1 Ah fuck here we go. I have a complicated relationship with The Beatles - in that I generally really don't care for The Beatles. However, after sitting down and giving A Hard Day's Night a good listen... Yeah not much has changed. This is The Beatles at their most bubble gum-poppy, and I just really can't say I see the appeal. Don't have much else to say on this one. Favorite songs: ???? Any Time at All I suppose

4.5 The Ramones may have invented punk, but The Germs invented hardcore... and the genre owes so much to them for it. It's not for everyone, but man it's for me - I couldn't help but bang my head along even though I was working in the office while listening. Darby Crash is an all-time great punk vocalist (RIP) and Pat Smear (later of Nirvana/Foo Fighters fame!) an all-time great guitarist. Would have loved to mosh to these guys. It's really all killer, no filler here - just 38 minutes of raw, uncut punk. Yeah, not the most versatile record to exist, and maybe some songs blend together, but dammit I had a great time with every single track. Special shoutout to Lexicon Devil for being one of the greatest punk songs ever written. Would listen again in a heartbeat... though probably need to take a minute to calm my anarchical urges. Favorite songs: Liked them all, but love Lexicon Devil

1 Late review because I definitely wasn't listening to this at the office and... wtf. I've never been much of George Michael fan, but goddamn this album is CREE-PY. I felt uncomfortable for the entire listening of Father Figure, and then if that wasn't bad enough, he decided to double down on the following track subtly titled I Want Your Sex. I probably shouldn't over-analyze something that's intended to be a serviceably danceable slice of '80s pop music, but goddamn this whole song is Michael trying to convince someone to have sex with him who clearly doesn't want to. "I'm not your brother I'm not your father Oh will you ever change your mind I'm a gentle lover with a heart of gold But baby you've been so unkind Come on I want your sex" And this isn't even the only questionable lyric... this about how every verse goes. When I wasn't completely unsettled, I was bored out of my skull listening to substance-devoid lyrics and unoriginal 80's pop beats. It sounds like he's trying to do a Michael Jackson thing on quite a few of these songs, but while equally as creepy, I'd take a Jackson album over this any day. Once you've had a chance to slog through the boring back half of this album, guess how Michael decided to close it out? Yep, that's right, with a reprise of I Want Your Sex. Ultimately, I just don't think this album has aged well at all. Make the argument all you want that I "had to be there" - you all should have realized this album was bad then, and I'm holding everyone alive in 1987 accountable.

3.5 All I knew about Sufjan Stevens going in was that he's a folk musician, which isn't usually my go-to type of listening. I was really impressed by the versatility on this record though - in some ways, it almost felt like a rock opera of folk. The album did grow on me more as it went on, though towards the end I thought it might have gone on just slightly too long. Above all I found it to be an enjoyable record. I probably won't find myself returning to it too much, but I could definitely see it getting spun again on a quiet, relaxing night. Favorite songs: John Wayne Gacy Jr., Chicago, Casimir Pulaski Day

2.5 I bet this album got you laid in the 70s. Overall, it was a fun taste of the past that didn't outstay its welcome. It transitions between funk, soul, and rock pretty seamlessly, though that being said, it didn't stand out apart from me to similar records of the time. That Lady is a bit too thick of a slice of 70s cheese for me, though Summer Breeze was a really cool jam out that must have been fun on 70s drugs. If I'm on 70s drugs, I'll keep this album in mind. Oh and hearing a funk cover of Listen to the Music was cool. Favorite songs: Summer Breeze, Don't Let Me Be Lonely Tonight

4 Having only heard "Sittin in the Dock of the Bay" before this, I gotta say I really dig Otis' voice. He has one of those distinct voices you can identify just a few words into a song, and with the energy he puts into every performance on this record, to say he "sings" soul feels like an understatement. Despite most of the album I believe being covers, he really makes each song his own - to the point I actually think I prefer his rendition of "My Girl". Hearing the original version of "Respect" was also a nice surprise. There's no beating Aretha, but it seems the song came into existence already with a strong foundation in Redding's. Favorite songs: Ole Man Trouble, Respect, My Girl

1 Ah fuck here we go. I have a complicated relationship with The Beatles - in that I generally really don't care for The Beatles. However, after sitting down and giving A Hard Day's Night a good listen... Yeah not much has changed. This is The Beatles at their most bubble gum-poppy, and I just really can't say I see the appeal. Don't have much else to say on this one. Favorite songs: ???? Any Time at All I suppose

3.5 I really liked this record more than I thought I would. The homemade, garage rock sound of this record does wonders for Neil Young, especially this deep into his career. It really captures the feeling that you're listening in on Young's private jam sessions rather than a polished set of studio recordings, and it makes the album that much better. While I don't think the songs spoke to me much on a personal level (hell maybe Fuckin Up), this was a really fun jam-out rock record. I could see myself returning to this one. Favorite songs: Fuckin Up, Over and Over, Love to Burn

4 I knew nothing about Massive Attack going into this, but holy shit I enjoyed this record. It really felt like all the best parts of 90s hip hip, electronica, and big beat wrapped up in one cohesive package. I really feel like the cycling of vocalists also helps the album feel fresh throughout. Safe From Harm and Hymn of the Big Wheel are a great opener and closer, respectively as well. Really curious to check out more of their work! Unrelated to my rating - the text on text action going on in the album cover lowkey drives me nuts. Favorite songs: Safe From Harm, Unfinished Sympathy, Daydreaming

3.5 Fun fact: I previously reviewed this album on my unaired, short-lived series "Boozy Listening". I gave it 3.5 then (after two strong cocktails), and I'm gonna stand by that now. This album starts off really strong - Wanna Be Startin' Something is not only a great opener, but probably one of my favorite MJ songs. That spirit continues on Baby Be Mine, loses me a little bit on Girl is Mine, and then we get to the mega hits... and man I was gonna talk shit, but I underestimated how much I was going to enjoy listening to Thriller, despite having it heard it many, many times before. Then Beat It is always great, though Billie Jean didn't phase me much. I feel like that song in particular I've heard enough in my lifetime to the point where it simply harmlessly "exists" now. Maybe that's just bias despite the enormous popularity of the song, but hell it's a subjective review. My review of the album would probably be higher if we stopped there, but unfortunately the last three tracks really start to lose me. It just feels like the "high" of the album is over to me after Billie Jean and I'm afterglowing until The Lady in My Life's long conclusion. I see why this album is so highly regarded, and while I hold respect for it myself, and just isn't quite a "top album" for me. Favorite songs: Wanna Be Startin' Something, Thriller, Beat It

2 God I really didn't like the opening track. It's one of the most jarring starts to an album I've heard, and musically/vocally I found it grating... though not nearly as bad as the song England. The rest of the album is pretty "meh". I feel like a lot of the songs I kind of liked had an aspect to them that tainted it a bit for me. For example, I thought The Glorious Land was a good song apart from the annoying bicycle horn-like noise that kept repeating, and I was really enjoying The Words That Maketh Murder up until the backup singers started cheesily repeating the title of the song. Not the worst album I've heard, but not impressed either. This is the first PJ Harvey album I've ever listened to, so while not a good first impression, I believe she has another album or two that are pretty coveted, and I look forward to listening to them. Favorite songs: The Glorious Land, The Words That Maketh Murder, Bitter Branches

2 I'm not gonna lie, I've never heard of Dwight Yoakam, but as soon as I saw a cowboy hat on the cover of this album, I groaned. I'm really not much of a country guy, but I tried going in with an open mind. As far as country goes, this is a pretty innocuous album. It really feels grounded in the roots of the genre, however, with that being said, I'm not sure what sets this album apart from similar country albums of the era - maybe I just don't know enough about the genre? I would enjoy it if I were at a country bar, but I don't see myself listening to it much on my own time. Favorite songs: Idk they really all kind of blended together for me. I Got You?

3 Today I learned Don McLean is not a one-hit wonder. I've always been a fan of the title track - the song structure is incredibly catchy and the lyrics well-written, which makes the song feel much shorter than its 8 and half-minute length. (Though it's hard for me not think "My my this here Anakin guy / Maybe Vader someday later..." whenever I hear the chorus). I dug the guitar work as a whole on the record, which at times gave me Simon & Garfunkel vibes. However, though enjoyable, most songs didn't do much for me to stand apart from the other tracks. Favorite songs: American Pie, Till Tomorrow, Winterwood

2 Going into this, I knew nothing about the artist or album, yet I had a bunch of questions - including but not limited to: "Who is k.d. lang and why does she look like lesbian Morrissey?" "Why does the Wikipedia article have no information outside of track and personnel listing?" "Why does the most popular song on this album have <500k on Spotify?" After listening to the album, all I can confidently say is that the Pasty Cline vibes are strong with this one... to the point k.d. almost sounds like a tribute artist. If you like Patsy, you'd probably like this album. If you find Patsy okay like I'd do, you'd probably find this album mediocre at best. No song on the album is particularly good or bad to me, but I do think it's a bit too much of the same slow burn to listen to in one sitting - I was kind of bored by the end. If I were in a dim-lit smoke-filled saloon occupied by cowboys drinking away their lonesome sorrows at last call, this album would probably hit the spot. In any other scenario... not sure I'd reach for this album. Favorite songs: Western Stars, Tears Don't Care Who Cries Them

3 I'm not familiar with Keith Jarrett, but I buckled myself in once I realized it was going to be an hour of instrumental piano improvisation, genuinely unsure of how I would feel about it. One of the first things I noticed was how much this album benefits from the live setting - some people may find the crowd noises and applause annoying, but I thought capturing the captivation Jarrett had over the audience added to his already impressively flawless live performance. While I enjoyed the album, I mostly found it mostly to be relaxing background music while I got work done. I could see myself listening to it again in that scenario, but I don't ever see myself sitting down to listen in my free time. Part 1 was a quick half hour for me, but by the end of Part 2 you definitely feel the full hour. As far as instrumental piano records go, this has gotta be one of the best I've heard (possibly the best), but I just really feel like there's a cap on how floored I can be by that kind of record. Favorite song: Köln, January 24, 1975

3.5 I really enjoy Simon & Garfunkel, but I haven't listened to much of Paul Simon's solo stuff. I'm not sure how indicative Graceland is as to the sound of the rest of his solo work, but it's evidently a lightyear away from his Bridge Over Troubled Water days. He clearly leans into an African-inspired sound on this record which was fun and provided a unique-listening experience, but that's likely because I haven't exposed myself to enough music of the culture. Still, it's cool to hear an accomplished songwriter like Simon weave it into his music so seamlessly. That being said, there weren't a ton of specific standout moments to me on this album, so I don't feel like I have ton to say on this one. Good album listen, but not one I feel like I'd go back to specific songs for - had to re-listen to pick my favorites below. Favorites: The Boy in the Bubble, Graceland, Homeless

4 I read beforehand that this album was inspired by Rundgren's experimentation with psychedelics, and after having listened through, I gotta say that checks out. Rundgren captures the feel of a drug-induced trip well with this record... for better or for worse. The two sides of the album are drastically different - yet somehow complementary. Side A was mostly a sporadic collection of sounds and songs transitioning before I had a chance to fully digest one... and not all were pleasant to listen to. Side B was where the album really shined for me, where Rundgren creates a fusion of soul and R&B before finally "coming down" on a rock closer. At this point, I felt like I had reached the end of some spiritual journey. It's hard to pinpoint specific songs on this record, but I feel like that's kind of the point, and that the album is made purely to be consumed in one go. The second half is much stronger than the first, but at the same time, it almost feels like one couldn't exist without the other? Where Side A gives way to Side B to complete the journey? I'm still not sure how this album made me feel, but I think I liked it, so we'll go with 4. Idk I think I need to lie down.

2 I've never heard of the artist ABC (though I dabble with the alphabet) or this album, but after listening, I found it to be a pretty run-of-the-mill new wave album... which kind of bummed me out cause I dig a lot of 80s British new wave. I feel like I heard elements of Talking Heads and David Bowie in there, but the songs just didn't have quite the same hook those artists have. While I enjoyed parts of the album, others just seemed more obnoxious than catchy, and overall it didn't come across as particularly lyrically or thematically profound either. Probably wouldn't go out of my way to listen to again. Favorite songs: Tears Are Not Enough, 4 Ever 2 Gether

4 This one surprised me. Don't get me wrong, No Scrubs and Waterfalls are bangers, but I never thought a 90s pop girl group album would be amongst my favorites so far... yet here we are. Just about every song on this album is a banger. Admittedly, it did start losing me a bit after Waterfalls, but it pulled me back in with Switch, and then finally with an absolute killer finale in Sumthin' Wicked This Way Comes. While I don't think this could ever crack the status of being a "top album" for me, I would listen again in a heartbeat. Favorite songs: Waterfalls, Sumthin' Wicked This Way Comes, Creep, Diggin' on You

5 "This is off our first record. Most people don't own it." This was destined to be a 5 for me the second it came up on this list. For me, this is Nirvana's finest hour and the album of theirs I return to the most. The band was given a once-in-a-lifetime opportunity to perform a set on MTV Unplugged, then refused to play their hits, opting instead to play deeper cuts and covers... and just fucking killed it. They even used their time on-stage to share the spotlight and promote lesser-known band Meat Puppets, and the album benefits so much from it. I have a hard time imagining this album would be as highly praised if they had just stuck to the hits like MTV wanted, but Nirvana went out and performed the show they wanted to perform, and the result is a piece of musical history. All of the songs on this album sound amazing live, and Kurt sounds just as raw and real as he does on the studio albums (if not moreso). All of the originals complement the studio recordings nicely, and in some instances even outperform them by miles (looking at you About a Girl and Pennyroyal Tea). The highlights have to be the covers though, which Nirvana truly made their own and have even become the definitive versions of the songs for many (myself included)... and to do that with a David fucking Bowie song?? What other artist could do that?? Their cover of Where Did You Sleep Last Night though has to be one of the greatest closers to an album I've ever heard, and I will never not get goosebumps when the music cuts out and Kurt screams out the final verse like he thought it was the last show of his lifetime (the actual would be four months later). I could go on much longer about this album, but I'll wrap this up by saying, for me, this is truly a once-in-a-lifetime album from a once-in-a-lifetime band. While not my favorite record of all-time, I'm not sure there are going to be a ton of records on this list that beat it. Favorite songs: Yes

2 I'm not much of a Billy Joel fan, though I've never listened to a complete album of his before this. I'm not sure exactly what it is... he sounds fine enough, but none of his songs have ever really grabbed me. This album didn't do much to change things. Just the Way You Are even kinda bored me, though I found myself enjoying Scenes From an Italian Restaurant despite it being the longest song on the album. Other than that, not particularly remarkable. Favorite songs: Scenes From an Italian Restaurant, The Stranger

1.5 I'm really not sure what sure I expected from this album, but it wasn't... whatever it is. Clearly I'm missing something, because I'm pretty sure Tom Waits is a pretty esteemed cult musician, but feel like I just listened to The Nightmare Before Christmas soundtrack played backwards. I really tried to look past its rough outward exterior as well (as I've had to do with artists like Bright Eyes to learn to appreciate them), but I'm just really not sure what I'm supposed to find. This album ranges from okay to rough to unlistenable for me, though that being said, I'll bump up to 1.5 stars for Time. Favorite song: Time

2 It's not a bad album, but it's not for me. Rated leniently for not sucking. Favorite song: No One Said It Would Be Easy

2.5 Having never listened to D'Angelo but familiar with the name in the context of great albums, I expected more. This is a fine R&B album - It incorporated some elements of funk I dug, but overall it lacked versatility and didn't offer me a ton of memorable moments. Some of the songs felt longer than they needed to be, which left me a little bored by the end. Musically and vocally it's airtight, just not very interesting. Favorite songs: Shit, Damn, Motherfucker, Cruisin'

3 I really wanted to watch some Peanuts after this. What can I say? It's a jazz record. Never something I'd rush out to listen to, but also something I'd never complain to have on. However, I really couldn't tell you what the difference between this jazz record and every other jazz record in existence is, and I definitely couldn't have told you four songs were played twice (albeit different takes) without looking at the tracklist. Overall, it's a fine enough album.

4 At this risk of being a bit biased, I can't understate how well-timed this album is. On a particularly rough day when I wanted nothing but comfort music to soak myself in, this album took me back to my childhood. Elvis Presley is among the first artists I can ever remember listening to in my lifetime, and his star-studded, clean-cut, poster boy image was everything I wanted to be. As an adult, while I can acknowledge a great deal of his success came from profiting off of the music of lesser-known black artists, it's hard not to see the charm in his music today I saw all those years ago. Despite it being his first, Elvis oozes rock star energy all over this record, and it's not hard to see why he would go on to become one of the most-recognized musicians of all-time. It's not the most rounded record, but it's a fun, quick listen, and I always have a good time when I return to it. Favorites songs: Blue Suede Shoes, I Got a Woman, Blue Moon, Money Honey

3 The Doors are an artist I used to really enjoy in high school but have found myself listening to less and less as I've grown older. I still believe Jim Morrison has one of the best and most iconic voices of rock, though I don't think the direction of this album highlights that compared to some of the band's previous work. I don't mind the blues approach, but I think it's a step down in comparison to the sound of the band's earlier work, especially their debut, which I find to be a much better album. Riders on the Storm is a great track and closer though. Favorite songs: Riders on the Storm, L.A. Woman, Hyacinth House

4.5 Holy cow this has to be one of the most explosive live albums I've ever heard, and the energy James gives the crowd and the crowd gives back is the stuff that separates great frontmen from legends. This was an incredibly quick 30 minutes, and it honestly could have gone on so much longer for me. I really, really need to check out more James Brown. My only complaint with the album is the production on Lost Someone... there's a good chunk where James Brown sounds completely washed out? Other than that, the sound and energy on this record feels like a lightning in a bottle live album, and I'll definitely be listening to again. Favorite songs: I really liked them all, but I'll Go Crazy, Think, and the buildup on Lost Someone stood out to me

3 I really liked the sound of a lot of songs on this album, but I also don't feel like they imparted much of a lasting impression on me. It almost felt like an ambient album, but a good ambient album at that... like a lot of these songs would go hard if used effectively in a movie or show. The songs that utilized strings (like Cologne Cerrone Houdini) were definitely the standouts for me over the more electronic ones. Very much feels like a situational listen. Favorite songs: Little Bird, Cologne Cerrone Houdini, Caravan Girl

0/10 album was actually 38 minutes long Jokes aside, this album actually changed ratings for me over the course of the weekend. What started as around a 3 for me went up to 4 when I found myself listening to it again. What I think I appreciate most about this album is the atmosphere it builds - yes, it can be a bit same-y, but I really dig the sound and can feel myself getting sucked into the world it creates. It's nowhere near as big or as flashy as the band's later work, but it's solidly consistent and gives a taste for things to come. Not a lot of the tracks are standouts, however, I do think this album is the definition of the whole being stronger than the sum of the parts. While I probably wouldn't go back to listen to individual tracks, I can definitely see myself listening to the full album again in the future. I do want to give a shoutout to A Forest though, which is an absolute banger, and feels a bit like foreshadowing to the band's future. Not their best album, but still a solid entry, and I'm happy to have been exposed to it. Favorite songs: A Forest, Play For Today

2.5 Funk disco at it's funkiest. I liked the sound, but every song felt like it went on longer than it needed to. Lyrically, pretty cheesy love and dance stuff. I really dug the shredding on Savoir Faire, but I wasn't as into the slower R&B stuff like At Last I Am Free. It's probably a lot of fun to dance to, but not sure I'd put it on in a casual scenario. Favorite songs: Chic Cheer, Savoir Faire, (Funny) Bone

3.5 "In the Wee Small Hours" has to be one of the most well-suited names for an album I've heard... I'm not entirely sure what it means, but Frank Sinatra manages to capture what it feels like on this record. The underlying forlorn tone makes me feel like I'm doing it wrong by listening at 2 PM while working and not at night with an old fashioned or some kinda rat pack-esque cocktail. This is definitely another case of "the whole is greater than the sum of the parts" for me, where I would likely give the entire album a listen before seeking out individual tracks, but in this instance, it's much more of an "in the mood" record. I can't really fault it for that though, cause it kind of outlines that right there in the title. So, I could definitely see myself re-listening when the wee small hours are upon me... probably not midday again. Favorite songs: In the Wee Small Hours of the Morning, Mood Indigo, Glad to Be Unhappy

3 This album feels ahead of its time being released in the 70s, and I can see how it would influence a number of artists in the coming decade. In some ways, it felt like a more electronic Joy Division (reinforced when my Spotify jumped to the band after the album concluded), and it's as cold and industrial as I could only expect from German music. Truthfully, I'm not entirely sure how I felt about this one. I think I liked it, but there's not a ton to say as there are really only six tracks if you count Trans-Europe Express and the two songs after it as one song (I do). I could see myself listening again, but I think it's a little too emotionally-devoid to be something I could get too attached to... in this case, I think I'm more of a fan of the artists they influenced. Favorite songs: Europe Endless, The Hall of Mirrors, Trans-Europe Express

3.5 Our first artist repeat! And just one week after LA Woman. Compared to that album, I enjoyed the sound on this one a lot more - while still bluesy, it doesn't lean quite has hard into the genre (which I think serves the band better), and it also just felt a bit more versatile and crisp. This album also contains "Peace Frog" which is one of, if not, my favorite Doors songs (Note: This is likely largely due to its presence in a Tony Hawk video game). Other than that, I don't think I have ton to say, but this an enjoyable classic rock record and Jim Morrison shines as always on here. Favorite songs: Peace Frog, Waiting for the Sun, Indian Summer

3.5 Eat your heart out, Bill Evans - It's another jazz record, and I really think this is probably this has been the most fun and interesting one yet. There was enough variety on this record where I was able to keep mostly engaged for the 76 minute runtime. That being said, while I liked the jazz albums we've had so far, I haven't loved them, and I think I'm learning the genre is probably never gonna be an all-time favorite of mine - I really don't anticipate any of these albums getting a 4 or higher from me. I don't know how likely it is I consciously put on a jazz record, but if I do pick one, I could see it being this one. Favorite songs: Can't really remember, but I think I liked Big Apple and Maesha

4 So what I'm learning from this list is that live soul albums were something missing from my life. Both this and James Brown Live at the Apollo have been absolutely fantastic records with artist/crowd synergy unlike anything I've ever heard before on a live album. Sam Cooke sounds amazing here, and I can only imagine how much fun being at the show must have been - It almost made me nostalgic for a period that existed 35 years before my birth. Despite trying to review each album in a vacuum, I was originally gonna write about how the circumstances of Cooke's death tainted the album a bit for me, but after doing some further research, I've learned the matter is more open-ended than I originally believed. While originally on the fence about re-listening, I did again afterwards was able to enjoy in a much more objective manner... and I think I'll be listening again. All said and done, this album really just feels like a good time for good times' sake. Favorite songs: Feel It (Don't Fight It), Cupid, It's All Right/For Sentimental Reasons, Bring it on Home to Me

2.5 Pantera was not on my 1001 Albums bingo card, but it was definitely a nice change of pace from what we've been listening to so far. That being said, I'm not much of a metal fan, as I find a lot of a bit too same-y and macho cheese, and while I enjoyed this album more than many others albums of the genre I've heard, it definitely fell into those traps for me (shoulda known from the album cover). I was also bummed cause I actually enjoy the song Cowboys From Hell and it's not even on this record (Walk is overrated imo). Would maybe re-visit songs - not sure about the full album. Favorite songs: Mouth for War, This Love, Hollow

3.5 Excellent skateboard rap. The beats are absolutely great, and I loved the usage of an actual bassist to support them - it made a world of difference for me. However, while sounding great, I felt like there wasn't a ton of versatility with the usage across the album, and a lot beats ended up sounding the same to me (though there are definitely some exceptions). Vocally, however, the album was airtight. Having multiple vocalists in the group helps keep things fresh despite some repetitive beats, and lyrically the album was pretty on point as well (though there were definitely some exceptions for me here as well... I never wanna hear the phrase "penal cord" again in my life). I also thought having each song segue directly into the next was really cool and helped keep the energy going. Overall pretty solid. Could see this going up to a 4 for me with time. Favorite songs: Excursions, Show Business, Check the Rhime, What?

1 Beep beep boop boop beep beep boop boop. This is like Pink Floyd but if every song they wrote was like "On the Run". On the Run works within the confines of Dark Side. On the Run does not work for me as a 37 minute standalone album. I can see how this could could be majorly influential for the genre of electronica in the years ahead, but truthfully, it's never been a genre I've been particularly fond of. I feel like it just kinda stresses me out and like I need to be on some kind of drug to get it. I don't get this album, and it kind of stressed me out. Especially whatever that screeching noise was near the end of Phaedra... egh. Unrelated to my review, I learned Tangerine Dream did the scoring to Grand Theft Auto V and that stuff was pretty cool.

3 Alright, this is one I've been waiting for. Having never heard the album, I've seen it ranked consistently among the best albums of all-time (and it's always one of the top comments on any "Best Album of All Time" Reddit threads). And... it's a jazz album. It's a good listen, but I still feel like I couldn't tell you what separates this from Bill Evans or Hugh Masekela. This list has done a good job of expanding my knowledge of jazz, but I feel like I'm still waiting for something to "click" and I finally understand the genre. Unfortunately, I think I may just have to accept jazz while never be a favorite of mine. I've yet to find any of it less than pretty good, but not sure it could ever cross the barrier of being a favorite.

4.5 Alright, confession time... I'm a fan of The Who, but I've never listened to this album all the way through. Holy shit I was missing out - pretty sure this album was the first true rock opera to ever exist, and it clearly set the standard for every attempt that followed. Tommy kicks ass out right out the gate with Overture, which I thought was an amazing introduction and taste of what's to come, and then proceeds to never stop kicking ass until it concludes. The end result really feels like the product of a band firing on all cylinders. The only real criticism I had is that I felt it could have benefitted from a little more diversity in sound - it does some really cool things, but I feel like I would describe the overall sound as pretty consistent. Not necessarily a bad thing, but some bigger shifts in tone would have been an interesting dynamic. Then again, I didn't care for the album's hardest shift in Tommy's Holiday Camp, so take my opinion with a grain of salt. Favorite songs: Overture, 1921, Christmas, The Acid Queen, Pinball Wizard, Sally Simpson

3 For a 60s band named "Love", this album went pretty hard. Musically it was a little all over the place - it bounced pretty abruptly from psychedelia to surf rock to finally an 18-minute blues closer. The punk in me really enjoyed Seven and Seven Is, and I see how it could have influenced punk in the years ahead (The Ramones even covered it at one point). Other than that, nothing in particular seemed to jump out, and I don't really think the closing track was quite interesting enough to justify its length. Favorite songs: Stephanie Knows Who, Seven and Seven Is

2 Another artist I've always found massively overrated, and again I didn't feel like my listening here did much to change that. Reggae as a genre I've always found to be pretty boring musically, and with this album in particular I found myself pretty bored here about halfway through. I'm pretty sure a lot of people see Marley as a pretty profound lyricist, but I'm just not sure I hear it. I can see how people could get attached to his music, but it's just not for me. Could see listening maybe to some tracks in a tropical vacation scenario.

4 I haven't listened to much Ella Fitzgerald before, but clearly I need to listen to more - she has an incredible voice, and her music oozes oldies charm. This record makes me want to host a cocktail party just so I can put it on... and also play Fallout. An incredibly pleasant listen. Probably wouldn't enter a regular rotation with me, but will definitely be played again. Favorite songs: I Got Rhythm, The Man I Love, Love is Here to Stay

5 Wtf they really gave us this album the day after the Queen died... wild. Anyway, one of my all-time favorite albums by one of my all-time favorite bands. Probably their best, but one of three I would give a perfect score (the others being their self-titled debut and Louder than Bombs). It's no secret I think Moz is an all-time great lyricist, and he shines brightly on this record in particular - though I also have to give kudos to Johnny Marr for writing some brilliantly unique and catchy riffs here that complement the vocals nicely. The title track is one of favorite opening tracks to any record ever - it gets me hyped up straight out of the gate every time and in my opinion is one of the band's most criminally underrated tunes. I Know It's Over is one of the most honest and vulnerable songs I've heard (a Smiths specialty), and encapsulates depression in a way I feel few songs have. There's a lot of other great songs here as well, but I have to give a special shoutout to There Is a Light That Never Goes Out. Truly one of the greatest songs ever written, it captures love in a beautifully macabre way I've never heard another song approach, and I never fail to get goosebumps from the synth outro. An all-time great. Admittedly, I do think Some Girls are Bigger Than Others isn't the strongest closer in the world, but it's still a decent track and the rest of the album makes up for it tenfold. Love The Smiths and Morrissey (only musically speaking) always. RIP Queen Lizzie Favorite songs: There Is a Light That Never Goes Out, The Queen is Dead, I Know It's Over, Cemetry Gates, Bigmouth Strikes Again, Frankly Mr. Shankly

3.5 It's clear how much influence The Stooges and Iggy Pop had on punk music with this album - Hell, the Sex Pistols would even go on to do a cover of No Fun. This has all the makings of a solid punk record - 1969 is a great track and opener, I Wanna Be Your Dog is a Stooge classic... then I'm not really sure what was going on in We Will Fall. The 10-minute psychedelic noisescape track was kind of an unnecessary and jarring shift for me. No Fun is a good start to Side B, but not much after that jumped out to me. Solid protopunk album, but nothing spectacular. Favorite songs: 1969, I Wanna Be Your Dog, No Fun

3 Never really been able to get into Beck. I appreciate his ability to jump between and blend musical genres, and while I feel he did it pretty well here, no one track gave me the feeling of "I gotta give this song a listen again"... it felt more like he wanted to dip his toes into different genres without getting all the way in. Essentially, every song boils down to being very "Beck" at its core, like the same song was wearing thirteen different outfits. It's not a bad album by any means, but I think it's far from a masterpiece - though I'll give kudos to Ramshackle for being a solid closer. Would maybe listen again if I'm not crucified by the entire indieheads community first. Favorite songs: Ramshackle, Minus, The New Pollution

2.5 Don't feel like I have a ton of thoughts here. Never been much of a Rod Stewart fan, but this is a serviceable classic rock record. Maggie May is a decent song, not much else stuck out. Could see myself owning and listening again on vinyl, but likely because I'm more in the mood for classic vinyl rather than Rod Stewart himself. Favorite song: Maggie May

4.5 The Ramones may have invented punk, but The Germs invented hardcore... and the genre owes so much to them for it. It's not for everyone, but man it's for me - I couldn't help but bang my head along even though I was working in the office while listening. Darby Crash is an all-time great punk vocalist (RIP) and Pat Smear (later of Nirvana/Foo Fighters fame!) an all-time great guitarist. Would have loved to mosh to these guys. It's really all killer, no filler here - just 38 minutes of raw, uncut punk. Yeah, not the most versatile record to exist, and maybe some songs blend together, but dammit I had a great time with every single track. Special shoutout to Lexicon Devil for being one of the greatest punk songs ever written. Would listen again in a heartbeat... though probably need to take a minute to calm my anarchical urges. Favorite songs: Liked them all, but love Lexicon Devil

2.5 Here we go, Round #2 with The Beatles. As mentioned, I've never been much of a Beatles fan, but I gotta say it dawned on me quickly this album is a lot better than their earlier work - in particular, this is miles ahead of A Hard Day's Night. Still, I'm not exactly sure what makes The Beatles the most recognizable and legendary band of all-time. Most (if not all) of the tracks here don't sound too out of place from other albums of the time - not bad, but not great either. There are a few shining moments (Blackbird's a good song with probably one of the most iconic guitar riffs of all-time), but the rest feels like a lot of 60's fluff that I'm not sure justifies a double album. Favorite songs: Blackbird, Dear Prudence, Helter Skelter, Julia

2.5 Elvis Costello is an artist I've never really been quite able to figure out. I've heard him labeled as both new wave and punk... but yet I really don't hear either. What I hear (and see) is someone trying to put a "modern" spin on 1950s rock, and it's fine I guess, but it's not spectacular either. I feel like I'd rather just listen to '50s artists. Favorite songs: Welcome to the Working Week, (The Angels Wanna Wear My) Red Shoes, Less Than Zero

4 Having heard of but never listened to The xx, I really enjoyed this album. It's very much "in the feels" music... aka my favorite kind of music. Musically, I really liked how subtle it was. While simplistic, it felt like every note captured the exact emotion the song (and album) was going for, and I couldn't help but bob my head along. In many ways it reminded me of a lot of my favorite artists, but I couldn't pinpoint exactly which ones - in some ways, it reminded me of a modern New Order. That being said, the Chris Isaak vibes were strong with Infinity. While I didn't walk away in love with it, I feel like there's a lot of room for growth on me, and I think one day this album could yield a higher rating. I will be listening again. Favorite songs: Intro, VCR, Crystalized, Islands, Infinity

2 More like "The 'No From Me' Album". . . . I'm not much of a prog rock fan, and this album didn't feel like it did anything interesting enough to add to the genre for me - Even the guitar freestyle track Clap felt kind of underwhelming. If I were in the mood, I would just listen to Rush instead. Favorite song: I've Seen All Good People (but mostly just the second part)

4 I enjoyed this album a lot more than the artwork suggested. What looked like a boring record your grandpa probably owned actually turned out to be a really interesting 60s folk rock record - a genre I'm slowly learning to appreciate with recent forays into Bob Dylan, Simon & Garfunkel, and Nick Drake. While not the most spectacular record I've heard, most songs did a good job of finding its own identity, and it held my interest to the end. The highlight of this album for me has to be singer Sandy Denny's voice, which I found to be completely captivating and enchanting, and left me wanting to listen to so much more of her work (After a Wikipedia deep dive, I learned she did vocals on The Battle of Evermore by Led Zeppelin - a personal favorite of theirs!) Good vibes from this one. Will be listening again. Favorite songs: A Sailor's Life, Who Knows Where The Time Goes?, Percy's Song

4 I feel like I’m missing some context with this album having not heard The Slim Shady LP, but I still really like what I heard. It reminded me of Pinkerton in some ways in that it’s a sophomore album dealing with the struggles of adapting to the sudden fame acquired from the debut, though compared to Weezer, Eminem seems to process with it in a slightly… different way. It’s violent, it’s sexist, it’s homophobic, but it’s a character (I hope) whose arc I enjoyed following across the album. The skits were also entertaining interludes that helped keep the album interesting and feel a lot shorter than its >60 minute runtime. I think I need to explore more of Em’s discography to truly appreciate this album, but I’ll likely be listening again. Favorite songs: Stan, Kill You, The Way I Am

2 Having never heard of Miriam Makeba, I found her life story to be incredibly interesting and tragic, and I’m glad to have learned about her through this list. That being said, while she has a beautiful voice, I didn’t find the album to be particularly musically interesting, and I’m not sure if I would re-visit. Her rendition of House of Rising Sun was cool, though Charles Coleman made me uncomfortable on One More Dance. Favorite songs: House of the Rising Sun, Mbube

3.5 This must have been a super fun concert to be at, and I can only imagine the energy in the crowd as Jerry Lee Lewis performed. Much like James Brown and Sam Cooke’s live albums, the energy Lewis put into his performance is palpable, though I didn’t feel like this album in particular was able to capture the performer/audience relationship that benefitted and personified the aforementioned greatly. It also didn’t feel quite as rounded as Brown’s and Cooke’s albums, though you can definitely hear their influence on him (with a splash of Elvis for good measure as well). Fun through and through, but didn’t blow me away. Favorite songs: Mean Woman Blues, High School Confidential, What’d I Say

3 I absolutely adore The Smiths and Morrissey, but I've always been of the opinion that, while The Smiths produced great albums, Morrissey solo only produced great tracks. It seems his ego took off around the same time his solo career did, and it shows (though the absence of Johnny Marr is also glaring). Still, he has some absolutely amazing songs... that aren't on this album. In fact, as a Morrissey fan, I was kind of surprised to see this album here, as I've always found Your Arsenal and Viva Hate to be miles ahead of this one. I can only hope those albums made the list if this one did, and if they didn't (or even if they did), do yourself a favor and listen to the below songs: Suedehead Everyday is Like Sunday I Know Very Well How I Got My Name Glamorous Glue We'll Let You Know Tomorrow Jack the Ripper Back on the Chain Gang and my personal favorite: Seasick, yet Still Docked Favorite songs on this one: Spring-Heeled Jim, Now My Heart is Full, The More You Ignore Me, the Closer I Get, Hold on to Your Friends

2.5 I don't know a lot about Deep Purple aside from Hush and the two hits here, and compared to those, I like Hush a lot more, so maybe I'm a bigger fan of their earlier psychedelic sound? I can't listen to Smoke on the Water without thinking of Guitar Hero, and I can't listen to Highway Star without thinking of that car ad it was in. Not necessarily bad things, but I think that paired with the unremarkable nature of the other songs ultimately leaves the album lacking a sense of its own identity. I guess I can see how it would be influential for heavy metal, but that’s never been a particularly favorite genre of mine anyway. Favorite song: Smoke on the Water

4 I absolutely adore Come On Eileen, but always assumed it was a one-hit wonder from Dexys Midnight Runners. The Spotify play counts seem to reveal that as true, but actually listening to the album made me realize that's a damn shame - this album is an absolute blast from front to back. The sound of the band is one of the most unique I've heard, and it's really interesting to hear how they utilize it outside of Eileen (really effectively apparently). It ultimately makes a really fun, strangely danceable folk/new wave record - nothing mindblowing, but I had a good time with it. Though I didn't factor them into my review, the bonus tracks on this album were great as well. Favorite songs: Come On Eileen (duh), Plan B, I'll Show You, The Celtic Soul Brothers, Let's Make This Precious

2 My roommate is close friends with a couple from the UK who adore Kate Bush, who then proceeded to get my roommate into Kate Bush, and now I hear too much Kate Bush for my own damn good (Stranger Things also didn't help). So, I kind of groaned starting this album, as it sounded like everything else I've heard from her - very generic 80s pop. While I don't necessarily mind that kind of music, it doesn't feel like there's much here that I haven't heard before. Side B on this album at least went in a little bit of a different, experimental direction that I appreciated at first, but it started losing me again towards the end. To me, it feels like she wanted to explore two different genres/concepts, but didn't venture far enough into either direction to do them justice and ended up with an all-around mediocre album. Sorry Brits, but I'm another American who doesn't get it. Favorite songs: Jig of Life, Running Up That Hill

4.5 "This next one is the first song on our new album. It just came out this week, and the song is called... Surrender." One of my most-spun vinyl records, and one of the greatest live albums ever recorded (though Nirvana's MTV Unplugged holds the crown). Cheap Trick was the definition of being "big in Japan", and the way the audience reacts to the band's every note is the stuff musicians dream of. This album also undoubtedly holds what is the definitive edition of I Want You to Want Me - hearing the studio recording without the echoing screams of Japanese fans just feels so hollow and lifeless. To be honest, I actually haven't heard the studio recordings of most of the tracks on this album, and I'm not sure I want to... not sure they could live up to the energy levels at Budokan. Blast from front to back. Favorite songs: I Want You to Want Me, Surrender, Hello There, Come On, Come On, Lookout, Need Your Love

3 Surprised to see a second album from this group here considering I had never heard of them before the first. Sandy Denny sounds as great here as she does on Unhalfbricking, though this album as whole comparatively feels like more of the same, but not quite as good. I still enjoyed the overall sound, but the songs lack a certain individuality as compared to the previous album, and the whole thing just kind of feels like it runs together without a lot of standout moments. A decent companion piece, but I'd opt to listen to Unhalfbricking instead. Favorite songs: Reynardine, Matty Groves, Tam Lin

1 I appreciate the album going ahead and rating itself for me in the title. I was bored about 5 minutes in, and it didn't get any better from there. It didn't even do anything interesting... like it just repeated the same piano patterns and vocal harmonies for like 10+ minutes at a time. I would say to leave this at the airport, but then I read the below on the album's Wikipedia page: "The album has been installed and performed in at least five airports; it has been met with resistance from some travellers and workers, who deem it disruptive." So I guess it's not welcome at airports either ¯\_(ツ)_/¯ I know a lot of people find ambient music calming and good to get work done to, and I can definitely understand that, but still, not for me.

3 I don't claim to know a ton of Stevie Wonder, but it doesn't feel like I'm listening to the best he has to offer here. Don't get me wrong, it's still an enjoyable album, and when it has its highs they're pretty high, but a lot of it was just pretty decent for me - I feel like I've heard other stuff of his that I've liked a lot more. Other than that, not a ton of thoughts... though the music on Creepin' gave me big old school Nintendo vibes. Like if you took an instrumental version of the track and put it in the background of like Big Boo's Haunt in Super Mario 64 or an Ocarina of Time temple I'm not sure I would even recognize the difference. Favorite songs: Heaven is 10 Zillion Light Years Away, You Haven't Done Nothin', Creepin'

2.5 The Pretenders are a band I've always wanted to like, but for some reason I just can't quite get to click with me. This album feels like something I would love... I adore Chrissie Hynde's voice, and the music I would best describe as a manifestation of the punk to new wave transition. Hell, Johnny Marr would even later credit the guitar work on the album as his biggest inspiration for The Smiths (one of my all-time faves!). Yet despite all of that, it just feels like they neglect to do anything overly-interesting with the tools they have at their disposal. I'll admit this album kicks off pretty strongly with tracks like Precious and Up the Neck, but starting around Space Invader, slowly but surely, I feel like the album becomes less and less musically interesting, to the point where I was kind of over it at Private Life. Overall, a net okay album - Tattooed Love Boys is a jam though and by far the best song on the album. Favorite songs: Tattooed Love Boys, Precious, Up the Neck

3 I appreciate this list recognizing music outside of Western/English-speaking countries, because not only do I feel like it's typically neglected when it comes to top album discussions and rankings, but I admittedly have also done a really poor job of exploring myself. Granted, this album is a take on Western music (it literally says so on the album cover), but I feel like it's a good stepping stone into venturing out further. Aaand I quite enjoyed it. My guy shreds the sitar in ways I didn't know one could, and I really thought he bridged the gap between two cultures effectively. Both of the covers were really, really good, to the point where I may even say Light My Fire... sounds better on a sitar than on a keyboard? It didn't blow my mind, but it definitely encouraged me to listen to more world music - so an effective record through and through. Favorite songs: Light My Fire, Raghupati, Jumpin' Jack Flash, Metamorphosis

1.5 So, his schtick is he does a poppier, strings-heavier take on Sinatra? But coupled with some of the worst lyrics I've ever heard? "If you were a horse I'd clean the crap out of your stable And never once complain" What? Apparently there's room for filler in a list of 1001 greatest albums of all-time. This album is musically mediocre and lyrically painful, and I'm really not sure why this is something I "must hear before I die". On to the next one.

2 I read on this album's Wiki page that Apple was going for an unconventional percussive sound on this record, and that definitely came through on my listen. Lyrically and thematically the album is pretty sound, but I found the music jarring, which is a shame. Every time it felt like a powerful feminist statement was being made, it was immediately washed out by the most obnoxious drum pattern I've heard. It had its moments, but as a whole I definitely felt the 51 minute runtime... so I don't think I would give this full album a re-listen. Favorite songs: Ladies, Under the Table

3.5 And on the last album of my 24th year, the Lord said... let there be Stones. Our first Rolling Stones album of what I assume is going to be a handful, and I was surprised by how... country it is? Country blues was not a genre I realized the Stones ever leaned into, but I didn't mind it. That being said, the less-bluesy tracks (like Street Fighting Man and Stray Cat Blues... ironically) stood out to me more. Songs like No Expectations and Dear Doctor were fine, but kind of ran together, and Factory Girl was borderline a Led Zeppelin song (not necessarily a bad thing). All in all, found it to be an enjoyable record with strong classic vinyl vibes. Would probably listen again. Favorite songs: Sympathy for the Devil, Street Fighting Man, Stray Cat Blues

3 A little all over the place and disjointed, with the songs being very hit or miss for me. I found myself vibing with the album at times, only to immediately be sucked out by a jarringly different and lackluster track (looking at you, Sad Memory). From what I saw on Wikipedia, it seems like there were three songwriters on the album, and from what I heard, it seems like none of them were on the same page. That being said, the Neil Young penned songs were the highlights, and probably a good indication of why he would go on to have the most successful solo career... though I'm starting to think this list of albums may be convincing me I'm a Young fan. Favorite songs: Mr. Soul, Expecting to Fly, Hang Upside Down, Broken Arrow

2 Our third Beatles album, and one that falls directly between the past two chronologically. So, it's only fitting my rating should fall there as well. It's interesting to listen to this album third, as it's very much a midpoint marker in the transition from the sound of early Beatles to later Beatles... and I'm learning I prefer the latter (though not drastically). That all being said, this is probably the longest 34-minute album I've ever heard, and I was pretty surprised to learn that the longest song on this album is exactly 3 minutes when I checked in on my listen progress - I just don't feel like there's a ton interesting going on here. Eleanor Rigby is a good song, though as if to counterbalance that, Yellow Submarine is probably one of the hottest pieces of garbage I've heard. As a whole, I didn't hate it, but I definitely felt underwhelmed. (Why is this the biggest band of all-time???? A global average of 4.26 are you kidding me?????) Favorite songs: Eleanor Rigby, Tomorrow Never Knows

1 Late review because I definitely wasn't listening to this at the office and... wtf. I've never been much of George Michael fan, but goddamn this album is CREE-PY. I felt uncomfortable for the entire listening of Father Figure, and then if that wasn't bad enough, he decided to double down on the following track subtly titled I Want Your Sex. I probably shouldn't over-analyze something that's intended to be a serviceably danceable slice of '80s pop music, but goddamn this whole song is Michael trying to convince someone to have sex with him who clearly doesn't want to. "I'm not your brother I'm not your father Oh will you ever change your mind I'm a gentle lover with a heart of gold But baby you've been so unkind Come on I want your sex" And this isn't even the only questionable lyric... this about how every verse goes. When I wasn't completely unsettled, I was bored out of my skull listening to substance-devoid lyrics and unoriginal 80's pop beats. It sounds like he's trying to do a Michael Jackson thing on quite a few of these songs, but while equally as creepy, I'd take a Jackson album over this any day. Once you've had a chance to slog through the boring back half of this album, guess how Michael decided to close it out? Yep, that's right, with a reprise of I Want Your Sex. Ultimately, I just don't think this album has aged well at all. Make the argument all you want that I "had to be there" - you all should have realized this album was bad then, and I'm holding everyone alive in 1987 accountable.

3 An enjoyable rock opera-sounding album that wasn’t actually a rock opera (though I think that might just be called “prog rock”). School was a really fun opener that set the stage for the sound of the rest of the album well. From there, I enjoyed the twists and turns taken, with there being a few really cool moments along the way (I loved when Asylum got all explosive near the end). Not a ton of specific standout moments as a whole though, and I kind of wish all the songs were connected through a more clear sense of narrative or theme like a rock opera. As is, it feels a bit disjointed and lacking in a sense of specific identity. Still, a fun listen, and I look forward to listening to Breakfast in America from here (assuming that made the list if this did?)

4.5 Bowie! Having listened to the man's entire studio discography, I can confidently say this ranks among the best of his work, and in my opinion contains some of his most underrated tracks. Changes and Life on Mars? are of course great, but Kooks, Andy Warhol, and Queen Bitch are three favorites of mine I never hear get talked about - though truthfully, there's not a bad song here. This is the album that really exemplifies the shape of things to come for Bowie, and embodies all that I admire most about the man: his confident and unapologetic ability to be a freak (or a "kook") and to not only own it, but to make it his identity. I feel like he was the first artist to represent so-called outcasts and misfits, and so many other artists who would go on to do the same have him to thank for that (Nirvana covering Bowie anyone?) Anyway, while Hunky Dory isn't perfect, it's a damn good record. Rest in Peace Bowie, and I look forward to all the albums ahead on this list.

3 No way, they made the Fallout song into a full album?? An enjoyable listen front-to-back that didn't outstay its welcome, though I do think all songs pale in comparison to Big Iron, which is by far the standout. They start running together shortly into the album, but distinct or not, each song does a great job of creating ambience, so I didn't mind too much. Also, if you're able to focus in on the lyrics, there's a lot of fun storytelling going on. There's nothing bad here, and as a whole I find the album niche enough to scratch an old-timey Country Western itch I didn't know I had. Makes me want to play Fallout or a cowboy game like Red Dead. Favorite songs: Big Iron, The Master's Call, The Hanging Tree Also, if you haven't heard it, Mike Ness of Social Distortion has a solid rockabilly cover of Big Iron - would recommend giving it a listen.

4 I kept thinking this group sounded so familiar until I got to A Day at the Races... and of course it was in a Tony Hawk game. Neversoft was always on the ball when it came to picking out music, and this is no exception - both the track itself and the album is fantastic. From the beats, to the vocals, to the lyrics, the members of Jurassic 5 were firing on all cylinders here, and there's not a bad or uninteresting moment to be had. I feel like I can hear some A Tribe Called Quest influence in the vocal dynamics, social messages, and basslines, though the group still forges a clear identity of their own with unique beats and quirky transitions - likely largely a product of producer/member Cut Chemist. Another name I know from the Tony Hawk games, the dude is an absolutely insane DJ, and this album definitely makes me wants to check out more his production work and J5's discog. Favorite songs: A Day at the Races, If You Only Knew, Sum of Us

4 It dawned on me pretty early (roughly around the lyric "I don't wanna get over you" on Sorrow) that I was going to have to listen again, as this definitely isn't a "10 AM Friday morning with a cup of coffee playing quietly so to not wake up your guest sleeping in the living room" kind of album. So I put on again around 7 PM, and let me tell you, if you're not giving this album a nighttime listen when you're by yourself and can fully soak in everything it has to offer (perhaps with a moderate amount of vice of choice), you're doing it a disservice. I know "in the feels" kinds of albums aren't for everyone, but man I vibe with them like no other. If it's the kind of album you're listening to moments before sending an ex-girlfriend a drunk text you're gonna regret in the morning, it's probably something I'd like... not that I've ever done anything like that. Anyway, while it wasn't absolutely spectacular, I feel room for growth here, so I'll be listening again and checking out more of what The National has to offer. Favorite songs: Terrible Love, Sorrow, Afraid of Everyone, Bloodbuzz Ohio, Conversation 16

3 Seeing as how Googling this album results only in Bandcamp links and no Wikipedia results, shoutout to 1001 Albums for pulling out a modern deep cut here. That being said, this is a neat, modern electronic psychedelic listen without much substance at its core. Didn't dislike any of it in particular, but I was left without much of a lasting impression, and, while I'm not trying to dismiss amateur songwriting by any means, the "messing around in GarageBand" vibes were strong. So idk, it was fine. Seems like something to get high and play video games to. Favorite songs: H>A>K, Modern Kosmology, Slow Motion

I got really excited when I saw Sly & The family stone. This album is really good funk and soul with the kinda jazz sound I don't really mind. Good album to groove and sway in your seat kind of music. But I can tell you this isn't their best work.... Anyway, enjoyed Luv N Haight and Family Affair. Don't know if would go back and listen to this album again, but always enjoys this guys voice. 2.5 to 3 for me

5 Fuck yeah, love the Dead Kennedys. As probably one of the most politically charged groups of all-time (up there with Rage Against the Machine and Public Enemy), I've always felt that this band (along with the mentioned) "got it". Going into my review, I was actually prepared to give a 4 or 4.5 because, while I really enjoy the album, there are a handful of songs I don't return to as much. After giving this a re-listen now, I'm left wondering what the hell I was doing sleeping on them before. All killer, no filler front to back - an absolute punk essential (though Frankenchrist is also an amazing album imo). They say that the older you get, the more disillusioned you become with the punk mindset, and a developing exposure to the larger political stratosphere leads to a more complex and comprehensive mindset. I say - Dead Kennedys were right all along. RIP D.H. Peligro Favorite songs: Obviously Holiday in Cambodia and California Über Alles are bangers, but you can't go wrong with anything here. Let's Lynch the Landlord is probably the most underrated.

2.5 Whatever DID happen to Pong? Pixies are one of my favorite bands, but I haven't listened to much of Frank Black's solo stuff. I thought I was digging this album, but then about halfway through I realized none of the songs had left any lasting impression on me... and when I finished, that was still the case. Like, while I enjoyed the overarching sound, I couldn't pinpoint a single moment in particular that stood out to me. So with that being said, this is probably the coolest unremarkable album I've ever heard, which in turn has made this really hard to assign a rating - I guess we'll go in the middle. Was going to bump up half a star because Frank Black, but took it back because it's a little too long. Would maybe listen again, but would probably opt to listen to a Pixies album instead. Favorite songs: ??? I straight up listened to this album twice and can't think of one individual song to highlight here

1 Ugh. Never understood the Grateful Dead. What is this? Country music for hippies? I'm convinced the reason they're so tied with LSD usage is because you have to be on it to enjoy the music, and imo if your music requires the listener to be on a controlled substance to find anything of value... you're probably not a very good band. Maybe I'm missing out on some kind of third eye by not listening to the Dead under the influence, but this album isn't inspiring me much to go out and try.

4 I raised an eyebrow when I saw I was about to listen to an Echo and the Bunnymen album without any of the hits on it, but mad props to this list for highlighting it, because this is an absolute hidden gem. For me, this is new wave at its best - gothic, yet danceable. Going Up is a catchy kickoff that sets the tone for the rest of the album nicely (as all great openers should), and despite listening in an office cubicle, I couldn't help but bob along to Do It Clean (yeah, yeah, I know it wasn't on the original release, but it was on the version us Americans got, so I'm counting it). Admittedly, not every song is a standout, but they all do a great job of maintaining the atmosphere and energy of the album, and nothing feels out of place. Will be listening again. Favorite songs: Do It Clean, Going Up, Monkeys, Rescue

5 I don't care if it's a mainstream opinion - this is Bowie's best. Space Alien Bowie is the best Bowie, and he oozes androgynously glam rockstar charm that so many other artists have tried and failed to emulate. Every song on this album is absolutely fantastic in its own uniquely crafted standout way, to the point where you really couldn't go wrong jumping in on any track at random. Of course the four hits are rock staples (on an album only eleven tracks long!), but songs like Soul Love, It Ain't Easy, and Hang on to Yourself - that aren't talked about as much - are just as strong as the aforementioned titan tracks, if not stronger. In particular, if we're being real here, Five Years is not only the best song on the album, but probably among the best of Bowie's career. An actual sci-fi adventure in album form, you're doing yourself a genuine disservice if you don't listen at least once in your life.

3.5 A grower, not a shower. This reminded me a lot of other early 2000s folk indie groups like Eels and The Shins, both of which I like but don't love. After my first listen, I lumped this album in with those and moved on. But then, while cooking dinner that night, I found myself humming I Am Trying to Break Your Heart and thinking on the lyrics. So, I gave a second listen when I was able to dive a little deeper, and I think my experience benefitted greatly from that. While not particularly flashy or musically complex, there are lot of cleverly nuanced lyrics and raw emotions that I think drive this record home. Nothing mindblowing, but I enjoyed it. Favorite songs: I Am Trying to Break Your Heart, Radio Cure, Jesus, Etc., Pot Kettle Black

1.5 I find 80s pop to be a really interesting spectrum, and overall very, very hit or miss. On one side you had flashy icons like Madonna, Michael Jackson, and George Michael with catchy, danceable hits, on the other side new wave artists like The Cure, Simple Minds, and Echo & The Bunnymen with broody, outsider anthems, and then somewhere in the middle is this. This album seems to mesh the broodiness of new wave and danceability from mainstream pop here into one proto-electronic package... and it doesn't work for me. I totally get the primary function of some albums is just to provide something to dance to, and I can only imagine how much fun this must have been at 80s clubs, but in many ways I can hear how this inspired modern electronica, and in turn, modern club music, or "Good luck if you're sober" music. Simply put, it just feels abrasive in a very cold and lifeless way. Of course, everyone enjoys music differently, but that isn't for me, and neither is this - This is an 80s album that's gonna fall under the "miss" column.

2 Travis as a band name has always bothered me... like, come on guys, it's a pretty common first name. Imagine the confusion that would ensue if a hot, new band broke out known only as "John". Good luck Googling that. Anyway, segueing here, the music is about on the same level of creativity. This album seems to hit all the same notes that every other early 2000s pop rock band was putting out, but compared to groups like Coldplay and The Fray, I feel like Travis is all-around less remarkable. The singer also sounds incredibly similar to Thom Yorke vocally, to the point where a few of the songs sound probably like what Radiohead would have sounded like had they decided to play it safe after The Bends. Regardless, no matter how you slice it, there's nothing here I feel like I haven't heard before. Not bad, but meh. Favorites songs: As You Are, Turn, Blue Flashing Light

3 Pure folk. I found Joni's style of songwriting interesting, as it seems to be a form of personal storytelling and often lacks any kind of chorus. That being said, while unique, it doesn't necessarily result in overly-interesting music. Most of the songs sound pretty similar if not the same, and while personal, lyrics often feel very surface-level... like she's just describing the itinerary of her day spent in a new town. That isn't the case for all tracks though - the title track in particular I found to be pretty lyrically strong. That all being said, I really didn't hate any of it, and I really enjoyed her voice, so this is probably mid-tier for me. Would be curious to hear more of her music. Favorite songs: Hejira, Coyote, Blue Motel Room

5 An album widely regarded as one of the best ever recorded... and you know what, everyone who says so is 100% right. I'm usually quick to point a finger at something for being overrated, but through and through, this album is perfectly rated as the musical monument it is. In fact, if there were any one album agreed upon as being "the best", I'd be okay with it being this one (sorry Sgt. Pepper's). I've always thought of The Clash as the most important group of punk's first wave. Sure, Ramones and Sex Pistols pioneered the sound, but The Clash lived and breathed the mentality and values. They didn't just write songs about social justice, they were actually out on the streets fighting for it. So despite many trying to argue London Calling isn't a punk album because it blends different musical genres, you can't tell me the punk spirit isn't still present in some form or another on every track. Clampdown in particular is one of my favorite anthems, and contains some of my favorite punk lyrics: "Kick over the wall, cause governments to fall How can you refuse it? Let fury have the hour, anger can be power D'you know that you can use it?" While Beto O'Rourke was never my preferred presidential candidate, respect to him for using it as a part of his campaign. I've tossed this expression around a few times in my reviews, but this album is the definition of a group firing on all cylinders - every member is giving 110% into songwriting and performance, and it shows. Bassist Paul Simonon even stepped up to write and sing for the first time with The Guns of Brixton, and it's honestly one of the best songs on the album. Just about every track here is fantastic and unique in sound though (on a double album no less!) There's a lot I could highlight about each one, but I'll just call out Spanish Bombs and The Card Cheat as two of my favorites I don't see get talked about enough. The former is catchy as all hell, and the latter never fails to give me goosebumps when the horn section kicks in. The only real miss for me across the album is Lover's Rock (not really sure what they were going for there), but I'll give it a pass considering it's essentially a pebble in a bag of diamonds. Alright, I wrote way more here than I intended to, but even then I still feel like I have so much more I could say. Long story short, this album is a requirement for anyone with even the vaguest interest in music history.

3.5 Great timing seeing as how I'll be at Sir Elton's Dodger Stadium show this Thursday for the last stop on his farewell tour. With that being said, while I quite enjoy a good chunk of Elton's work, I'm far from his biggest fan (more of an "in the right place at the right time" kinda thing regarding my upcoming LA show). I've heard this album in particular before, and while I'm overall a fan, it admittedly all starts running together after Levon. Nothing is unenjoyable or outstays its welcome, but it's not particularly remarkable either. So, this album is probably about a 3 from me, but I'll bump an extra half point because Tiny Dancer really is that good of a song.

2 This felt like the missing link between The Stone Roses and every other 90s Britpop band in some ways... but much less interesting than any of those bands in every way. Aaand that's all I really I have to say on the album - It was almost remarkably unremarkable. Started off with some okay at best Britpop, and then slowly devolved into boringly overblown piano and operatic ballads. Supposedly Rolling Stone labeled this as one of the most pretentious albums of all-time, and I can definitely see where they're coming from. Idk nothing outright bad, but I probably wouldn't listen again. My favorite song was Stay Together... which is a bonus track and not even part of the actual album.

2 Talking Heads are an artist multiple people have recommended I dig into, but I have just never been able to get. Supposedly they invented new wave, a genre I'm normally a big fan of, but I just don't really hear it. What I hear instead is annoying vocals and guitar jangles accompanying what sounds like an attempt at funk. This band has its moments, but none of the particularly notable ones are here. After listening to this album a couple times, I’ll admit Thank You For Sending Me an Angel grew on me a bit, and Take Me to the River is fine enough, so I’ll round up to a 2 from my initial rating of 1.5. Every other song is a pass from me though.

4 Bob Dylan was once an artist I found incredibly boring, but who I've learned to appreciate in the more recent years of my life, along with folk music as a whole (likely due to Conor Oberst bridging the gap between the genre and emo). Sure, it's not always super interesting musically, but often times there's a very distinctive sense of storytelling paired with well-crafted lyrics that pulls me in. Anyway, much like how Conor Oberst blends folk influence into his work, this Dylan album in particular is notable for incorporating elements of rock and blues into his music for the first time, which I think all-around makes the album more accessible for newer and casual listeners. For more familiar fans, it's a milestone in his musical evolution. While I personally wouldn’t go as far as to call it an all-time favorite, there’s not a bad moment here to be had, and I think it's entirely valid to argue Dylan as the king of folk music based on this album alone. Favorite songs: Like a Rolling Stone, Tombstone Blues, Highway 61 Revisited, Desolation Row

3 Alright, I should preface by saying I'm normally not a fan of Southern (or wannabe Southern - looking at you, Kid Rock) rock, like at all. But, my dad spoke very, very highly of this album, so I tried going in with an open mind... though I was prepared to dip out if I had to listen to anything about the Confederacy or Dixieland. And I didn't hate it. My dad was right about the non-hits being the better tracks here. While I've never been able to stand the song Gimme Three Steps, Tuesday's Gone was an unexpectedly solid tune, and when Simple Man’s transition into some honky-tonk stuff started losing me, the song Poison Whiskey was an enjoyable surprise that pulled me back in. Then of course the album ends with Free Bird, and, while my dad is gonna groan reading this, I gotta give credit where credit is due and admit this song is legendary for a reason. The theme of preparing to fly solo for a period of one's life is one I think anyone can relate to, and the back half of the song consists of probably some of the most iconic guitar solos of all-time (or is it all one solo? Either way) Anyway, the album was better than I expected to be. Didn't fall in love with it, but would maybe listen again, or at least my newfound sleeper hits mentioned above.

4.5 Fuck yeah, love The Clash (as evidenced in my London Calling review). Their debut is no London Calling, but it’s a damn good punk album. While I wouldn’t go as far as to call it the best punk debut, I would argue The Clash as one of the most consistently good punk bands - there’s not a bad entry across any of their five studio albums (yes, I mean five). Janie Jones is an excellent opener, and I’ve always loved Mick Jones’ WHOOooooaaaaooo that closes the track. I also adore White Riot, I’m so Bored with the USA, London’s Burning, and Career Opportunities, and consider them all to be punk staples. Not every track is a standout (not sure what’s going on in Protex Blue), but all fit the album nicely and keep the energy going. In fact, the only shift in sound on the album is the track Police and Thieves… and it does so in the best possible way. Not only is a solid take on a reggae track by its own merit, but in hindsight, it’s a bit of foreshadowing to the cross-genre fusion that the band would famously implement on their later albums. Fantastic album, and a great start to a legendary career.

3 Despite being born and raised in Michigan, I really haven't listened to enough Motown music for my own good. I'm embarrassed to say the only Temptations song I knew prior to my listening was My Girl, and so I kind of lumped them in with that 60s R&B sound. As I've learned from this album, the 70s brought on a musical evolution for the group I had no idea existed. Funky Music Sho Nuff Turns Me On is a powerful slice of raw funk, reminiscent of James Brown's earlier live work, that starts the album off on an immediate high note. That energy continued on for me into Papa Was A Rollin' Stone, which felt nowhere near as long as its 12 minute runtime. The back side slowed down the tempo quite a bit, and overall I didn't find it as strong. The First Time Ever I Saw Your Face was a highlight, but the other songs weren't particularly memorable, or in the case of Love Wake Me Up This Morning, a little too cheesy for my taste. Takeaway - should probably listen to more Motown.

3.5 I recognized the album cover to this one but knew little else beyond that, so I was pleasantly surprised to learn it’s a strong folk album with socially and politically conscious lyrics that rival even Bob Dylan. In fact, I think the lyrics are really what drive this album, and although dark and depressing at times, they’re always an ashamedly honest reflection of society… and sadly the subject matter still holds up just as much in 2022 as it did in 1988. There were a few lyrics I wanted to highlight here, including verses touching on racial assault in Across the Lines and police ineptitude in Behind the Wall, but instead I’ll urge anyone listening to follow along with the lyrics if possible - your experience will benefit greatly from it. The back half of the album isn’t quite as strong as the first, but overall it’s a well-paced album with a message more powerful than the musical backdrop. To be honest, I don't find most of the songs overly interesting musically, and I likely would have rated the album lower if not for the aforementioned themes, but I really feel like those are what cement this as an important listen, and I’m glad it’s on this list. Favorite songs: Talkin’ Bout a Revolution, Fast Car, Behind the Wall

3 While I love a good punk album, Buzzcocks have never been my favorite outfit of the genre. They have a few songs I really like, but having now listened to an album of their lesser known stuff, I stand by my initial thoughts on the band. While every song has that early punk energy and attitude we all know and love, there’s nothing particular of note in any individual song, and despite the group riding a musical wave defined by counterculture and protest, it doesn’t feel like much is being said here. I would rather just listen to Singles Going Steady - I feel like I can get the full Buzzcocks experience I need from that album, and I would urge any other skeptics to do the same. Honestly, I think it’s likely we didn’t get that album instead because the listmakers didn’t want to include compilations, which is fair, but in this case it feels like an unfortunate oversight. Favorite songs: I Don’t Mind, Get On Our Own, I Need

2.5 Fine Blues Rock - I can see how this could be influential for the rock bands to come in the decade ahead. Another Man in particular reminded me of the opening to Bring It on Home by Led Zeppelin, though to be fair, both artists were inspired by (or ripping off) blues artists from years prior. Don’t feel like I have a ton to say beyond that. I’ve never been much of an Eric Clapton fan, and this didn’t do much to change that. One of the most “Yeah, that’s music alright” listens I’ve heard so far, and, as someone who is far from an expert on the genre, I’m confident there are much better blues albums out there. Favorite songs: All Your Love, Another Man, It Ain’t Right

5 There’s a lot I could say about The Ramones’ impact and legacy on not only punk, but music as a whole - though most of it isn’t anything that hasn’t already been said a million times before. So, instead, a bit selfishly, I’d like to talk about my own personal experience with the band. The first song I can ever recall hearing in my life is Blitzkrieg Bop (thanks Dad), and the first album I ever owned in my life was “Loud, Fast Ramones: Their Toughest Hits” (thanks Angel). It was Christmas at Grandma’s, I was probably like six years old, and I remember getting a new Hot Wheels set alongside it. There’s a lot I could say about my history with The Ramones and music from there, but I’ll keep it brief in saying that it sparked a life passion, led to lifelong friendships (thanks Will), and is probably why I’m taking on this very challenge of listening and reviewing 1001 albums now. In that time, I’ve learned to appreciate many, many new artists and genres, but because of The Ramones, punk has been a fascination of mine that has never dwindled in 20 or so years. While The Ramones themselves are no longer my favorite artist, they’ve always represented a safe space I can go to no matter when or where I’m at in life, and for that alone, I couldn’t rate this any lower than a 5. I don’t want to end on a soft note though, so to cap things off This album kicks fucking ass. Hey Ho, Let’s Go! https://www.youtube.com/watch?v=0BpMw7gMOsA

2 I talked about this a bit before in my Graceland review, but while I really enjoy Simon & Garfunkel, I’ve never been able to get much into Paul Simon’s solo career. While I can respect Graceland for experimenting with songwriting and sound, this just feels like a poppier version of his existing folk career… and is just worse in every way. Mother and Child Reunion I found to be a particularly annoying opener, and I really couldn’t tell you what the song is about if I tried since 75% of the song is the line “The mother and child reunion is only a motion away”. Duncan and Everything Put Together Falls Apart felt like a nice return to form, but then from there the album devolves into track after track of overproduced folk pop, to the point I was pretty bored by the end. Favorite songs: Duncan, Everything Put Together Falls Apart, Armistice Day

2 And for our 100th album, it’s another Beatles album… and an early one at that. While I’ve already said my peace on early Beatles albums, I guess I can admit I enjoyed this one slightly more than a Hard Day’s Night. Hell, I might go as far as to say I kind of enjoyed All I’ve Got To Do, despite its cheesiness. As a whole I feel like I’m less offended by the bubble gumminess, though it did start wearing on me at the end. Maybe I’m just less (or more) jaded than I used to be. Probably wouldn’t listen again, but I guess I didn’t completely hate it. At least it wasn’t long. Also random factoid - this album dropped the same day Kennedy was assassinated. So by default, I guess this wasn’t the worst thing to happen on that day in history (though the CIA might beg to differ).

2 Never been much of a Janis Joplin fan. I think some people have a problem with her voice, though honestly I don’t mind that as much as I just don’t find her music particularly interesting. It very much fits the time and place, but I would rather listen to other Summer of Love artists instead like Jimi Hendrix or Jefferson Airplane - though I’ll take this over Grateful Dead any day of the week. I was also surprised to learn the majority of the album consists of covers. Not that I think any less of the album because of it, but I guess I always thought of Joplin as more of a songwriter in my head. However, considering one of the original songs she did write for the album was Mercedes Benz, maybe it’s for the best. I can definitely see how this could be a vibe to hear live, but it doesn’t do much for me in album form. Favorite songs: Cry Baby, Move Over

4 A welcome surprise. There’s a lot I could say about Oasis, but I’d like to save most of it for (What’s The Story) Morning Glory? - And if it didn't make the list, then I guess those thoughts go unpublished. For now, I’ll say high school wouldn’t have been the same without the band. Anyway, regarding this particular album, while not their best (I would put it under both the aforementioned and Masterplan personally), this is still a classic 90s alternative rock record and among Britpop best. Rock n Roll Star is a great opener, and I’ve loved it from the second I first heard it in the form as You All Everybody by Drive Shaft on Lost (it’s the same song and you can’t convince me otherwise). Supersonic, Live Forever, and Cigarettes & Alcohol are of course certified classics, but there were even a few songs here and there like Shakermaker, Up in the Sky, and Bring It On Down that I had forgotten about and enjoyed more than I remember. Not every song is a banger, but they’re all at least pretty good. Far from the first time I’ve heard this one, and while I don’t think it’ll ever be the Oasis album I return to most, it’s definitely one I’ll re-visit from time to time again.

3 I feel like this is one of those albums where you know if you’re gonna like it or dislike it within the first minute or so - I mean, it’s Bob Dylan. I enjoy Dylan, so I enjoyed this, but I can admit the live aspect of this album didn’t really do much for me to add to his music. I would likely rather listen to the studio recordings instead… especially so I don’t have to deal with constantly adjusting my speakers for piercing harmonica solos. The shift from solo acoustic to full band halfway through was a nice change of pace that helped prevent the album from feeling overly long, but I was little disappointed in what I heard (or didn’t hear) after reading the Wikipedia page on the album. Per the article, Dylan’s shift to electric alienated his audience, who seemingly turned against him and spent the rest of the show heckling and trying to throw him off rhythm, with Dylan firing shots back in return. So, while I guess I assumed the album was famous for what I imagined being the folk equivalent of a Steve-O live show I saw not too long ago, I ultimately didn’t hear any of that on my listen. Maybe the final product edited that out? Anyway, I digress - it’s a fine album, but nothing special. Favorite songs: Visions of Johanna, Baby, Let Me Follow You Down, One Too Many Mornings, and of course Desolation Row is always great

3.5 Fish cakes? Fish cakes. When I think of Bauhaus, I begrudgingly think of that Matt-era blink-182 song She’s Out of Her Mind, which has the lyrics “She got a black shirt, black skirt and Bauhaus stuck in her head”. Outside of that, all I knew was that Bauhaus is 80s goth music. And I kind of dug it! In some ways it felt like new wave bands of the era without many of the pop elements, with also maybe a bit of German industrial mixed in? There are also some absolute killer bass hooks that I couldn’t help but bob along to while working. Even the more droning ambient tracks kinda worked for me in the way they helped flesh out the album’s doomy atmosphere. I could see myself listening again… maybe after a shopping trip to buy some black nail polish and eyeliner. Favorite songs: Hair of the Dog, The Passion of Lovers, Dancing Also the lead singer vocally is basically Fred Schneider from the B-52s but goth - change my mind.

3.5 The only Gang Starr song I knew prior to this was Mass Appeal, as featured in Tony Hawk’s Pro Skater 4. While I adore probably a solid 95% of the songs used in the Tony Hawk games, Mass Appeal was never one that was high on my list. So, I didn’t have high expectations going in. Turns out, it’s a solid album. What stood out for me most was how subtle it was both in terms of vocals and music. Nothing was overly flashy or fancy, yet each song seemed to have a clear sense of identity with unique beats and subject matter. Guru’s delivery almost feels effortless, while also somehow complementing each of the beats perfectly. There’s not a ton of range in vocal performance to be had, but it doesn’t feel like anything extra is needed at any point. All in all, a really relaxing listen, and there’s not a bad song to be had. In many ways, it was a nice contrast to many of the more mainstream hip hop tracks of today. Will definitely be checking out more of their stuff. Favorite songs: Here Today, Gone Tomorrow, Execution of a Chump, Take a Rest, Lovesick, Who’s Gonna Take the Weight?

2.5 Turns out I can, in fact, believe my eyes and ears - this is a very run-of-the-mill slice of the era. The harmonies are nice I guess, but the music otherwise isn’t particularly notable. California Dreamin’ is of course an exception - while not the most creative song lyrically or musically, there’s something beautifully haunting in the vocal harmonies and resolve, which creates an interesting juxtaposition with the supposed light subject matter. Anyway, that’s probably the most I could say about any song on this record. This is the third cover of Do You Wanna Dance I’ve heard after The Beach Boys’ and Ramones’ versions, and I can confidently say it’s the worst of the three. Go Where You Wanna Go was probably my personal favorite outside of Cali Dreamin’, though conversely, the song Spanish Harlem came off feeling a bit patronizing to me (I know it’s a cover but still). A net “okay” all-around.

4 Really thought these guys were one-hit wonders on the poppier side of punk, but this album was great through and through and went harder than I anticipated. There were quite a few tracks that really stuck with me, and a couple I actually even liked more than Teenage Kicks (the aforementioned hit I knew prior). With all that in mind, I’m kind of surprised this band isn’t held in a higher regard, or at least brought up in conversation more alongside other first wave punk bands like The Ramones and Sex Pistols. In any case, I will be from now on. Favorite songs: Male Model, Jump Boys, Teenage Kicks, Family Entertainment Also, am I the only one who thought it was interesting there’s a song on this album called Casbah Rock, released three years before fellow punk outfit The Clash released their iconic hit Rock the Casbah? Can’t seem to find anything online that connects the two. Coincidence? Or major punk conspiracy?

5 Was saving my review for this one until I could properly appreciate it. Every time I listen to this album, a wave of feelings comes over me with memories of high school, first love, summer nights, and most importantly, good times with good people. Sure, the album was already 20 years old when these memories were made, but great music is timeless, and even as this album approaches 30 years, it’s still my ultimate feel-good record. No record has ever quite captured the feeling of being young, dumb, reckless, lazy, and loving every minute of it like this one has for me (though Enema of the State is very close). It’s fun from front to back, and there’s not a single dull moment to be had in its 38 minute runtime - and yes, that includes All By Myself. Never has a band since The Ramones used the three power chord song structure so effectively, to the point where the music is so goddamn catchy you don’t even notice the simplicity of the structure. There’s not a ton of versatility, but it never once feels like any more is needed, it’s like you’re having the time of your life on a high-speed roller coaster without any signs of it slowing down. There’s probably a bit I could say about each individual song, but to avoid making this review too overly long, I’ll just say every song fits perfectly both within the confines of the album and on its own, and while I adore each and every one, She is my personal favorite (my #2 GD song of all-time after Whatsername on American Idiot). One of the best ever for me. The second I start it, I know I’m in for a great time. Whether you agree or disagree, I hope you all have an album that makes you feel the way this one does me.

1.5 Our previous Rundgren album, A Wizard/A True Star, was a fun musical journey through the audible equivalent of an LSD trip. This one is a bit more of a musical marathon, where you’re out of breath and ready for the finish line by the end. I’m really glad he decided to get a bit more experimental with his follow-up, as this one just feels like safe pop song after lame soft rock song… after safe pop song after lame soft rock song after safe pop song after lame soft rock song. Really don’t think this needed to be 25 tracks, and I think the fact that not one jumped out to me makes it seem like Rundgren was going for quantity over quality. I guess I’ll give him kudos for playing almost all of the instrument tracks on the album, but still, it doesn’t make the listening any more interesting to me. Since I didn’t outright hate any tracks in particular, I was feeling a strong 2 at first, but I ultimately decided to deduct a half point for runtime, as that would most likely deter me from listening again in the future.

3.5 One of the more unique albums I’ve heard thus far. The singer’s voice, the electronic beats, and the heavy synth/strings are all so distinct that it feels like one shouldn’t pair well with the others, yet somehow it blends beautifully. A lot of sappy themes and lyrics about love (I swear the word itself is mentioned in every song), but it worked for me in a kind of new wave, arthouse way that makes me think of a pretentious Perks of Being a Wallflower-esque mixtape - the song Stay specifically if you’re trying to win someone back. Speaking of, I really enjoyed Stay and all the tracks leading up to it, but it felt like the back half of the album descended into slower ballads that started to lose me. Heatwave wasn’t bad, but Easter Parade and Automobile Noise were a bit of a slog. Still, the album worked for me as a whole, so I’ll likely listen again - if not the full thing, definitely a few songs. I’m also curious to check out their supposedly critically acclaimed followup Hats. Favorite songs: Stay, Tinseltown in the Rain, A Walk Across the Rooftops, Heatwave

3 This album is an enigma. Having never heard of the artist, the Wikipedia page only offered me five brief, matter of fact sentences (one of which mentions its inclusion on this list), and even more strangely, while the album is nowhere to be found on Ramblin’ Jack’s Spotify page or through in-app lookup, a Google search reveals the album does in fact exist on Spotify and is fully listenable. What are you hiding, Jack?? Further research into Ramblin’ Jack’s career reveals a deeply rooted Woody Guthrie idolization (his first studio recording was even a Guthrie cover album), and a quick listen to any given track on this album basically confirms that. Yet despite that, and despite me being ready to write him off as a glorified fanboy, I actually really enjoyed my listening. Sure, it’s not the most distinct thing I’ve heard, and no, Ramblin’ Jack doesn’t come off quite as versatile as his hero or contemporaries like Bob Dylan, but I had fun. And you know what? Sometimes that’s what it’s all about. Makes me want to play some Red Dead. Favorite songs: San Francisco Bay Blues, The Boll Weevil, Cocaine, Brother Won’t You Join in the Line

3.5 I’ve never actually listened to this one, but I was pretty interested to check it out for contextual purposes at the very least after listening to The Marshall Mathers LP. In some ways, it’s a contrast to the follow-up - whereas MMLP feels like a reactionary response to sudden fame and the criticism that comes alongside it, SSLP feels more like a reflection of living in poverty and culture surrounding it. In other ways, it’s a lot of the same - violent, misogynist, and shocking… but hey, he did give us a warning. That being said, I’m able to acknowledge Em is playing a character here. That’s not to say that he’s any kind of moral inspiration outside of the studio, but the album is clearly trying to be provocative to get a reaction out of people… and it succeeded. Anyway, musically, the album is pretty solid. I was surprised by how much I hadn’t heard before (the only song I recognized was My Name Is), but Dre’s production is great on every track - as it always is. Not as many standouts on this one for me as MMLP, but as a whole it’s a clear sign of what was ahead. I’ll end with this Wikipedia quotation: “‘97 Bonnie & Clyde’, which was formerly featured on the Slim Shady EP as ‘Just the Two of Us’, was re-recorded for The Slim Shady LP to feature his daughter Hailie's vocals. Because the song focuses on disposing of his girlfriend's corpse, Eminem was not comfortable with explaining the situation to Kim, and instead told her that he would be taking Hailie to Chuck E. Cheese's.” Favorite songs: My Name Is, Role Model, My Fault

2 Radiohead to me is the musical equivalent of Rick & Morty, in that I tend to find their fanbase insufferable. In both cases, they’re largely comprised of devout fanatics that seem to think a certain level of intellect is required to appreciate the content, when really it’s nowhere near as complex or as clever they make it out to be. While I don’t outright hate the band or the TV show themselves, I do think they’re largely overrated and that the fans need to take it back a notch or two. Anyway, that being said, I’ve heard a few Radiohead albums in my life, but this is the first I’ve heard Hail to the Thief. And idk, coming off of OK Computer and Kid A (I admittedly haven’t heard Amnesiac), this seems like they were playing it a bit safe? In some ways, it feels like the “lite” versions of those albums - the hints are there, but you never quite get a full taste of the real thing. To put it more bluntly, it’s boring, and it doesn’t flow nearly as well as their previous work. I’ll give credit where credit is due when we inevitably see more of this band’s work pop up on this list, but… this one? Really? Didn't completely hate it, but not super interested in listening again. Decent songs: Go To Sleep, There, There, A Wolf at the Door

2.5 Being released in 1970, the elements of hard rock and metal on this album definitely make it feel ahead of its time. So, I can see why people think of Deep Purple as pioneers of the genres, but personally I can’t help but wonder how influential they actually were versus more well-known acts like Black Sabbath and Led Zeppelin, who were both also putting out this kind of music at the same time… and much better music too imo. It still seems like it clings onto some elements of 60s keyboard-driven psychedelia which creates an interesting fusion I guess, though not overly. Fine slice of the era, but far from its best. Not sure we needed two by these guys on the list. Favorite songs: Child in Time, Hard Lovin' Man

4 Haunting. Beautiful, but haunting - from front, to back, down to the cover art depicting a literal tomb. Ian Curtis was a brilliant lyricist and master of the style by his own merit, but it’s hard not to think of the context around this album and his life when listening. Every time I hear Isolation, I can’t help but think of a scene from Curtis’ biopic Control where he apathetically performs the vocal track alone in a recording booth while the rest of the band and producer mindlessly sit around the control board bickering, unaware they’re listening to cry for help. Great album, but know what you’re getting into. Folks, the world is a better place with you in it. Favorite songs: Isolation, Twenty Four Hours, A Means to an End

3 Really thought I was familiar with Merle Haggard, but after listening to this album and his top songs, it’s clear I just know his name. While his voice sounds really familiar, it also sounds like every other country artist of the era, so it’s probably not safe to say I recognize it. I really dug the Western outlaw vibes on the first track, but everything started running together after that. Kinda wish Haggard leaned more into the whole lonesome fugitive thing thematically across the rest of the album instead of all the cheesy love ballads, but I still enjoyed most of them - they were short, sweet, and provided a consistent vibe that I feel would be fun at a country bar. Favorite songs: I’m a Lonesome Fugitive, Drink Up and Be Somebody, Skid Row

3.5 I mean, it’s Christmas music - you know what you’re getting into here. It’s fun to get into the festive mood around the holiday, not quite as much fun any other time of the year… like January when I’m listening right now (tbf this should have been rated and reviewed on or around Christmas so that’s on me). That all being said, if there’s any one Christmas album you should probably listen to outside of Elvis’ and Bing Crosby’s, it’s probably this one - It’s full of all-time Christmas classics that are much more fun and upbeat than a great deal of the more Jesus-focused stuff. The Ronettes are standouts here, and it’s no mystery why their songs are the ones we still commonly hear on contemporary Christmas radio today, though that being said, this collection does in fact contain my all-time favorite Christmas song in Christmas (Baby Please Come Home) by Darlene Love - I bumped up to 3.5 from my initial 3 from the inclusion of that song alone. I would probably never put this on unless hosting a holiday party, but I can’t argue it’s definitely a good vibe for December, and yes, I’m in the camp of not wanting to hear any of this before Thanksgiving. Kinda interesting such a cheery record was released on the same day as the Kennedy assassination (also the same day as With the Beatles!), but that was probably an omen for the murderous piece of shit Phil Spector would become. Anyway, Merry Belated Christmas everyone! Favorite songs: Christmas (Baby Please Come Home), Frosty the Snowman, Sleigh Ride, I Saw Mommy Kissing Santa Claus

4 Solid David Bowie album. Jokes aside, while there’s no denying Bowie’s heavy-handedness, and it’s hard not to compare this to the series of albums he would immediately follow-up with, I don’t think it’s fair to say this album doesn’t have an identity of its own. Though they have a very similar sound, Iggy’s grungy vocals and lyricism makes this album feel heavier and more industrialized than anything released in the Berlin Trilogy. Hell, and for that reason, I actually think I enjoy Iggy’s version of China Girl over Bowie’s cover (though I know that came quite a bit later). Overall, even if Bowie’s musicality is the backbone of the album, I think his partnership with Pop is really what brings this album to the next level, and in many cases I think it’s fair to say Iggy influenced him as much as he influenced Iggy (supposedly the album cover of “Heroes” was inspired by Iggy’s post on the cover of this). If nothing else, good on Bowie for instilling the confidence in Pop to take on a larger role in his musical ventures ahead. Favorite songs: Sister Midnight, Nightclubbing, China Girl, Dum Dum Boys

2 Yeahhhhh I don’t know about this one. It made me think of vacation in some ways, so I’m sure it would hit hard in the right environment, but I just really don’t see myself putting this on in my own time. I’m not going to pretend I’m any kind of expert on the genre, but I’m not sure what makes Tito Puente in particular stand apart among mambo artists. Not much stood out to me here besides some cool vibraphone on Hong Kong Mambo and Estoy Siempre Junto a Ti. My dad probably liked this because it reminds him of Puerto Rico. As for myself, not quite my thing, but I’ll give Tito Puente credit for having not been the one to shoot Mr. Burns.

2 Holy shit Butthole Surfers made the list. Having never heard any of the songs on this album, the inclusion on this list alone was enough to have me intrigued. And, while it was about as goofy as I expected, it was also a lot creepier than I expected? (tbh I probably should have known from the album art). Most of the songs were too experimental for me to have much of an opinion, but I really liked Human Cannonball, though I realized afterwards it’s pretty much Bro Hymn. Considering the latter came out four years later, I think Pennywise has some explaining to do. Anyway, yeah, not much of this album is really listenable, but to be fair that’s probably on me for expecting anything else. Still would rather listen to this than The Beatles.

3 I saw that the frontman for this band was previously a guitarist for The Flaming Lips, and I can definitely hear how his time with the group influenced this album. However, this album was also supposedly recorded while the band was at its lowest point, after a period of commercial failure, personal hardships, and amassing debt, and I think the ensuing sound does a good job of encapsulating the desperation of the band. I kept thinking how each song would fit behind a character’s “come to Jesus” scene in a movie or show, when they realize they’ve bottomed out, and are about to begin their redemption arc (or tragic ending). The tone throughout is very consistent, and nothing feels out of place (except for the hidden track, though those are usually deliberately jarring), but it’s also not overly interesting. Holes was a great opening track and moodsetter, but not much else stuck out to me after that. I think the fact I kept thinking of movie scenes is proof of the music here being more complementary sound than the forefront. Not that that’s necessarily a bad thing and that music should always be flashy and catchy, but in this case I wasn’t left with much of a lasting impression.

4.5 I absolutely adore the song Red Eyes, so I was really excited to see what else this band had to offer - and I wasn’t disappointed. One of the most perfectly named albums I’ve probably heard, this album FEELS like navigating a hazy dream, the kind that makes you wonder how much was real and how much was made-up once it’s over. I’m a sucker for this kind of bass-driven dream pop bullshit, and this album is nothing but one great example of it after another. No matter the song, there was a really cool bridge or crescendo or some kind of musical shift that just set off all the auditory nerve receptors in my brain… or whatever tf it is that makes us enjoy music. As much as I’d prefer not to use someone else’s words, I really feel like Stuart Berman from Pitchfork describes it best in his review of the album: “Loaded with songs whose greatness is revealed slowly, where the simplest, most understated chord change can blow a track wide open and elevate it from simply pretty to absolutely devastating." Just a pleasant listen from start to finish, and feels nowhere as long as its runtime suggests. The perfect mental escape of an album, but at the same time there’s a part of it that makes me think of late nights with the people I care about most in this world. The kind where we’re all probably a little bit messed up on something or other, but we’re enjoying each other’s company and not caring 10 PM has just turned into 1 AM. Good vibes all around. Favorites songs: Red Eyes, Under the Pressure, An Ocean in Between the Waves, Burning

4 Great rhymes, great beats, great lyrics, great flow - I see why this is considered a crown jewel of the genre. Similar to NWA’s debut, Nas chooses to shine a light on his home city and way of life, not afraid of showcasing the ugliness for the sake of capturing the reality, but whereas NWA took a deliberately aggressive approach to reiterate the hardened Compton culture, Nas opts instead to chronicle Queens with poetically smooth delivery, making it easy to forgot how many themes of violence and crime there are underneath. Even as someone who had a pretty atypical upbringing in small town America, there’s still a lot of relatability on this record, especially on tracks like Life’s a Bitch. Life's a bitch and then you die, that's why we get high? I’ll drink to that. The World is Yours is a song I’ve known for years thanks to Tony Hawk’s Underground, but I’ve never realized it was off this album. A little bit of a contrast to the previous track, but still a good tune nonetheless - makes me want to bust out my skateboard and cruise the streets of Hollywood. Every song here is good though and has a unique sound to it, likely due to the fact there were like 5 or so producers across the album, but I still find it impressive there’s a clear direction despite that. I see why everyone hypes this up. While not the most amazing thing I’ve heard, it’s very good. Favorite songs: The World is Yours, NY State of Mind, Life’s a Bitch, Represent, It Ain’t Hard to Tell

3.5 Soooo confession time, I’ve never listened to a Velvet Underground album. I know how acclaimed both the band and Lou Reed is, but it’s just never been something I’ve gotten around to checking out. Now, I’m not really sure if this album in particular is the best jumping in point for the band, but it was a lot softer than I expected? I know they’re famous for influencing alternative rock, and I can definitely hear that, but I can also very much hear how they fit in with the era. Like, if I didn’t know any better, I could believe Candy Says is a Beatles song. From there, things kicked in with What Goes On, and I was starting to see what all the fuss was about, but then it mellowed right back out again. Not much of the middle was particularly interesting for me on my first play, but I found the song Pale Blue Eyes sticking with me afterwards. After giving a re-listen (or two), I gotta admit it’s an absolutely beautiful tune that has really grown on me, and I can definitely see why it’s their most played song on Spotify. The album ends strongly with The Murder Mystery and After Hours, both of which I thought were two of the more unique tracks and did a good job of creating a sense of finale. While it didn’t blow my mind, there’s nothing bad on the album, and when it has its highs they’re pretty high. If the few songs I really liked weren’t enough to make me want to check out more of their work, my dad calling me after a day of binging their discography to express his regret over not rating this higher definitely did. And yes Dad, Heroin is a great tune :)

2 Terrible band name, and the music isn’t much better. Pure country, but I really don’t feel like there’s anything interesting going on here with the songwriting or storytelling, and to be honest I really don’t care for Gram Parsons’ voice. Why the hell was this guy hanging out with the Stones? I’m guessing Keith Richards was his dealer. Anyway, not a big fan of the album, but if you’re not familiar with the story of Gram Parsons’ corpse being stolen by his friends for a ceremonial cremation, I would recommend looking into it because it’s pretty interesting - the Disgraceland podcast and its book adaptation cover it.

2.5 Oh boy, more country! I was at least a little interested to check this one out, being familiar with Copperhead Road as a karaoke staple for my dad, but he warned me ahead of time this album is not that, and he’s right, it isn’t - it’s much more on the lighter side. I still thought it had a fun energy to it though, even if it was a bit more on the poppier side, and I genuinely feel like Earle has a voice made for country music. Other than that, don’t feel like I have a ton to say - pretty middle of the road country, so middle of the road rating. I saw Emmylou Harris has a cover of the title track, and I found it pretty solid, to the point where I may even prefer hers… though to be fair, there’s probably very little country music I don’t think could be sung better by her. Shoutout to Bright Eyes for featuring her on I’m Wide Awake, It’s Morning. Favorite songs: Guitar Town, Hillbilly Highway, My Old Friend the Blues, Someday

1 Ugh. I’m sorry, but I can’t stand ABBA. I know that’s an unpopular opinion, especially as of lately with their whole TikTok resurgence, but I just find their music so goddamn cheesy and boring, and this album didn’t do much to change that. When I Kissed the Teacher was an… unexpected open to the album, and I actually kind of liked how it started, but it lost me when it kicked in and the backing vocals jumped in. Dancing Queen is such an overrated and annoying song, though nowhere near as bad as Mamma Mia or Waterloo - I guess I’ll give this album credit for not having those songs on it. From there it’s just kind of a lot of BS in the middle up until Fernando, which I’ll admit is a DECENT song. Almost bumped up to 1.5 because of it, but then I learned the song is a bonus track and wasn’t even on the initial album release. So, 1 it is, though honestly I still don’t think I would ever seek out that song on my own anyway. Anyway, can we end the whole ABBA thing now? If I have to hear another song of theirs at a party, I will commit war crimes.

3.5 So I’ve actually never listened through this one or Lauryn Hill’s solo debut for that matter, but I know they’re both considered two of the best albums of the 90s (if not ever), so I was really excited to see what all the hype is about. I wasn’t immediately sold at first, and I even raised an eyebrow pretty early on upon hearing the lyric “I used to be underrated, now I take iron, makes my shit constipated, I'm more concentrated” on How Many Mics. But as the album goes on, there’s a certain charm that develops as its personality begins to show, and the smooth flow of the album is undeniable. The way that each song segues into the next feels incredibly satisfying with how seamless or entertaining it is, though I did raise another eyebrow at the Chinese restaurant skit. Regardless, no matter your feelings on the actual skits or music, I feel like the production quirks make this a particularly unique and memorable listen - I mean, have you ever heard an album with an actual credits sequence at the end?? Anyway, regarding the music, there aren’t any bad songs, but I feel like I actually preferred the less popular songs over the hits. Killing Me Softly and Ready or Not are both pretty good, but I feel like I had a lot more fun and vibed more with the stuff in between. Fu-Gee-La is definitely solid though, but contrarily, while I like this version of No Woman, No Cry more than Marley’s, I still wasn’t a huge fan. Anyway, while I’m not sure I would consider this one of my personal favorites of the 90s, it’s still a good listen and I would definitely encourage others to check it out. Excited to listen to Miseducation when it appears on our list! Favorite songs: Zealots, Fu-Gee-La, The Score, Cowboys

3 Looking at the album description and seeing “electronic” and “dance” really had me prepared to dislike this one, and I even had a joke set up where I was going to say it’s called Leftism because it never sounds right, but I ended up enjoying this more than I thought I would. A lot of the album is actually more ambient sounding than dance, another genre I’m not a fan of, but compared to Tangerine Dream and Brian Eno, I actually thought a lot of the soundscapes were really cool. In some ways, they reminded me of the scores to video games I used to play as a kid. Release the Pressure is a solid opener and dance number, but I realized about halfway through it kind of sounded just like Macerena, which is honestly a better, catchier song… and it has its own dance! It was also pretty cool hearing Johnny Rotten on Open Up - like him or not you have to admit his voice is iconic. A lot of beep boop, but cooler beep boop than I’ve heard before. Favorite songs: Melt, Release the Pressure, Open Up

2.5 As mentioned in my All Directions review, I didn’t realize Temptations took on a funk sound later in their career, and this seems to be the album that marked that shift. Cloud Nine was a really solid opener and seemed to be a good selling point on the new musical direction, and that was further backed up by the fun funk breakdown on Runaway Child, Running Wild. Then, starting with Lovin is a Hurtin’ Thing, it seems like they just decided to take a hard shift back to their R&B/soul roots? I don’t know, it wasn’t bad, but I just kind of wish they had stuck to one sound, as the final product just seems awkwardly glued together, almost as if the funk stuff was an afterthought tacked on to the front of a work in progress album - like they weren’t entirely confident in their new sound and wanted a fallback. To add to the incoherency, Gonna Keep on Tryin’ was an incredibly unceremonious conclusion to the album, to the point I head to go back to Spotify and confirm the album actually ended where it was supposed to. Fine overall, though the back half is pretty unremarkable. The best part of the album definitely lies in the first three tracks.

3 Another early Cure album, and while this one doesn’t feel quite as grandiose or as new-wavey as their later stuff, it’s definitely more musically elaborate, keyboard-heavy, and possibly even moodier than Seventeen Seconds. That being said, it’s very same-y, and as a whole I feel like it has less personality to it. While I thought 17S did a good job of building atmosphere, this one felt a bit more like a wall of doomy sound. And while I enjoy that doomy sound, it doesn’t provide much to dig into - so pretty mid album overall. Don’t feel like I have any favorites or comments on any of the particular tracks.

4 Love Public Enemy - not just their music, but what they stand for. If NWA started the fire, Public Enemy poured gasoline on it (Burn Hollywood Burn!) Alongside Rage Against the Machine and Dead Kennedys, they’re one of the best groups to blast when you’re pissed off at the government, society, or any kind of authority figure and want to see change (Fight the Power!) It’s sad how little has changed since this album released 33 years ago (911 is a Joke!), but I hope this album and the group continue to inspire progress and trailblazers in the world ahead. Anyway, political diatribe aside, looking at the actual meat and potatoes of the album, I can confidently say I love every song I cheesily referenced above, but I hadn’t heard much of the in between before. After listening through, I can confirm the beats go hard af on every track, and there’s no shortage of the socially-conscious lyrics and attitude that Chuck D and Flavor Flav are famous for. That being said, most of the tracks didn’t seem to reach the highs of the more popular songs for me, to the point where some of it even felt like filler. So, while I don’t feel like it’s perfect musically or structurally, I still really enjoyed the album and see myself listening again. The vibe successfully does a great job of getting you amped up to topple a system of institutionalized racism, and I absolutely respect that energy. I do think I might prefer It Takes a Nation of Millions more though - The songs on that album seem to have a little bit more of their own identity, and as a whole it feels a bit more airtight, though I can’t argue Black Planet is a great companion piece and follow-up.

4 Sooo I had no idea Johnny Cash has multiple live prison albums, though it definitely makes sense after hearing this one. While the Man in Black radiates rock star and outlaw energy, there’s no denying the connection he seems to have with prisoners in particular. In many ways it feels like listening to a piece of history, and in many ways it is. Supposedly this concert is his first ever live performance of A Boy Named Sue (improvised on the spot) and also the origin of the iconic middle finger photo. However, as monumental as those are, smaller moments like hearing Johnny duet with June and interacting with the crowd and camera crew are really what makes it feel like a moment in time I’m sad I’ll never be able to experience. Hell, the in-between song banter is partially what makes this album for me, even if it is about half of the 34 minute runtime. Not sure we really needed to hear San Quentin twice in a row, but I’m willing to give him a pass considering how great the rest of the show is. To summarize, this album cements exactly why Johnny Cash is an icon and always will be - no one else could ever make country music this badass. Favorite songs: Wanted Man, I Walk the Line, San Quentin, A Boy Named Sue

2 A lot of country recently. I’ve learned to appreciate the genre a little bit more with some of the entries on this list, and with a 1965 release date, it sounds like Buck may have been influential to some of those records with his early honky tonk Nashville sound - though perhaps too influential. It seems like many who followed were just emulating Buck’s sound here, to the point where it even makes his stuff sound unoriginal. Like, any of these songs could have been written and performed by Merle Haggard if I didn’t know any better. I know that’s not Buck’s fault, but it does retroactively make the album less interesting at least for me. Pretty unremarkable all around without a lot of substance, though I did find the song Wham Bam in particular kind of curious - I didn’t realize the term is that old, and while I’m not sure it means the same thing now it did then, it still made the song a little more entertaining nonetheless. Memphis was also a pretty decent closer, and I kind of dug the rockabilly tone it had to it, though mostly because it was a long overdue musical shift. Not terrible, but far from the genre’s best.

3.5 Hey look, it's post-breakup stuff from the best Beatle! While I’ve made no attempt of disguising my hatred for the band thus far on the list, I’ll admit I’ve actually always enjoyed the title track on this album, though I haven’t listened to much of Wings’ backlog. As it turns out, they actually have quite a few good tunes! Coming off the heels of the iconic opener, the vibe was kept up with Jet coming in hot as a straight-up banger. I really didn’t think the album would be able to keep up the strength from there, but I was proven wrong - not only is every song enjoyable, but I was particularly impressed by the amount of versatility. Elements of hard rock, soft rock, jazz, and blues are all here, and they’re utilized so effectively and seamlessly that the album always felt fresh and never dragged. While it’s nothing mind blowing, and I’m not sure I would go out of my way to listen to individual tracks, I definitely see myself listening to the full album again. Nearly gave this a 4 but I couldn’t quite convince myself to pull the trigger. That all being said, I’m going to say it - This is the best album done by a Beatle (I’ve heard thus far). Eat it, John Lennon. Favorite songs: Band on the Run, Jet, Bluebird, Let Me Roll It Fun fact for anyone who hasn’t already read this on the Wikipedia page: Aside from McCartney, his wife Linda, and guitarist Denny Laine, the album cover features an assortment of random celebrities. That’s Count Dooku in the top-middle.

2.5 What? What is this? It sounds like a British AI attempting to rap. I think there’s supposed to be a narrative to this album, but the dude’s vocals are so distracting that I can’t even focus on that - though something tells me there isn’t a whole lot of substance in there anyway. There are a couple tracks with really solid beats that feel like they’re juuuuust on the verge of being good, and right when I’m about to be sucked in, the vocals pull me back out again. That’s the album at best though - there are also some really grating beats in there as well, like on Blinded by the Lights and Get Out of My House in particular. Really, most of this album is an awkward mesh of robotic vocals and beats that just don’t seem to pair well together at all. Anyway, those were my thoughts after my first listen, and I was prepared to give a fat 1. But after re-listening, I’ll admit there’s a certain charm that grew on me, and a couple of the tracks are actually kind of catchy despite their quirks. Yeah, it still has a lot of bad, so I’m not sure I could go higher than a 2.5, but I miiiiight give Could Well Be In and Fit But You Know It a re-listen. Maybe a little more if the mood strikes. Hell, this album may grow on me more to be honest. One of the more interesting ones I’ve heard thus far for sure.

1 I’m sorry, this was sooooo boring. There’s nothing interesting going on musically, vocally, or lyrically, and it just comes off sounding like lame lounge music… or even elevator music at times. I feel like every 80s pop star attempted a song like one of these on at least one of their albums, and they were never good or memorable. This is like a compilation of those. I’m trying to think of more to write about, but I really feel like there’s nothing remarkable to comment on. This was a realllllly long 44 minutes.

2.5 I’m not really sure if this is the best entry point for Nick Cave since I’m pretty sure the sound of this album was a one-off thing, but since I’m at the mercy of a randomized list here, I guess I’ll just let it be known I’m pretty unfamiliar with the group and probably lacking some context. Anyway, it’s a nice sounding piano-driven album. Cave has a great voice that pairs with the music nicely, but the somber, one-note tone of the album really makes this feel more like a situational listen. In particular, it came off sounding like funeral music… like one of the slow piano covers of a popular song you might hear at one. Now, normally I’m a fan of that kind of dark, broody, sentimental stuff, but this one didn’t really resonate with me much. Generally speaking, I didn’t find much of it overly interesting, and most of it seemed to run together. As far as piano music goes, it didn’t feel like anything I hadn’t heard before. Didn’t dislike, but didn’t particularly like either. I’d say it’s 50/50 I listen again. Favorite songs: Into My Arms, People Ain’t No Good https://www.youtube.com/watch?v=t4mqHdd5gzo

3.5 Album cover hasn’t aged particularly well, though the art style is really cool. I didn’t go into this expecting a whole lot since I’m not the biggest fan of the Janis Joplin stuff I’ve heard (see: Pearl), but right off the bat, I found Combination of the Two more fun than anything of hers I’ve heard prior. While Pearl felt like a take on soul and blues, this album is a burst of pure rock n roll energy, a genre I feel her voice and presence is much better suited for. The production isn’t quite as clean here, but that’s rock n roll baby!! I didn’t even realize Piece of My Heart was done during her time with The Holding Company till listening to this, but considering the sound of the track, it makes a lot of sense in hindsight. I had also kind of forgotten about the song, but this was a nice reminder that it’s actually a pretty quality track. So, probably a hot take, but I think I can confidently say I enjoy Joplin’s time with the Holding Company more than her solo career. In fact, I really wasn’t even sold on her until I heard this. You can definitely tell she’s carrying the group (Oh, Sweet Mary is instantly escalated from a generic rock song to iconic when she jumps in on vocals), but the musical backdrop provided does wonders to enable her performance. Tripping on 60s drugs during the Summer of Love while listening to this stuff live sounds like an absolutely incredible experience. Favorite songs: Combination of the Two, Piece of My Heart, Ball and Chain

4 Love The Beasties - I actually went as MCA as Nathan Wind as Cochese from the Sabotage music video for Halloween this past year. However, right off the bat, I can tell you this isn’t their best album, nor is it even probably Top 3. Still, it’s a really good one through and through. Sure Shot is a great opener, and the transition into Tough Guy is a great reminder of the punk roots of these guys. From there, aside from Sabotage, the album seems to descend into a lot of not as memorable hip hop fluff. But you know what? It’s still a heck of a lot of fun. Admittedly, I don’t think the instrumentals are quite as effective, but they also don’t break up the flow of the album either by any means. So, I really debated my rating on this one. Since there aren’t a ton of individual songs I’ll probably re-visit, especially for a 20 track album, I initially went with a 3.5, but come on, it’s Beasties. Even if there aren’t a ton of standalone moments, I had a blast the whole way through and will likely be listening to the full album again at some point. On a side note, I think this album cements my opinion that the Beastie Boys are basically the blink-182 of hip hop (or I guess blink-182 are the Beastie Boys of pop punk) - Both groups consist of multiple vocalists/songwriters that great at putting out material that’s kind of immature and not overly deep but absolutely tons of fun. If you don’t agree with me, please look no further than “Shit, if this is gonna be that kind of party, I'm gonna stick my dick in the mashed potatoes” on B-Boys Makin’ With the Freak Freak.

4 The first time I ever heard The Carpenters was in an episode of The Simpsons. I’m sure most Simpsons fans remember this one, but basically, in a high school flashback, Homer dismisses the song Close to You on his drive into school as cheesy garbage (opting instead for Steve Miller Band). Then, when he lays eyes on Marge for the very first time as she walks into his classroom, he can’t help but hear the song in his head, finally understanding it. It’s a great episode, and likely at least part of the reason why I find the song to be a genuinely touching song about love rather than cheesy garbage myself. Anyway, this is a beautiful sounding album, and it really made me feel things at times. Karen Carpenter has an incredible voice, though I find her story heartbreaking, and in some ways it added to the emotional aspect of this album for me. I know the vibe is supposed to be happy and lovey-dovey, but I really couldn’t shake a sense of bittersweet sadness throughout my listening. Idk maybe I’m just weird, but I think because of that it resonated a lot more with me. Great album, but it’s probably going to require a certain time, place, and headspace for me to re-listen. Favorite songs: Close to You, We’ve Only Just Begun, Maybe It’s You

2 Pretty jarring going from The Carpenters to this. I’ve never been able to get much into Hole or Courtney Love - Maybe it’s because all of their music sounds like generic, uninspired alternative rock, maybe it’s because vocally she sounds like a less interesting version of contemporaries like Kim Shattuck or Kathleen Hanna, maybe it’s because she had Kurt Cobain murdered. Regardless, I can’t help but feel the only reason this album is even listenable let alone somehow acclaimed is due to Billy Corgan’s influence in the studio. I genuinely couldn’t tell you what’s supposed to make this album special. As mentioned, this feels about as generic as 90s alternative rock can get. Supposedly it’s supposed to be conceptually focused around California, but that feels like a very loosely applied afterthought to give some kind of direction to the album. I didn’t completely hate it, but not much stuck with me. On a second listen, I’ll admit Awful and Petals grew on me a bit. Overall, it felt a lot longer than it is.

1 This list has helped me develop some respect and appreciation for country music, a genre I’ve never been the biggest fan of, but modern country pop stuff like this… yeah still not a fan. I can acknowledge this isn’t an outright bad album in quality, but it also does nothing for me. I wish she had leaned more in either the pop or country direction instead of straddling the line of both, as the result comes off sounding like formulaic sounding radio fodder without much of its own identity, or at best, a second-rate Taylor Swift album. All in all, it’s not incredibly versatile in vocal or musical performance, making it all feel very one-note. If you don’t enjoy the first song, you’re not going to enjoy the rest. Can’t imagine a scenario where I’d willingly listen to this one again.

3 And in comes a Prince album, which I imagine will probably be one of the quickest 5s my Dad gives out, and his third overall. I know this is one of his all-time favorites, and while it provides me with wonderful memories of home and my childhood, for me it’s no Purple Rain. Comparatively, this one has a bit too much of an 80s pop-driven sound for my taste, and it just feels a little safer and less experimental than his later work. The title track is enjoyable, but honestly, if not for the vocals, it sounds like it could be a Michael Jackson song. From there, Little Red Corvette is a fantastic tune, though I've always thought the production feels a little off on it. Like, it almost sounds like the audio is compressed? Not sure what happened there, but it’s kind of a shame since the song is so great otherwise. I didn’t recognize much of the album beyond that (even though I’m sure it was probably on in the background numerous times throughout my youth), but I found it pretty hit or miss. Delirious in particular I found a bit annoying musically, but then Let’s Pretend We’re Married was a fun return to form with a great beat to it. From there, it’s a lot of the over-sexualized funk and dance pop that Prince is known for, but they’re mostly all composed creatively enough that you don’t notice the majority are 6+ minutes long. Fun vibes all around, but I don’t think it’s the most diverse offering of Prince’s output - his best was yet to come. Still, it makes me think of my Dad, so I couldn't go any lower than a 3.

1 Oh my God Steely Dan is such a boring band, and living proof that putting personality into music is much more important than being technically proficient. Supposedly this album also helped invent the genre of yacht rock which makes it infinitely worse. Honestly, I’d even go as far to say that I’d rather listen to a Beatles album over this.

3 I really thought The Zombies were more of a one-hit wonder group, so I was pleasantly surprised to learn that they actually have a solid output of 60s psychedelic rock sprinkled with Beach Boys-esque harmonies. There was something about that era of music production that has a bit of a haunting quality to it, but compared to artists like Jefferson Airplane and Donovan, it seems like The Zombies really leaned into the gothic aspect of that sound - Considering their name, maybe that’s the point. Despite very little of the actual subject matter being that dark, the general vibe is something that wouldn’t feel out of place at a Halloween party (I think Time of the Season was even used in The Conjuring?). That being said, if memory serves me correctly, the track A Rose for Emily is based on a spooky classical short story we read in high school English (I think Will actually showed me the song around the same time), so maybe there’s more than meets the eye here. Anyway, not the most amazing thing I’ve heard, but I dig the sound, and I think singer Colin Blunstone’s voice pairs nicely. Will keep this in mind around the spooky season. Favorite songs: Time of the Season, Care of Cell 44, A Rose For Emily, Beechwood Park Also, if you haven’t heard it, Foo Fighters have a solid cover of This Will Be Our Year

4 Probably not something most people would think I’m into, but as far as big beat and electronica goes, I think Fatboy Slim is the best in the game. His beats are so goddamn epic and catchy, and straight out of the gate this album starts with a strong example of that with Right Here, Right Now. Then, at nearly seven minutes, The Rockafeller Skank seems like the kind of song that would grow annoying quickly, being that’s it basically one line repeated over and over, but the dynamics of the composition are so snappy and interesting that it really doesn’t grow old, to the point where I probably wouldn’t even mind if it went on longer. I don’t think there are a ton of DJs that could pull that off, and he does so successfully a few times here on the album, though also notably on one of my personal favorites of his, Don’t Let the Man Get You Down (not on this album). While not every song reaches the highs of the above mentioned tracks, they’re all still fun and have a good vibe to them, though I do have to praise Praise You in particular for being an absolute 10/10 song and probably the best of his career. If you haven’t seen the Spike Jonze-directed music video, I would recommend giving it a watch. While not a 5/5 album, I do think Fatboy is a 5/5 in the genre, and if you enjoyed anything here I would encourage giving at least the rest of his Greatest Hits a listen.