone cold classic.

Completely delicious.

Damn, this is even better than I remember. The drift from nu-metal to groove was just the perfect decision by Slipknot. All Hope Is Gone completely lives up to it's runtime with plenty of outstanding tracks. The duo of 'Sulfur' into 'Psychoscial' really is something, and the face-melting solo on 'This Cold Black' comes out of nowhere! Also, I acknowledge that 'Snuff' is sort of selling out, but it's just one hell of a track.

A fun record indeed, but is it good?

Lana Del Rey's sense of melodies and utterly reality-bending vocals has so far peaked on Norman Fucking Rockwell!, but this one comes close. Her way of using her voice as an instrument, and the resulting attention to detail in producing and mixing it, is such a joy. Just let it roll over you in wave after wave.

The blueprint of punk rock albums to come, Dookie slaps hard. When everything erupts on 'Longview' you know that you're in for a treat. The rhythm parts by misters Dirnt and Cool are extraordinary, but the singing should probably be left to Armstrong as the hidden jerk-off track 'All By Myself' showcases.

Now this is the White Stripes album for me. Jack White took it upon himself to perform CPR on a dying genre of bluesy rock using nothing but his shrill voice and a god-gifted talent in songwriting and guitar-playing. Surprisingly enough, he succeeded. I guess 'Fell in Love with a Girl' could have done it by itself. Meg is also there.

I was curious to find out how an album produced by Nick Mason in 1974 would sound like. Spoiler alert: it sounds exactly like you would imagine, albeit with a lot less tom-smashing. Rock Bottom is a great combination of art, psychedelic and prog rock. Notably, where a lot of the output from these genres in the late 60s/early70s quickly sound dated, the soundscapes (yuck, I know) and more atmospheric compositions on Rock Bottom still sound fresh and engaging 50 years later. Would the album have received as much attention and praise if not for Wyatt's accident? Tough to say.

It goes: 1. A Bug's Life 2. Antz 3. Adam & The Ants

1 star for Chad Smith, 2 stars for John Frusciante, 2 stars for Flea, -1 star for Anthony "Sittin' on a sack of beans, Sittin' down in New Orleans" Kiedis.

More Happy Mondays and Madchester music. This album, with a horrendous title, is more rock and less acid house than Bummed - much like Screamadelica from Primal Scream the year after. So less danceable, but with stronger songwriting. I dig it.

Bass and drums combined for an absolutely insane experience. '2 Towers' really is a piece of noise art. Also: "It is considered to be their most accessible album". Haha.

Maybe the best live album ever. 'Visions of Johanna', 'It's All Over Now, Baby Blue', 'Desolation Row', 'Just Like a Woman', 'Mr. Tambourine Man', 'Leopard-Skin Pill-Box Hat', 'Ballad of a Thin Man', and 'Like a Rolling Stone'. Jesus Bobby, leave something for the rest of us.

So you don't know how to play any instruments and decide to make a punk record. Look, I get it! Just don't add in trivial, meandering blues stuff like 'Cool Drink of Water Blues' and we wouldn't have any issues.

Ugh, I admire the incorporation of African and Middle Eastern elements, but this is really just too unfocused. Jah Wobble's singing voice is horrible, and the best tracks are unsurprisingly 'Visions of You' and 'Bomba' where *actual* singers lend a helping hand.

Did you ever hate the United States so much that you and your mates went "Sod it, let's create a brand new genre just to stick it to them"? Favourite tracks: 'For Tomorrow', 'Colin Zeal', and 'Villa Rosie'.

Cool to hear just how good B.B. King was in his glory days - what a powerhouse! Still just sounds like the same song repeated over and over again though.

Such a difficult album to rate because it essentially is two albums in one. And while I admire the range of Cave displayed here - his shift from barking madman to sermoning priest - I really wished that The Lyre of Orpheus was a standalone record. Because while I think the second side of the album is among his best output, Abattoir Blues doesn't even begin to crack the top 5. Fuck it, 'O Children' is too good to not give this a 5/5.

Shit, someone should tell Sonic Youth that these guys are stealing their sound!

I usually cannot stand reggae for more than a few minutes, but this one was pretty dope - if you know what I mean.

Obviously really dated, but the vocal harmonies are nice and the song selection varied enough. An absolute travesty that this first recording of 'Love Hurts' wasn't even released as a single. By far the best 2 minutes and 23 seconds of the album.

Melodic romanticism with post-punk vibes? Now this is 80s music I can get behind!

This one probably deserves all the praise, and Björk continues to impress with her groundbreaking vocal. But sometimes it feels like a chore to listen to a Björk album, and this was one of those times.

I have never in my life put on a Lupe Fiasco track or album. The thought has just never occurred to me. So how come I instantly recognize about half of the songs on this??? It's impressive, because I don't really care for his voice or flow, and the lyrics are often hit or miss (rhyming abortion with deportion…). But that goddamn production is just superb, especially the drums and percussion. The samples fit together seemlessly and add a whole new level to the music with influences from Latin to prog. Impressive. So I guess I really dig this one - in spite of Lupe Fiasco.

The Police is my go-to example of a greatest hits band, and Synchronicity does nothing to change my opinion. It's unfocused and at times boring. And then you have killer tracks like 'Every Breath You Take', 'King of Pain', and 'Wrapped Around Your Finger'. Highlight: the drumming of Stewart Copeland. Lowlight: Andy Summers' aneurysm on 'Mother'.

Still not a huge blues fan, but The Healer has a vulnerable quality to it which I really dig. Some great collaborations and a more playful approach to the blues format than I expected from a 70+ year old Hooker.

This slick, flawlessly mixed and produced debut from The Strokes almost makes it worth it to have to deal with The Ramones as a pop culture phenomenon.

Ah the nostalgic sound of British rock bands in the 00s. There's nothing quite like it, and I simply do not care that the majority of the output from that era does sounds a bit dated - it's all just way too enjoyable. Special shout out to the monstrous bass of Jamie Reynolds.

Extremely tedious to get through. The production is way too Spectoresque and the lyrics are preachy and condescending with many mentions of little girls and how they should be listening more to the very smart men in their lives.

Decent folk effort from old (young) Donovan, but nothing that really grabs me.

One of the most iconic albums, and covers, of all time. The blueprint of post-punk to come, and when the list of bands you've influenced include U2 and The Cure, you know you've hit it big.

Extremely sexual, extremely moody, and extremely New York. Add in a touch of Bowie as producer, and you have a classic record cementing Lou Reed as an incredible songwriter and lyricist. 'Vicious', 'Perfect Day', 'Hangin' Around', 'Walk on the Wild Side', 'Satellite of Love' all on the same record? Wild indeed.

My only acquaintance with War previously was 'Low Rider', extensively utilized in Gone In 60 Seconds - the Godfather of action movies. Never before have my expectations been so precisely met. The World is a Ghetto is a thoroughly enjoyable, funky trip down 6 tracks filled jazz and soul and I'm all for it.

Even more groovy soul and funk! This time it's from The Isley Brothers who I have always considered more of a live group than an album one. But wow, 3+3 is a damn fine record filled with some FILTHY bass lines. 'Summer Breeze' is amazing.

Perfects the stuff that started on their debut. Fun House hits a great balance between hard hitting and more jammy/experimental stuff. I ought to listen to more Stooges apparently.

Huh, The Stooges really made an asian-sounding post-punk album a good decade before everyone else? Impressive and wild, but also dragging a bit in the extended jam parts.

13 tracks, 30 minutes, no misses, and no way of stopping Beatlemania.

This might be the most I'm ever going to enjoy an R&B record. The production is stellar and Maxwell's vocals are incredible. The content is always sensual, rarely sleezy, and if he had cut 'Whenever Wherever Whatever' and 'Suitelady (The Proposal Jam)' this might have been a 5/5.

Mudhoney is one of those bands where, you get that they were influential, but you would still much rather listen to the bands they influenced.

I remember being a bit underwhelmed by Golden Hour after reading all the praise from critics and fans. It just felt a bit too poppy for my tastes. But then 'Golden Hour' and 'Rainbow' arrive and closes out the album on a perfect high note - making the whole thing seem more coherent than at first listen.

Marshall is obviously one hell of a rapper, but let's not kid ourselves - The Marshall Mathers LP could easily have been trimmed down be excluding skits and tracks like 'Remember Me?'. Also, could we not kill a woman in every song please?

Almost halfway through the list, and the "Other" origin is consistently rated higher than "UK" and "US". A bit surprising to me, but especially the picks from Africa have been excellent, and Immigrés from legend Youssou N'Dour is no exception. A perfect blend of percussion, bass and synth.

Extremely boring - don't quite think I needed to hear this one.

Super strange to get this boring samba/bossa nova album the day after another boring bossa nova album. Astrud Gilberto does have a bit more interesting phrasings than Bebel Gilberto (related through musical legend and big time playa João Gilberto), but it's not enough to keep my interest, even with the short runtime.

Wow, this was way better than I remembered! Funk, disco and Motown-roots in a perfect mix. But alright, when your songwriting team has Michael Jackson, Stevie Wonder and Paul McCartney in it, it's difficult to miss.

Less of a "live" feeling than her previous output, but damn Joplin's voice is still breathtaking on Pearl. Pleasantly surprised by the excellent 'Me and Bobby McGee' cover in the middle of all the blues.

Not reaching the heights of Parklife, but even heroin-infused versions Albarn and Coxon are pretty damn good.

Maybe the most impossible album for me to review so far. At times a 5, at other times a 2 with obvious radio appeal forced into tracks like 'All I Wanna Do'. Ultimately, it's not an album that I think I'll ever revisit.

Not the kind of album you put on after a long stressful day with a smooth barrel-aged imperial stout in hand. Luckily for me, I had to code for a few hours at work, and this was the near perfect record for that.

An album that really should have been an EP (if the format existed at the time). Side one is one long snooze-fest with boring melodies and awfully sounding guitarwork as instrumentation. Then side two hits you with 'Everybody's Talkin', a song about cocaine and a goddamn raga out of nowhere. Pretty unfocused, but at least not boring at all!

25 years later and I am still convinced that this is satire. The self-loathing and self-pity, the moaning, the awkward hip-hop breaks - noting about this works for me. Sometimes you get a tolerable instrumental section that all to soon gets interrupted by something stupid like Fred Durst.

One of the albums that has stuck with me since I heard it the first time going through parts of this list. The melodies are reminiscent of Joni Mitchell with the atmospheric electronic elements really helping setting the mood. Cut out a few tracks, like 'Stars All Seem To Weep', and this is a 5/5 record to me.

There are exactly two unique songs on this one - 1 rock'n'roll and 1 blues. I prefer the former. And I know it's from 1957, but the audio quality is just horrible.

From the odd time signatures, to the 20+ minutes opening track, to the armadillo-tank hybrid on the cover, this is everything that is wrong with 70's prog rock. "The "Tarkus" on the front cover is made from whitened bones from the skeleton of a devoured lizard".

Mike Skinner took the grandiose rock opera and turned it into a unique account of everyday mundane life in Britain anno 2004. It's hilarious, riveting, and touching, and an immensely rewarding listening experience, although demanding your full attention. Some people have an issue with Skinner's flow and rhyming. Those people are plain wrong.

I could listen to Bobby Womack switching between inaudible howling and soft spoken words for days without growing tired of it.

British new-wave synth-pop. On paper this should be right up my alley, but in practice it's everything wrong with new-wave. Quirky instruments and weird mixing choices (to say the least) do not a good album make.

What's worse - David Thomas' awful voice or his horrendous musette? Even though this debut is MUCH better than the following Dub Housing, those two “instruments” really prevent it from being an enjoyable listening experience.

So apparently the guy who wrote 'You've Got a Friend in Me' also wrote and sang 'You Can Leave Your Hat On'. The more you know!

28 minutes, half of them applause. Seems fitting for a guy whose impact on European music (and soundtracks!) can hardly be overstated. A nice little taste of how French the 60s could sound like.

Interesting background aside, nothing at all stuck with me from this one.

What a way to end 2023. At one point I wasn't that keen on Bruce. Then I rolled onto a good old-fashioned, salt-of-the-earth, american highway in a much too large, american build Ford and I just had to surrender myself to the synths and the pounding of that 80's snare drum.

Stripped down traditional folk with not a lot of innovation going on. I like the bareback instrumentation, but not so much the mumbling (or rambling?) in between songs. The best track is without a doubt 'Old Blue'... Which I only afterwards realized was not part of the original release... Sigh.

Now this is alternative country I can get behind! Almost getting Beach House vibes from it.

I've always wanted to really like Air, but they just feel a bit flat to me. It's pleasant enough, but I'm never truly engaged.

With the highs on this, it's understandable that it could be ones favourite Stones record. It just feels a bit less cohesive than some of their other great albums.

The layers, the licks, and the Britishness of it all. Close to a 5/5.

Another 5/5 African album. That continent just does not miss!

In the best possible way, all The xx songs sounds like openers or closers. It's grandiose, moody and atmospheric to boot. It also leaves me longing for the actual body or essence of the record which all of the tracks seem to be nicely wrapped around. Like a well-wrapped gift with nothing inside. But damn it's well-wrapped.

A beautiful album, but perhaps not the most interesting one. Listening to this at double speed will not lose you much.

Kid A is an album in eternal conflict. The clash of an electronic age and society with an individual, organic human being in a postmodern world. It's warning against the rise of technology while synthesizing traditional instrumentation with electronic ones. It might be the most cynical, depressive and pessimistic album of Radiohead's discography, but simultaneously contains some of their most humane lyrics ("I'm not here, this isn't happening", "The best you can is good enough"). Finally, it's also Johnny Greenwood still being an incredibly inventive guitarist while at the same time showing what he would go on to create in the world of soundtracks.

Surprisingly fresh 60s folk rock!

This was extremely rough to get through. Rarely have I disagrees this consistently with almost every artistic decision made. Skin is incredibly talented, and I'll leave it at that.

I kind of knew that The Flying Burrito Brothers consisted of ex-Byrds members, but I still somehow had a clear understanding that it was a comedy group. That name... The Gilded Palace Of Sin (that title!) is really enjoyable with an (at the time) innovative mix of country and rock. The stories are engaging, albeit perhaps not too complex, and stuff like the fuzzy guitar on 'Hot Burrito #2' sounds great.

What a mood! With time, this might be a 5/5. Turn of the century indie with atmospheric shoegazing elements

A prog classic with impeccable flute and vocals from one of my top two prog-rock singers named Anderson.

I once saw Fatboy Slim in concert. He didn't play a single note himself, and it was absolutely amazing. After 40 minutes I had to tap out due to overstimulation. This album is completely the same - it's awesome and way too much for me to handle, but damnit if I won't have 'Praise You' on my mind for the next week.

I will never understand the immense praise that Underworld continues to receive from critics and audiences. I guess you had to be there in the 90's. And the drugs. Don't forget the drugs.

I was expecting something awful based on the ratings, but this was atmospheric and interesting with very little dissonance. Pretty cool!

British gothic 80s post-punk, so what's not to like? Perfect blend of aggression and catchy melodies.

This is exactly what you would expect a full length album of African a cappella to be. Yes it's beautiful, but once you've heard a song or two, you kind of get the gist of it.

Surprisingly tolerable effort from Aerosmith. Sure the lyrics are still weak and the content superficial, but the strong influences from UK - especially The Who and early NWOBHM - make this an enjoyable one. It also never overstays its' welcome, and Steven Tyler doesn't go full Steven Tyler just yet.

Strong contender for the quintessential country album. Prine's pen was among the best to ever write - 'Sam Stone', 'Paradise', 'Angel from Montgomery', and 'Donald and Lydia' are prime examples.

Stevie doing Stevie things for the 17th time. 'You Haven't Done Nothin'' is super funky and 'They Won't Go When I Go' incredibly beautiful.

An institution in psychedelic rock. Jeff Beck really was a guitarist's guitarist.

Turn of the century British music was an interesting period to say the least. Britpop had imploded under its' own unbearable weight, and the result was a musical landscape in search of meaning. What we got was a lot bands expanding their sphere of curiosity, and 'Rings Around The World' is an output from such a band. One can hardly keep track of all the different genres and sounds, but everything kind of works. Sure, it's not a cohesive album in any way, but the experimentation and songwriting ('It's Not The End Of The World?', 'Shoot Doris Day') are stellar.

Easily The Doors at their most forgettable, at times almost sounding like a blues cover band playing at a fair.

It's called the Dave Brubeck Quartet, but the magic really happens in the rhythmic interplay between Brubeck and Morello. Playful and immensely easy to hate if you don't like jazz.

This silly piece of desert-blues is undeniably entertaining with 'La Grange' making it all worthwhile.

The 60s must have been a wild time to be able to experience. Imagine having an almost 14-minute track called 'Sex Machine' and it almost working out seamlessly.

Imagine listening to this for the first time in 1976, and Jean-Michel Jarre just hits you with the first ever drop in electronic music on 'Oxygène (Part II)' (at 1.44, don't @me). What a trip. Looking back it seems obvious, but using the merging technology of the time to create a breathing, human, and organic album is just genius. The result is a record that somehow still sounds fresh and retro to this day. Also, 'Oxygène (Part IV)' is a certified banger.

Björk seems to create music on an existential plane of her own. Vespertine is hauntingly beautiful with its' combination of electronic glitches and harp.

'Sweet Emotion' is solid and 'Round and Round' was surprisingly good. The rest of this was bordeline garbage. 'Big Ten Inch Record' is awful, and 'Walk This Way' was cool when I was 12 and knew perhaps 5 songs in existence.

One of those rare albums where I'm pretty sure that every track has been my favourite track at some point throughout the years.

While the Runners are obviously very talented, I have the same issue with 'Searching For The Young Soul Rebels' as with most Queen records. There's just too much going on, and it's complete sensory overload.

Never go full British.

Although I am getting slightly tired of the oversaturation of British acts, there's no denying the quality of The Jam. 'Down in the Tube Station at Midnight' is on hell of a closer!

When you start your career in the greatest supergroup of all time, it's difficult to not disappoint on your solo endeavors. This psychedelic folk record does not disappoint.

High highs and low lows. Ultimately not a huge fan of the more glammy britpop tendencies that Suede ventured into.

Complete insanity.

This is your jazz on drugs.

The addition of The Attractions certainly did a lot for Elvis Costello. The musicianship is top notch, although Costello's voice is still pretty much unbearable. The songwriting is as inconsistent as ever with 'Green Shirt', 'Goon Squad', and 'Moods For Moderns' being solid, interesting tracks, and the rest ranging from boring to downright horrendous. A special shoutout to Costello dropping the N-word on 'Oliver's Army' for no other reason than comparing The Troubles to the challenges of the African American community in the US(?). Not really his comparison to make. It should come as absolutely no surprise that the best track is the closer '(What's So Funny 'Bout) Peace, Love, and Understanding' not written by Costello... And not included in the original release...

Some of the krautest rock you will ever hear drawing from inspirations from Zappa over Floyd to modern classical. The opener is iconic, but Faust loses me on 'Läuft...' which I found downright boring.

Genuinely spooked by this.

You can't say that Neneh Cherry wasn't inventive, and Raw Like Sushi is a quite fun album to listen to. Too bad that it also sounds incredibly dated.

Few bands have had such a successful two-hit punch on lead vocals as AC/DC with Bon Scott and Brian Johnson. Releasing Highway to Hell as Scott's last record and then following up with Back in Black is nothing short of insane. Scott's vocals definitely are the highlights on Highway, with the catchy but repetitive riffs from Young brothers not doing a lot for me. Standout tracks: title track, 'If You Want Blood (You've Got It)', and 'Night Prowler'.

Van The Man in his full glory with several tracks from Moondance. This might be the tightest band ever captured on a live record, and the entertainment value is through the roof for the entire 90+ minutes duration.

Don't think too much about it, just roll with it. Ian Gillan's vocal range, the face-melting guitar and organ solos on 'Highway Star', and the most recognizable guitar riff in music history.

The atmosphere on Murder Ballads is completely unique, and it's the main reason why I'm continuously drawn to the album. That and Blixa Bargeld singing "When the cities are on fire with the burning flesh of men, just remember that death is not the end".

Here is a list of QotSA albums I would prefer to be on the list compared to their debut: Rated R, Songs for the Deaf, Era Vulgaris, and ...Like Clockwork. But I won't complain about having to revisit this one. Homme really emerged with his sound fully developed.

Beck going from country, to hip hop, to nu-metal, to grunge, to folk is obviously enjoyable as heck, albeit slightly dizzying.

I don't quite get what Culture Club are trying to do here, but it is admittedly groovy at times. Also, it doesn't help with the confusion that Boy George and George Michael have extremely similar vocals.

Turn of the century tabla drawing sonical inspiration from equal parts trip hop and drum and bass. Intruiging idea and excellent execution - but much too repetitive and long.

I was today years old when I learned that the voice of Chef in South Park also sang Shaft. A mesmerizing voice in elaborate soul compositions. Everything works up until the way too long spoken introduction to 'BY the Time I Get To Phoenix'.

There's something irresistible about the Humbug-era Alex Turner in combination with James Bond themes. An enjoyable time capsule with stellar tracks like the title track, 'Standing Next To Me', and 'My Mistakes Were Made For You'

I think The Verve just clicked for me for the very first time? The hits are of course there, but more impressive is the direct inspiration from Radiohead (The Bends) and the introspective parts blending perfectly together with the exploration of British music history. A tad too long, but pure and beautiful.

First time listen and immediately a fan! Feminist new-wave post-punk with excellent instrumentation and great hooks.

Tom Petty's debut feels a lot like the debut from Lynyrd Skynyrd - just instead of waiting for 'Free Bird', you're waiting for 'American Girl'. It's almost unfair to the rest of the songs, because they are by no means bad. They are just completely dwarfed by the closing monster track. And had the record been one song longer, the anticipation would have been too painful. "God it's so painful, Something that's so close, And still so far out of reach"

Many times more enjoyable than the horrible follow-up 'Kala', 'Arular' is overflowing with creativity and sincerity. Some it works quite well ('Sunshowers') while the majority of songs are experimenting in a direction not for me. This indie-version of M.I.A. really was something, even though the lo-fi sampling still feels way out of hand.

Basically feels like a Wu-Tang Clan record, so if you're into that, this should be a breeze. I'm not particularly hooked by it but there is an undeniable charm about classic East Coast hip hop with impeccable production from RZA.

It's Prince, it's sexy, it's cool, and it's way too long for me to keep my interest in this 80s, synthy, funk extravaganza.

I think it was good to be forced to listen to Ghosteen again, because it really is one of the most beautiful records ever made. It's just much too depressing to listen to on a regular basis.

Although the compositions might not be as intriguing today, one must admit that it is quite incredible to release this in 1962. Truly groundbreaking with awesome vocals and piano from Ray Charles - as is expected.

I have a playlist where I add songs I like from this list. This is the first time, where I knew none of the songs and wanted to add almost every single one to the playlist. Suzanne Vega makes it all seem so easy, from the Joni Mitchell influenced unpredictable melodies to the almost British folktale outings on side 2. Delightful.

My relationship with Björk's debut is complicated. I like 'Human Behaviour', 'Venus as a Boy', 'Big Time Sensuality', and 'Violently Happy', but it's just really disjointed. Please enjoy the following excerpt from an equally disjointed review I wrote in 2012 (fed through Google translate): "All in all, the first 3 tracks promise very well for the album, and are fantastic building blocks for an innovative album. Unfortunately, one has to admit that the Icelandic singer had not yet put the 80s behind her in 1993. "There's More To Life Than This" is a completely unsuccessful terrible number. Without edge, with small-philosophical text and with a cutting vocal, the number tears the whole glossy picture apart. The number stinks far away of the 80s and disco music, which certainly does not suit Björk. The catastrophe is followed by "Like Someone In Love", which is possibly the most boring song ever played on the harp. Here, too, the idea falls completely to the ground. Well, the album is 12 tracks long, and with tracks like "Big Time Sensuality" and "Violently Happy" Björk proves that she can easily merge genres and bring aspects of 80s happy-dance music to the album. Here one must be frustrated and wonder why many of the album's songs do not show this. Here, however, praise must be given to producer Nellee Hooper for having placed the strong tracks spread over the entirety of the album - there is always a track to look forward to, right to the end. "Play Dead" is one of the best remixes on a studio album, and purely in terms of popularity, parallels can be drawn to "Left Hand Suzuki Method" on "Gorillaz". I really wanted to like the album, and I've really enjoyed a handful of the tracks on it. Unfortunately, the rest are simply so terrible that one can only rejoice that Björk has clearly become more artistically critical of her own material and now manages to create thoroughly solid albums like "Biophilia". Had the album been an EP of 5 songs, it would have received 6/6. Unfortunately, there is too much stuff, and genre confusion and unworked tracks lead to a boring experience."

Try saying "hardcore punk" without saying "Henry Rollins". Hint: it is physically impossible. 'Damaged' is fun, angry, and as poignant as ever, with 'Gimmie Gimmie Gimmie' being a personal favourite. I will never forget Rolling telling the tale of a Ramones concert so packed that it seemed that everyone of those dirty smelly punkers were in an involuntary orgy.

My vote for most sublimely produced album ever. I feel extremely privileged that I got to experience having my eardrums stress tested by that bass live in 2011. I still use 'Roads' every time I set up a sound system, and it doesn't hurt that Beth Gibbons delivers one of the best vocal performances ever.

Pleasantly jangly, but really not something I will remember or listen to again.

Bradford Cox is one of the most interesting figures in music, and Halcyon Digest one of a handful of records I would choose to showcase indie rock as a genre. It's noisy, dissonant, beautiful, melodic, and frustratingly uneven. It really isn't a great listening experience, but songs like 'Memory Boy', 'Desire Lines', and 'He Would Have Laughed' seem to linger.

Tricky, more like Trippy, am I right? heh.

Let's not kid ourselves; The Madcap Laughs sounds absolute shit. Over 13 non-finished demo tracks, Syd Barrett refuses to play or sing the right notes, and despite being, by all accounts, a talented and inventive guitarist, his strumming is sloppy and the production uneven. But Barrett's debut is without a doubt deserving of a spot on this list - what an unparalleled talent and visionary. Although the ideas are never fully developed, the sheer amount of creativity on The Madcap Laughs is staggering. The melodies are inventive and impossible to predict with Barrett's lyrics ranging from British folktales to the depressingly introspective, giving us a glimpse of his internal turmoil at the time. And while definitely not intentional at the time, the raw recording quality and sparse production serves as an early example of the lo-fi movement emerging decades later - Jeff Mangum must have had this spinning on repeat when writing In The Aeroplane Over The Sea.

The best Arcade Fire album and a 10/10 in my book. It's claustrophobic and melancholic to the brim, and then Régine Chassagne lets out all frustrations on 'Sprawl II (Mountains Beyond Mountains)' to show that there is still room for big dreams in a small town. Very corny, very relatable.

13 years later, and I still haven't heard anything sounding quite like D. It's progressive-country-indie rock? It really seems meticulously crafted, albeit slightly overwhelming. 'Street Joy' is hauntingly beautiful.

lmao why on earth would this ever be on this list?

As always, try to ignore Morrissey and focus on Marr and Rourke. Awesome compositions, but not quite on the level of The Queen Is Dead.

Umm, excuse me? Leonard Cohen had 'Suzanne', 'Sisters of Mercy', 'So Long, Marianne', 'Hey, That's No Way to Say Goodbye', and the magnificent 'One Of Us Cannot Be Wrong' on his debut album? Unfair.

Large parts of this was downright horrible, and definitely worse than Happy Sad, which was at least interesting. Tempted to give it a 1/5, but 'Make It Right' did get me to bop my head.

I have literally watched more than 1,500 feature length films with a shorter runtime than New Forms. I preferred all of them to this. Now, it's not really trash, but just how much of a megalomaniac do you have to be in order to think that a +2 hour runtime was the best option here?

Went from a 140 minute album to a 15 minute one. Would prefer to listen to this one 9.3 times. The 14 tracks surprisingly have a distinct and developed structure!

The Fall strikes again. It's hard to miss with dark, moody, British post-punk - especially with the bass mixed all the way up.

From 'Offence' through 'Selfish', 'Venom', and 'Therapy' there's basically nothing I would like to be different on 'GREY Area'. Little Simz is a phenomenon.

Few things bring me more joy than the fact that Joanna Newsom and Andy "Jizz In My Pants" Samberg are a couple.

This was really solid! Much more inventive that I had thought - maybe I need to listen to The Cars some more?

For some inexplicable reason, there was a fad in the 00s where every pop artist deemed it necessary to have their albums run for more than an hour. It's a damn shame, because even though I'm not part of the target audience, Stripped could have been a great, focused pop record. 'Fighter', 'Beautiful', and 'The Voice Within' are generational anthems, and there is no denying Aguilera's incredible voice. Though I did wish she would hold a bit back on the phrasings and vocal runs.

Superfly starts superstrong but loses it's way on side 2, especially on the instrumental parts. Of course, the title track brings it all back home.

Wonderful playing and an interesting backstory, but I also feel like this type of solo live recording is skirting the limits of what should be covered by a project like 1001 Albums.

Where it all started for a lot of bands - Violent Femmes tapped into an immense source of energy, and the result is a timeless classic.

Sex Pistols released their only album in 1977, and Queen Elizabeth II continued to reign for another 45 years - possibly purely out of spite. Also, John Lydon didn't actually hate Pink Floyd, but just wanted to stir shit up. And boy did it work!

Rober Smith: *is tired of mainstream success and wants to release a less accesible album* *releases Disintegration with Plainsong, Pictures of You, Lovesong, Lullaby, and Fascination Street* The public: :D Robert Smith (for all eternity): >:'(

Mike Patton sing good. Even make rap metal sound good.

In one ear, out the other. Except for 'Streets Of Your Town', but only because you've heard it before.

5 stars for 'Big Iron' alone. This is a classic for a reason.

Episode 3 of me not understanding the admiration of Prince as a studio artist. But this is the tightest record yet, yielding 1 star for each of 'Darling Nikki', 'When Doves Cry', 'I Would Die 4 U', and 'Purple Rain'.

Wait, The Darkness didn't form in a haze of cocaine in the 70s?

Come on now, I love me some good psychedelic space-prog as much as the next one, but this is just way too much. Would I have loved to see this live? You bet! But as a purely listening experience, it's stretched way too long with a lot of filler. Lemmy's bass lines are sick though.

The year is 2024. The hopes of recovering a copy of this historical musical masterpiece are minimal. I search far and wide, but to no avail. I give up all hope. A friend is successful. He has found a copy of this hidden gem in an ancient format. Compact Disc they call it. Only the rarest of devices are able to play such a relic format, so I pack up my PlayStation 2 in a bag from the local pizza shop (as was the style at the time), add a bunch of cables and adapters to be able to hook it up to a modern television, and spend the next 90 minutes in public transportation. Finally I am able to witness the ancient treasure with my own eyes. The disc goes in, the console beeps and boops, and we gently use the joystick to start the first of 13 mysterious tracks hidden behind a gradient of colored cubes. The reward is minimal.

At some point you have to wonder if perhaps something else could have taken the place of this 100th British post-punk album on the list. Don't get me wrong, I love it... but still.

Surprisingly subdued, but pleasant through and through.

Adam Granducial writes one song, but he does it to perfection on Lost In The Dream. A definite highlight of the 2010s and a clear example of artists having a terrible time and creating something beautiful.

I always kind of forget how brilliant Abraxas is, and although it's easy to space out in the second half, it's consistently a enjoyable record to re-visit. Carlos Santana plays 2+ hour live shows with nothing but indulgent guitar solos, and it's magnificent.

My first introduction to Janis Joplin and an absolutely bonkers album + cover.

The OG concept album with Sinatra breaking down crying during recording sessions. What's not to love?

It's easy to forget that Fleet Foxed only released two albums during their original run, because their sound was EVERYWHERE in the late 00s/early 10s. It takes a bit away from the enjoyment now - a 5/5 in 2008, a 4/5 in 2024.

A small part of me wants to insist that Hot Chip makes some pretty bad music, but it just goes directly into a specific part of my brain and pulls all the right levers. It's instant dopamine and completely addictive.

This is basically three of the best prog songs ever written with some appetizers spread in between. 'Heart of the Sunrise' might be my favorite vocal recording of all time. Their cover of 'America' included on the CD version is also glorious.

Everybody talks about the surprise of Sgt. Pepper, but going from Help to Rubber Soul must have made some Beatlemaniacs turn their heads.

Back when Kings of Leon were dirty and fun!

The man does not miss. Henry's Dream strikes a perfect balance between the manic start and the more atmospheric tracks towards the end of the album. Cave's vocals have never been better.

So apparently Kate Bush releasing The Dreaming, Hounds of Love, and The Sensual World in order might be one of my favourite three-album streaks ever. And I had absolutely no idea before going through this list.

The only Pink Floyd album that all members of Pink Floyd could agree was kind of okay. Roger Waters might have been the creative force behind Wish You Were Here, but David Gilmour's guitar tone steals the show while Rick Wright's work behind the keys makes this one of the greatest, most cohesive, albums of all time.

I am pretty sure I would find Banhart completely insufferable if I met him in real life. But for the duration of Rejoicing In The Hands, the quirkiness is interesting enough, although a bit too navel-gazing at times. There's also some charm in keeping in obvious guitar mistakes in the final recording.

Now this is how you do 80s pop! Mark Hollis had such an instantly recognizable voice. 'Chameleon Day' seems a bit out of place and sort of kills the vibe a bit.

It's not high art, but Franz Ferdinand created the most catchy riffs of the 00s, and that's why these songs are still etched clearly in my memory.

It's OK Computer so no point in trying to think of something novel to write. Except that most of the album was recorded live with minimal separation of audio tracks. What the fuck, how do you that and end up with this?

This is the seminal 90s album. Strong grunge-influences, wrapped in a tight songwriting package, one of the best selling albums of all time, leading to a world tour with a strong support act: Radiohead, just before releasing OK Computer. It's all connected, man.

Maybe the most bland indie record of the 2000s?

Did I miss something, or is Seventeen Seconds really not a The Cure record that people talk about? Even as a fan, you have to admit that it's pretty repetitive and not really showcasing a lot of the stuff that the band is known for.

I am honestly outraged by two things: 1) Christina Aguilera having not one, but TWO double albums on this list, and 2) Why the fuck she decided to release the first disc of Back To Basics??? Disc two is absolutely fantastic and captivating, but disc one has nothing to offer. The exception of course being the vocals. I mean, most people are bad at taking compliments, but Aguilera decided to just slap on a song telling all of us how awesome her fans think she is ('Thank You (Dedication to Fans...)'). Probably the most frustrating listen so far - mainly because disc two really is amazing and showcases her immense talent.

Fun to revisit Merriweather Post Pavillon 15 years later. It really is unique, but it didn't quite have the cultural impact that reviewers at the time proclaimed it would.

Crazy German robots - but this time with a hint of humanism, perhaps inspired by fellow contemporary trans-European Jean Michel-Jarre.

What's this? A quirky, turn-of-the-century, British, Mercury Prize nominated, interesting, but unfocused album? On this list? Why, I never!

Groovy stuff, just slightly overstaying its' welcome.

A stone cold classic suffering from extreme imbalance - the first two and final two tracks are much too iconic-

Surprisingly catchy punk rock!

The final album by The Smiths, and while I'm never bored by Marr, this one does indeed sound like a band in the middle of an identity crisis. Still good though!

So apparently I have completely misjudged Run-D.M.C. - their debut is catchy, creative and sometimes straight up industrial.

Pretty shitty punky.

The sheer creativity - stunning. Side four is particularly incredible.

Arthur was my first encounter with The Kinks outside of the hits, and it blew my mind that the gang behind 'You Really Got Me' could create such a marvelous well-crafted concept album!

Nuthin' like hitting the open roads and crankin' up some Cyndi L. Side two gets too new wavy for me, but side one with its' Springsteen-esque grandeur is terrific. 'Time After Time' is perfect.

As always: good vibes only when the Pet Shop Boys are in town.

Right off the bat, I was worried that this might be the dullest thing I've ever heard. Don't get me wrong, it's still really boring, but perhaps not the most boring thing ever. At around 'Tiger In Your Tank' things start to get going for a couple of songs, but then someone had an aneurism and chose to play 'Got My Mojo Working' twice. Couple that with a snooze of a closer, and this is yet another disappointing encounter with the blues.

Never have I ever: understood The Prodigy. Like Underworld I guess you had to be there. And be on drugs. Good drugs.

I'll give it to James Taylor that his songwriting is on point and at times creative. But the thick layer of soft rock radio plastered over everything is too much for me to take.

The U2 sound was fully developed on War, and the result is a great record kicking off a great run off albums culminating in The Joshua Tree.

I do not understand the inclusion of this album on the list. A rare miss when venturing outside of the Western hemisphere.

This is how you do a double album - my favorite Stevie Wonder record.

I mean, it's Dolly Parton - how could you not love it?

If not for the saturation of British post-punk on this list, this might have been a 5/5.

Cool soundscapes man.

I did not enjoy this, but I was impressed with the creativity.

Powerhouse of a record aimed at a taget audience that I am clearly not part of.

Oof, looking back this sounds too much like a guy trying to distance himself from his boyband past. Also, how the hell was 'Angels' not the lead single from this album???

Really not in the mood for Butthole Surfers today.

After an 11-year hiatus, Portishead re-emerged triumphantly with Third. Although triphop had been dead and buried for many years, the group succeeded in bringing it back to life with influences from musical trends in the 00s - the record is decidedly indie at times with plenty of elements from noise and industrial. It seems Beth Gibbons also spent the previous decade listening to Björk, and the added complexity to her incredible voice fits the album perfectly. 'The Rip' and 'Magic Doors' are just unreal.

Let's be real: there's very little of the band that would become Pink Floyd present on Piper - only Nick Mason punishing his drum kit and the occasional harmonies from Rick Wright. Roger Waters hadn't even written his first song about his daddy dying (but would do so the following year with the GOAT kazoo track 'Corporal Clegg'). But Piper remains a monolith in British psychedelic with one of the most outrageous uses of stereo mixing, panning, echo and reverb. At times it truly makes you question if something is wrong with your sound system - case in point: the ending of 'Interstellar Overdrive'. The album is packed with memorable moments from my all-time favorite psychedelic track 'Matilda Mother' to Syd Barrett's ASMR pronunciation and rolling of his "R's" on 'The Gnome'. Along with Sgt. Pepper, recorded at the same time in the same studio, The Piper At The Gates Of Dawn stands as the greatest album of 1967. Coincidentally, the two albums end on almost exactly the same note - a cacophonic tape loop of noise reminding everyone not to take things too seriously.

Catchy well played pop punk. I dig.

Throwback to being young, discovering prog rock for the first time, and having plenty of uninterrupted 90+-minute segments throughout the day to actually listen to a full album.

Unbelievable that the debut from Chicago was such a massive hit. It's good, but it's also extremely long and complex. I'll bet good money that in most households, LP1 is in significantly worse condition than LP2.

Refreshing to re-visit xx in full instead of just snippets from its' use in advertisements and every other indie and pop artist shamelessly ripping off their sound for the last 15 years. It's hard to describe just how much the sound of pop music changed in the years following the release. Some tracks are obviously stronger than others, but the overall atmosphere of the record is impeccable.

First use of the word "psychedelic" to describe their music? Sign me up! This was an instant favorite with clear signs of what would become garage rock and even early hard rock and metal - the riff on 'Kingdom of Heaven' is nasty! There's definitely a sense of purity surrounding this album.

Cool rhymes, but I'm definitely not in the target audience for this one.

Rarely does a record get unanimously touted as a masterpiece upon its' release, and even more rarely does such a label stand the test of time. Let England Shake really is fantastic and stands as one of the best, most British, albums ever. A handful of stellar tracks: 'Let England Shake', 'The Words That Maketh Murder', 'On Battleship Hill', and 'Hanging in the Wire'.

Stills sought out to make an album that could not offend anyone and would be listened to by his contemporary white male colleagues. And he succeeded.

Now That's What I Call 80's Music Vol. 1. What a monster of a record.

As always; pleasant indie desert rock from Calexico.

Sunshine Hit Me seems to have made absolutely zero impact on music history and on me as a listener. But pleasant enough.

Stellar record deservedly cementing Anthrax as one of the Big Four.

100 stars for 'It's Alright, Ma (I'm Only Bleeding)' on its own.

A stone cold classic - great lyrics and musicianship for a punk record.

A perfect record and one of the most beautiful albums ever made.

You get a hint of what was to come for Jason Pierce and Spiritualized on the closer 'Lord Can You Hear Me?', but the majority of Playing With Fire I found dull and not at all memorable.

Have you truly lived the human experience if you haven't had Nevermind spinning on repeat during an angsty teenage period? Doubt it.

Still as flabergasted by Drunk as I was when it was released. Mental album.

Ooof, really not my cup of pop punk tea.

Delightful Tropicália record!

Desert-dusted psychedelic suites that flow surprisingly well.

Monumental upon its' release, the debut from Snoop offers very little in 2024. Add on the low brow lyrics and skits, and this one is a drag to get through.

Soft dad-rock or dad soft-rock?

Mick Hucknall sings well and writes some slightly bland songs. Nice to hear 'Heaven' again though.

Exciting Afro-Cuban jazz!

Amazing jazz record that I would have never heard of if not for this list.

Such a shame that my first encounter with Roxy Music on this list was For Your Pleasure, because everything else just seems faded in comparison.

For some reason I was not expecting to dig this, but Fromohio is a tight, adventurous record that does not at all sound dated.

Brian Eno, the glam rocker, is such a weird but welcome acquaintance. Probably only him and Bowie that could pull off something like 'On Some Faraway Beach'.

Another "Huh, why is this on the list?" moment, but it's British new wave, so I guess that's enough reason.

Strangely compelling, but extremely tiring as your ears constantly try to adapt and search for structure and melody in a sea of chaos.

Perfect Bowie

Inventive and catchy, albeit slightly unfocused.

I do not care for Elvis Costello, but this is cool enough. Still way too long for the limited amount of distinct ideas that Elvis seems to have.

Vulgar in every sense of the word, but on Phrenology The Roots makes all the different musical elements blend together almost seamlessly. A tad uneven, but the highest high of 'The Seed (2.0)' is something else.

I am usually a sucker for synth pop, but this was quite bland. Pleasant, but nothing more.

Still the only album from Ash that I've ever listened to, but what an album! A well-crafted blend of some of my favourite genres - just slightly overstaying its' welcome.

Stellar psychedelic rock from The Byrds. I'll have what they're having!

What a strange recording to have on this list. Do you like the conga? If not, then this is going to be some rough 40 minutes. Almost impressed with the range going directly from the almost unlistenable 'Simba' to the groovy 'Rhapsodia del Maravilloso'.

I am usually not a fan of 50+ minutes of R&B, but Take Me Apart is inventive and playful with its' clever production and use of electronical elements. Kelela obviously has a great voice and uses just enough of her potential without becoming showoff-y.

This was on REPEAT in the late 00s, but it really is kind of bland. The opening 4 tracks are stellar, but it quickly turns quite uninspired. Only exception being the vocals and somewhat inventive drums/percussion work by two of the Followills.

Steve is softer than soft with a predictable outcome: not too bad, not too good.

The closer 'Small Hours' is nice, if it wasn't for the fact that all the songs leading up to it seems like they were designing to lull you to sleep.

I really dig this version of Beastie Boys Gilles with musical experiments. Still too much filler.

Perfect, jangly dream pop. This is the stuff.

Noisy shoegaze that could use just slightly more catchy melodies to really stand out.

It's not great art, but it's about as good of a new wave synth pop record as the genre permits. Pure synth with a smash hit at the end - that's how you do it.

Lounge ska. Another genre new to me that I do not care for. 2 stars for creativity.

Folk rock for the white granddad - boring at times, but tracks like 'Marrakesh Express" and "49 Bye-Byes" keep things going.

The beginning of an immensely creative and succesful era for Yes. If you hate prog, this is awful. If you love prog, this is delightful. Chris Squire on bass and Bill Bruford on drums really drive this record, with the angelic voice of Jon Anderson sprinkled on top.

Wild Swing, let's go!!!

I had never heard of Cornerstone before, but from the beginning of the first track, I instantly knew what hit song they had released. Almost as if they had written the same song twice. Lo and behold: second is indeed 'Brimful of Asha'. Perhaps there's a reason why that's the only song that broke the mainstream barrier. And a reason why this Indian-blend of big beat indie rock was never copied by any other artists.

D R U G S Now that I have your attention: Oracular Spectacular catapulted MGMT into music stardom in a way that only few debut albums have done before and after. It's of course all over the place, but having your debut contain not one, but three(!) generational anthems is somewhat of an achievement.

Every CCR album sounds the same. Here is my review of Bayou Country: "Songs about the Deep South and the Bayou written by a guy born and raised in California. Starting your career out with the first 6 albums going platinum in the US. Easy peasy, keep on Chooglin' John."

Completely unique, often disharmonic with few moments of vivid sincerity and beauty. Perfect for a rainy day if instead of feeling cosy, you want to feel dread.

Some people like concept albums. Some people (I suppose) like honky-tonk music. Is there really anybody out there craving a concept honky-tonk record?

Perhaps too much of the same, but it's undeniable that this is one of the best live guitar recordings.

80s country wall of sound?

I really want to hate Morissey's music, but dangit this is a solid record. 'America Is Not The World' is a great opener and 'First of the Gang to Die' is a banger.

Perhaps the greatest and most gracious swan song of all time.

What is more impressive: 1) Laying the foundation for the entire post-punk genre, or 2) Actually turning 'Helter Skelter' into a tolerable tune?

I like my reggae albums like I like my thrillers: political and to the point.

George is cool, but damn this is repetitive.

A perfectly different follow-up to 'Transformer' and as enjoyable as an album with this subject matter can be.

A promise of what to come, Unhalfbricking still sees some thigh-smacking, jug-blowing tunes like 'Cajun Woman' and 'Million Dollar Bash' but luckily also the convention's trademark English folk songs like 'Percy's Song'

Hands down the weirdest Scottish accent I have ever heard. And what is the point of including something like 'Red Rolled And Seen'?

PROPER BONKERS or LE BONKÉR APPROPRIATÉ

The Beastie Boys started out at their illest and wittiest and never looked back.

Experiencing Mark Knopfler playing ‘Brothers In Arms' live stands out as one of my favourite concert experiences. And the keys on this record!

Moody synths <3

Slightly boring record from the law firm Emmy, Lou, and Harris, but the cover of 'For No One' was beautiful.

Gritty post-Beatles debut that's just a tad uneven. Teenage-me was completely obsessed with 'Working Class Hero'.

Proof that sometimes an impeccable vocal is all you need to create a great record.

Holy bloated Britpop/shoegaze/indie/noise batman! Perhaps try ending your songs in different ways?

I don't think I am of a high enough social class to truly appreciate what Rufus is doing here.

Super important that the male-dominant alternative rock / grunge environment in the 90s had a more feminine counterpart. Too bad it had to include Courtney Love, as hard-hitting and relevant as her songwriting might be.

I have no issue with stealing this much from The Beatles if you do it this well! Wonderful experimental psychedelic record.

A surprising choice of a Curtis Mayfield album, but a welcome one. The silky smooth vocals combined with strong political themes is a great combination reminiscent of Marvin Gaye.

The second solo album by Frank Black aka Black Francis aka Francois Noir clearly demonstrates his ability to write catchy, noisy, energetic pop songs disguised as something more rocky. There's always a songs on any of his or Pixies' albums that will get stuck in my mind for days. That being said, I don't think it would be too difficult to cut out 40%-50% of the 22 tracks and end up with a stellar record.

Blonde On Blonde, expertedly documented in the biography Bob Dylan In America, is an ambitious double album concluding the unparalleled album output that Dylan achieved in the 60s. A level he would not reach again until 1975's Blood On The Tracks. The decision to move the recording sessions to Nashville and find new allies in the form of prominent studio musicians turned out to be brilliant. Dylan's lyrical work is of course great, but it's the accompanying band that really sells Blonde On Blonde for me. 'Stuck Inside of Mobile with the Memphis Blues Again' might be my favourite studio recording ever with the keys and guitar almost playing as many tricks throughout as there are twists and turns in Dylan's fantastic narrative.

lmao is saw someone describe this as "elevator music" - what kind of elevators are you taking??

I love 'Pale Blue Eyes', but the self-titled third album from The Velvet Underground is just missing that special Cale magic to make it a classic in my book.

Alternative title: NOW THAT'S WHAT I CALL no BASS VOL. 4! A worthy follow up to Master of Puppets - hit upon hit upon hit, but sometimes it's great to just take the time to listen to 'To Live Is to Die' in its' entirety.

Solid solo effort by one of the original B-Boys. Bummed that 'Holy Man' was not included in the original release. Highly recommend Taylor Hawkins' version.

Hard hitting record, but the biggest whiplash I experienced was going directly from this album to the fucking Penguin Cafe Orchestra.

What interesting, experimental song structures and productions... aaaaaand of course Brian Eno was involved.

This is the Pet Shop Boys at their most disco and danceable. It's also, apparently, their coming out album. This. Their fifth record. If you hadn't figured it out by then, you probably just wouldn't care at all.

A rare British new wave W for this list. Catchy tunes, good melodies and able musicians.

Extremely charming pop-punk that works best when it's angsty and less so when it's about GIRLS!

I actually appreciate what The Mothers were doing here, and it really is a landmark record. But it is also stuck in a time long passed as a critique of a movement no longer relevant in pop culture. Miles ahead in 1966, but long since overtaken. Also, too long.

Dr. John is pretty cool, but I do not care for Gris Gris. 'Croker Courtbullion' is especially grueling. 'I Walk on Guilded Splinters' is great though.

A near perfect balance of sincerity and tongue-in-cheek cleverness on this smelting pot of indie and Americana.

Prince for people who think Prince is too fun. And too talented. And too sexy. Also: Beatles.

At this point I am really struggling to think of something new to say about Bob Marley. It's good, okay?

Absolutely riveting, but there's too few tracks on the original release which also seems to suffer from what majority of live recordings from the era suffer from - cutting and rearranging in the live performances to fit the album format at the cost of a natural concert-like feeling.

No idea why this is on the list, but like most acid house (yes I am a connoisseur, how did you know?), it takes a while for the mood and groove to set in. When it does, time and space flies by.

Deserves all the praise. 'What's Going On' is as beautiful as records get, and the concept-like feel, makes it an especially addictive album.

James Murphy and his Soundsystem have released 4 records. Every single one of them could be on here. On their latest effort, Murphy shows that he's been listening to more Talking Heads than Daft Punk, and it just works. The title track is hauntingly beautiful.

The combination of Herbie Hancock bass lines and house synths actually has some merit, but it only rarely hits the spot on the debut from Deee-Lite (three “e”s in Deee baby). It also does not help that Lady Miss Kier (not her real name) sounds exactly like Hanson cirka 1997.

Rowland's unique vocals coupled with interesting context matter ('Plan B' and Eileen specifically) means that you're never bored in the company of DMR.

Elvis is cool when he is rocking and rolling and singing that even macho men needs a hug. He loses me when he starts crooning out ballads - his version of ‘Blue Moon' is downright horrible.

I wasn't really digging this album, and then 'Fodderstompf' came on as the closer. FUCK that might be the single most annoying song I have ever had to sit through. I know that is the intention, but that doesn't make it more tolerable.

The BLAND - The BLAND BLAND. How can you even make house this boring?

You know it's a banger big band record when every single member of the ensemble has their own Wiki page.

No THIS is how you make contemporary country. Melancholic, snarling and downright beautiful.

Crazy that John Martyn has not one, but two snoozefests on the list. I think I enjoyed this a tad more than One World, but come on.

Never really got into Suede. Maybe it's just too much glam rock.

UK industrial post-punk for the millionth time.

28 songs in 41 minutes. The medley of Abbey Road taken to extremes and recorded solely using two low-quality mics in a damp basement. When 'Alright' rang out, I instantly re-started the whole thing from the top. On a second listen, every single one of the songs were recognizable. What a catchy achievement.

Roots saw Sepultura going back to their Brazilian... well okay, roots (bloody roots)… but at the same time incorporate a lot of nu metal ideas? I don't know, it's not really my cup of Ayahuasca, and although the indigenously inspired percussion tracks are interesting, it sort of ruins the flow of the album.

Yuck, this was not good.

When FKA twigs hit the charts in 2014 with her trip-hop inspired, electronic R&B, she became a phenomenon with capital F. 10 years later, and everything still holds up extremely well. Includes my second favorite song titled 'Two Weeks'.

Dynamically inventive, dark prototype of Britpop - and I love it. A perfect blend of catchy pop melodies and a wide variety of sounds (glockenspiel anyone?).

I read "psychedelic soul" and was expecting a wild trip. What I got was more of a comfortable afternoon nap. The best tracks are 'Inspiration Information' and 'Strawberry Letter 23' - the latter of which was not included in the original release. Oh well.

Strange album and a strange one to include on the list. I can only assume that it was included after its' release and then removed at a later timepoint. Still, I think I dig it? Impressive vocals and always interesting. Could perhaps have cut one or two tracks in the middle, but the one-two punch of 'Empty Nest' and 'Through The Iron Gate' brings it all back home.

How do you even start reviewing and scoring this cabaret-style output? It's obviously representative of a different songwriting tradition than the vast majority of albums on here, which are all, in some way, popular music. Dagmar Krause delivers a distinct, emotional vocal, which suits the play-like compositions perfectly. Perhaps it would work better if there was some visual aids accompanying it - like a theater stage? Ultimately, the thing dragging Tank Battles down is the inclusion of too many 1-1.5 minute tracks that are basically just intermezzi, but really damages the flow of the record and make it quite clear, that this really isn't an album at its' core.

Such a great record, and a perfect companion piece to The Soft Bulletin. Too many highlights to count.

The Charlatans fifth(!) record sounds exactly like how you would imagine a warm-up act for Oasis circa 1997 sounded like.

Disney music feat. several drops of the N-word. A match made in heaven. It's catchy. It's probably the same song repeated 12 times. It works.

Third Echo And The Bunnymen album on the list. Third 4/5 review. Really nothing new here, but the sound that these four guys found just perfectly encapsulates the experience that is living in dreadful, dreary Britain (or so I'm told).

When Architecture and Morality is at its' peak, it is thrilling and absolutely beautiful - like on 'Joan of Arc' 1 & 2. But often times there's just... nothing really going on? OMD didn't really need all those quieter pieces ('Sealand', the title track) to build an atmosphere - it's already there in every thick synth sound.

This is probably as good as a >1 hour techno album will ever be. Each track fixates on a theme and expands upon it for 5 to 9 minutes, meaning that your enjoyment desperately hinges on whether you like the theme or not. Favorite one: 'Duke of Earlsfield'.

The debut from TV On The Radio is cool and all, but this might be the album pick on this list that boggles my mind the most. I'm not the biggest fan of the band, but I thought it was quite unanimously agreed that Return to Cookie Mountain and especially Dear Science are superior albums to their debut? Yes, 'Staring at the Sun' is great, but I just don't understand this choice at all. Unless, of course, one or two of the above mentioned albums are also included here. In which case I'll have to say that including more than one TV On The Radio album is also strange.

What an utterly pointless and bloated album. A few songs do the trick, but when you include 18 tracks on an album, you better have a damn good reason.

Goddamn terrific, and too goddamn long.

Proof that The Clash was pretty much the only band on the punk scene who knew how to play their instruments. Who would have thought that this would improve the quality of the output???

Awful music for (what I can only assume are) awful people.

Outrageous that Tim Buckley has been allowed three albums on the list. That being said, Goodbye And Hello is the one that deserves to be here! On his second record, Buckley delivers a great mix of psychedelic folk and baroque pop and keeps the meandering to a minimum. Towards the end, and especially on the title track, the whole thing still gets a bit too whimsical, but in my book still definitely a stronger contribution than Happy Sad and Greetings From L.A.

Offensively bland and monotonous 80s soft pop-rock.

Bland 00s rock album with no cultural impact? Yep, on the list!

The debut from Fiona Apple is damn good, albeit slightly stuck in the 90s, and clearly positioned her as a notch above her contemporary peers.

Such a staggering debut and setting the tone for how prog rock was going to sound in the new millennium. Every single performance is top notch. I have no idea what the lyrics are about though.