Classic album. There are some skippable tracks—"Blood Hound" (although I like Young Buck, who sounds like a wee baby on this track) and "Back Down" are my least favorite—but I don't outright dislike any of them. Got this on CD when it came out, and I could pop it in and listen to it from start to finish—which I did many times. I took a look at the numbers for this album on Spotify, and unsurprisingly, "In da Club," "P.I.M.P.", and "21 Questions" are the most-played, and understandably so. But I was shocked to see that "Gotta Make It to Heaven" was the *least*-played track. Megahertz produced the shit out of it, and 50 ... well, in his own words: "You ain't got to tell me / you feeling this shit / Because I hear what I'm saying / I know I'm killing this shit." And he ain't lying; it's my second favorite track after "P.I.M.P."

Thoroughly unremarkable.

Been meaning to explore the Pixies for years, and never gotten around to it. Before this, "Where Is My Mind?" (thanks, "Fight Club!") and "Here Comes Your Man" were essentially the only songs of theirs that I knew, and they're not exactly super-similar stylistically, so I wasn't sure what this album was going to sound like. It's much rawer than I expected; it's easy to picture them banging these songs out in a garage. "Something About You" had a little ska flavor, which was a surprise, as was the fact that Kim Deal had the lead vocals on "Gigantic"--I thought she basically stuck to chorus/background vocals (until her Breeders days, obviously). "Where Is My Mind?" feels like the standout track here (and not just because it's the only one I was familiar with), but "Gigantic" also got my attention, as did "Bone Machine," and I thought "Cactus" and "Tony's Theme" were an appropriately playful pair to follow the heavier "Where Is My Mind?" I could have done with a little less instrumental ramblings in the middle of "Vamos (Surfer Rosa)," but that didn't stop me from enjoying it. Overall, I really enjoyed the album. Not sure how many of these songs will end up getting thrown into my regular rotation, but "Gigantic" will definitely be one of them.

When it comes to the Wu-Tang Clan, GZA is the cool and calm master assassin. He rarely leaves the shadows, but when he does you can be sure that he's going to murder the mic, and won't break a sweat while he does it. They don't call him the Genius for nothing. This album features RZA, GZA's cousin, in full control of the production (as well as lending his distinctive lyrical stylings on "4th Chamber"). RZA defined the Wu-Tang style: layered (often eerie) samples, and dialogue from kung fu films. Unfortunately, RZA's one flaw is putting long bits of dialogue at the beginning and/or end of tracks, rather than featuring them as between-track skits. Yes, they're an essential part of his work, but most of the time you just want to listen to the tracks, not wait through 1:19 of dialogue (as is necessary with the title track, "Liquid Swords"). Despite the lengthy dialogue, "Liquid Swords" is one of the strongest tracks on the album. Other highlights include "Gold," "Labels," and my personal favorite, "4th Chamber." (What can I say? I'm a sucker for Ghostface, and RZA's medieval beat is the perfect match for Ghostface's "Why is the sky blue? Why is water wet? Why did Judas rat to Romans while Jesus slept?") An easy 4 stars, bordering on 4.5

Gotta admit that while I'm familiar with the album's three most popular songs ("War Pigs," "Paranoid," and "Iron Man," obviously), I wasn't familiar with the album as a whole. Now that I've listened to it in its entirety, I can confidently say that it's about as solid as a rock album gets. It's hard to beat Ozzie's vocals and Iommi's guitar-playing prowess (and Butler and Ward aren't exactly slouches, either). If I'd heard someone say, "Yeah, we're starting the album with an 8:00-minute-long song," I'd have thought they were crazy. Don't you usually throw something that long into the back end of the album to make sure you don't lose people right off the bat (huh-huh)? Not if you're Sabbath, and not if that song rocks as hard as "War Pigs" does. And then immediately following that up with "Paranoid," and "Iron Man" two songs after that? Fuggedaboudit. Those three tracks alone make this album well worth the price of admission. "Rat Salad" is a throw-away track as far as I'm concerned, but the rest is top-notch, especially "Electric Funeral" and "Hands of Doom" (the latter of which I've officially fallen in love with). Old school metal doesn't really get better than this.

Been meaning to explore the Pixies for years, and never gotten around to it. Before this, "Where Is My Mind?" (thanks, "Fight Club!") and "Here Comes Your Man" were essentially the only songs of theirs that I knew, and they're not exactly super-similar stylistically, so I wasn't sure what this album was going to sound like. It's much rawer than I expected; it's easy to picture them banging these songs out in a garage. "Something About You" had a little ska flavor, which was a surprise, as was the fact that Kim Deal had the lead vocals on "Gigantic"--I thought she basically stuck to chorus/background vocals (until her Breeders days, obviously). "Where Is My Mind?" feels like the standout track here (and not just because it's the only one I was familiar with), but "Gigantic" also got my attention, as did "Bone Machine," and I thought "Cactus" and "Tony's Theme" were an appropriately playful pair to follow the heavier "Where Is My Mind?" I could have done with a little less instrumental ramblings in the middle of "Vamos (Surfer Rosa)," but that didn't stop me from enjoying it. Overall, I really enjoyed the album. Not sure how many of these songs will end up getting thrown into my regular rotation, but "Gigantic" will definitely be one of them.

I've never heard of The xx, so I had no clue what to expect from this album. I found the "Intro" pleasant enough. The guitar feels sorta '80s-ish in the vein of the Smiths' "How Soon Is Now?" or maybe something from U2. The fact that it's the most-streamed track on the album didn't bode well, though. Turns out that concern was valid. The album has a seriously low-key sound, almost ambient at times. It didn't make much of an impression on me, other than making me wonder why there was little to no percussion throughout large swaths of it. Thankfully, the percussion wasn't MIA in "Heart Skipped a Beat," which might be the track that stood out most to me (apart from the intro). Or maybe it wasn't. It was like picking out the shade of beige that stands out the most from other shades of beige. Gotta admit, I'm puzzled by the fact that this album was so well-received. It feels like the sort of unobtrusive music one would throw on just to fill some aural background space. I didn't hate it, but it's definitely not for me.

Much like The xx, I hadn't heard of these guys before. Or at least, not that I'm aware of. A song or three felt vaguely familiar, but that might be because they sound like Radiohead and Oasis got together and spawned a less talented baby. There wasn't much here for me to latch onto. "As You Are" had a brief guitar solo that caught my ear, but that relative bright spot was quickly dispelled by the saccharine "Driftwood" and cheesy harmonizing of "The Last of the Laughter." "Turn" seems to represent Travis in microcosm. They're competent musicians, but are lacking when it comes to lyrical prowess (singing "turn" over and over again isn't much of a chorus). This feels like the kind of music that seems profound when you're young and just had your heart stomped on for the first time, but which loses its luster once you grow up a little and find far more talented musicians to listen to. My favorite part of the album was when it ended. I immediately listened to "Hand of Doom" as a palate cleanser.

When I think of early punk, I think of four bands: the Ramones, the Sex Pistols, the Misfits, and the Clash. They all have different approaches to punk, and each band is the master of their particular variation. But I think the Clash created a broader sound that revealed punk's versatility. "White Riot" is prototypical punk, a fast and dirty anti-establishment wall of sound that wouldn't feel out of place on a (or should I say "the only"?) Sex Pistols album. "Garageland" is similar thematically, but with a (comparatively) softer, more melodic tone reminiscent of the Ramones. But the unmistakable influence of reggae and ska is what really sets them apart. "Police & Thieves" is a cover of a reggae song by Junior Murvin, and it's my favorite track on the album. Give the original a listen, and you'll get an appreciation for how the Clash stood reggae on its ear and created their own unique brand of punk. And while they did it, they paved the way for one of my other favorite punk bands, Rancid. No Clash, no Rancid. And I'm sure we can say the same for a host of other bands.

"Do I Wanna Know?" and "R U Mine?" are basically the only Arctic Monkeys songs I know, and every time I hear them, I think "I really need to look into these guys more." This album proves I should have followed that instinct before now. Two things struck me right off the bat. First, the less polished, almost punk-like feel to many of the songs (no surprise, since the aforementioned songs I know are from their fifth album, "AM"). Second, the fact that Alex Turner's delivery reminds me of Matt Schultz from Cage the Elephant. But Cage came after the Arctic Monkeys, so I guess it's the other way around. Either way, I think it's the varying tempo of his singing--he'llrunabunchofwordstogether andthen slow ... things ... down. Can't say why, but I dig it, and the Sheffield accent adds a little something extra to the effect. Thoroughly enjoyed this album, especially "I Bet You Look Good on the Dancefloor." The "whoa whoa whoa dadadada..." bit in "Still Take You Home" bit could have sounded cheesy, but somehow doesn't, and "Mardy Bum" and "When the Sun Goes Down" were surprisingly playful. Not sure I can give this a 5, but I'd give it a 4.5 if I could.

It's been a while since I had him in regular rotation, but I love me some Fatboy Slim. Obviously, one's enjoyment of Fatboy Slim and similar big beat/electronic music is contingent upon one's ability to enjoy its repetitiveness. If you're cool with it, then this is a solid album; if not, its quality is irrelevant. Other than "Right Here Right Now," "Rockafeller Skank," and "Praise You" (all classics), I was unfamiliar with most of this album. My favorite track I'd never heard was "Kalifornia," and "Gangster Trippin" was a pleasant surprise as well. The only real throwaway track was "Fucking in Heaven;" calling it sophomoric is probably kind.

I've heard of the Eels, but I'm not familiar with their stuff. In an odd coincidence, I *just* heard "Novocaine for the Soul" yesterday. I remember the opening lines catching my attention, but I can't say the same for the rest of the song. It's possible I heard it back when it came out, but if I did, it obviously didn't leave much of an impression. The spoken word bits of the album remind me of Nada Surf's "Popular," which apparently came out a handful of months before this album, so that's an interesting bit of synchronicity. "My Beloved Monster" has a whimsical charm and "Mental" isn't bad either, but the rest literally just blended into the background as I went about my morning. Feels like the answer to "What if Beck had less personality and was trying way too hard?" It's a shame we can't give half-stars, because I liked this album more than the ones by The xx and Travis (both of which I gave two stars), but I can't bring myself to give it three stars. 2.5 stars feels about right.

Playing catch-up after a distracting weekend, so keeping this short. Right off the bat, I'm seeing that most of the album is unavailable on Spotify, which is too bad. Kinda defeats the purpose of this exercise, but whattaya gonna do? What they did have was either fine to decent, but nothing really knocked my socks off. Giving it a generous 3, but it's probably closer to 2.5 stars.

"Brown Sugar" is an all-time classic track; undeniably D'Angelo at his best. Sadly, the same can't be said for the album of the same name. It's fine, but only three other tracks stand out, "Cruisin'," "Lady," and "Higher." "Cruisin'" is a Smokey Robinson cover, so of course it's good. So that really leaves three D'Angelo originals out of nine that caught my ear. All that said, a mediocre album by D'Angelo's still a solid R&B album.

Guess I woke up on the unforgiving side of the bed, because this Teen Dream was a bit of a nightmare. But it's as advertised; it's sung in the key of "maudlin teen." Personally, I'd rather listen to Katy Perry's "Teenage Dream" on repeat than listen to this album again. It's a no from me, dawg.

While I'd heard of Womack before, this was the first time I'd actually listened to one of his albums. "The Poet" was apparently his thirteenth album, and I gotta admit, it feels like he was getting a little long in the tooth at this point in his career. He's leaning hard on the force of his personality in this album, and his propensity for directly addressing the listener leaves him sounding like a lounge act at times. Not sure how many people other than Barry White can get away with that without sounding a little silly. "Stand Up" was funky AF, though, and "If You Think You're Lonely Now" is a classic, although I have to admit that I prefer K-Ci's cover. Regardless, those songs get him two stars, and I'll give him one more for being an R&B OG.

I tried to give this album a fair shake, but this was rough. They should let Fleming handle the lead vocals alone, because yikes, Thorpe's vocals are awful. His falsetto is this album in microcosm: affected and cringey. The hardest of hard passes for me.

Great album. Worth it just for "Rio," "Hungry Like the Wolf," and "Save a Prayer," but I was pleasantly surprised by the rest of the album, especially "New Religion," which was surprisingly funky. If you like new wave, then this album's for you (but you probably already knew that).

I was disappointed with this album. "Freedom! '90" might just be George Michael's best song, and "Praying for Time" is fine, but the rest of the album left me unmoved. Sorry, George.

I'm sure I'm not alone when I say that "Our House" was the only song by Madness that I was familiar with before listening to this album. Given that small sample size, I wasn't sure what to expect, but it certainly wasn't a concept album. Artistically speaking, it's an interesting album. I love the horns, the piano has an old-timey saloon feel to it that I appreciate, and the influence of reggae and ska is readily apparent (especially in "Tiptoes"). What's striking me as I listen to it is the change in tone that begins with "Our House." Before it, the album has a kind of "Sgt. Pepper's" meets "The Wall" weirdness to it, and it's got an almost dystopian vibe. The "Our House" pops in and blows that up. There's still a dark undercurrent to the album after that, but the sound is noticeably lighter. As far as listenability is concerned, it's obvious why "Our House" was the song that got everyone's attention. It's the best song on the album, and the only one that makes sense outside of the context of the album, with the possible exception of the jazzy "Madness (Is All in the Mind)." Unsurprisingly, those are the only two singles released from the album. "The Rise & Fall" was an interesting journey, and I'm glad I got a chance to listen to it, but I won't be adding any of these songs into my regular rotation. "Our House" will suffice for my Madness needs.

Not my bag. If I'm going to listen to something in a language I don't understand, it better be good enough to transcend language barriers, and this doesn't clear that bar for me. I'd rather listen to "Ça Plane Pour Moi" by Plastic Bertrand, or "Soy Yo" by Bomba Estéreo, or "Zaharila" by El Michels Affair and Piya Malik.

I didn't give this the attention it deserved the first time around, so I skimmed through it again before writing this. My initial impressions were correct: Roxy Music is weird and wonderful. Honestly, I was thrown from the get-go, trying to come up with some sort of context while listening to the first track, "Re-Make/Re-Model," and I finally landed on "the Stooges meets Talking Heads." Granted, the Talking Heads came came after Roxy Music, but Ferry's vocals have a David Byrne feel to them at times. Things only got weirder and harder to categorize as the album continued, but this is clearly some high-level '70s rock, heavy on the glam. There's some fantastic guitar in here--and fantastic everything else, too. Discovering the Brian Eno was a part of the band at this time certainly explained some things. There's a lot to process here, and I'm going to dive in again in the near future. I'm impressed.

Another band I'm unfamiliar with. Love discovering new stuff. I'm finding that with unfamiliar bands, I'm reflexively comparing them to bands I am familiar with (a pretty common impulse, I'm sure). The cover had me expecting punk, but I was way off. This album is '80s to the bone; my best comparison is INXS meets Oingo Boingo. They've got a full sound, with plenty of horns, some harmonica, and even the occasional violin (I think), all mixed with '80s staples like synthesizers and drum machines. I dig it. My pile of new bands to explore continues to grow.

LOVE me some Wu-Tang, and Ghostface might just be my favorite member. In a group with no lack of hip-hop titans, Ghostface still manages to grab the spotlight and throttle it like it stole something from him. The man's a poet, plain and simple. "Supreme Clientele" gets a lot of attention (and rightfully so--it doesn't get much better than "Apollo Kids" and "Cher Chez La Ghost"), but "Fishscale" is my favorite Ghostface album. The skits are utterly skippable (ranging from the mildly amusing "Bad Mouth Kid" to the cringey "Heart Street Directions"), but basically every track is worthy of a place in my regular playlist rotation. And it's no wonder. Not only is he a master storyteller, but his fellow Clan members back him up regularly on this album (most notably on "9 Milli Bros."), and the tracks are produced by hip-hop greats like Pete Rock, J Dilla, and MF DOOM. I could list my favorite tracks, but it'd basically just be two-thirds of the track list, minus the skits. That's how solid this album is. Casual hip-hop fans might find this album a little inaccessible, but for those who appreciate the Wu-Tang style "Fishcale" is solid gold.

I'm a huge Beatles fan, and as far as I'm concerned, there's no such thing as a bad Beatles album. So when presented with a Beatles album in this context, the question boils down to "Does this album deserve four stars or five?" In this case, it's four. The title track is obviously a classic, as is "Can't Buy Me Love," but there's much more to like here. "Tell Me Why" and "Any Time at All" are prototypical early Beatles, and "I'll Cry Instead" has a slight (but pleasant) country twang. Those who lean toward the McCartney side of the street will enjoy "And I Love Her" and "Things We Said Today, and Lennon fans may recognize "You Can't Do That" as a spiritual precursor to Lennon's "Jealous Man" (that latter of which is covered to perfection by Donny Hathaway, BTW). I tend to every-so-slightly favor their later, more experimental stuff, but this is a fantastic album. An easy four stars.

"Song 2" was the only Blur song I was familiar with before listening to this album, so my biggest exposure to Damon Albarn's music is his stuff with Gorillaz (which I enjoy quite a bit). I knew this album would be nothing like that stylistically, but I was expecting something similar with regard to creativity. Instead, I got a middle-of-the-road pop rock album. If you'll forgive the pun, the entire album kinda blurred together, with the exception of "Advert" and maybe "Coping." It was fine, but I'm not in a rush to listen to it again. I'll stick with Gorillaz. Giving it a generous three stars.

Jazz is hit and miss with me. Some of it is enjoyably thematic and evocative (Duke Ellington's "Caravan" and Teddy Wilson's "Jungle Love" spring to mind), some of it is meandering, and some is just plan abstract. I prefer the former to the latter two. Unfortunately for me, Brubek's "Time Out" leans toward the meandering. "Take Five" is rightfully a classic, and "Kathy's Waltz" had a jaunty energy that I enjoyed, but the rest of the album just doesn't push my buttons. That said, the talent displayed on the album is undeniable, and I can't bring myself to give it any less than four stars, despite my personal jazz proclivities.

There are flashes of brilliance on display here, but the adjective that most sums this album up is "overproduced." She's got a great voice, as is clearly going for an ethereal, trip-hoppy sound, and sometimes it works. "Two Weeks" is sultry fire, and "Video Girl" grabbed and maintained my attention; they were definitely my favorite songs on the album. "Lights On," "Hours," "Pendulum," and "Give Up" all have their moments, but there were times (especially during "Pendulum") when I wished she and her producers would just get out of their own way and let it rip. This is a debut album, so I'm hoping that she's since learned to ditch some of the gimmicky aspects of it and trust her voice to carry more of the weight. Giving this three and a half stars for what's here, and another half star for the undeniable potential.

If one wanted to be reductive (and I do, because I'm feeling lazy this morning), one could say that the Go-Go's are the answer to the question "What if the Runaways were nice, wholesome girls?" The Go-Go's straddle the line between new wave and pop rock, and do it with style. "Our Lips Are Sealed" is an undeniable classic, and "We Got the Beat" is arguably the best song they ever recorded. The rest of the tracks were unfamiliar to me, but "Skidmarks on My Heart" caught my ear because of the Dick Dale/Centurians-like guitar riffs. Once again, I find myself wishing I could give half-stars, because three and a half feels right. But I've always loved Belinda Carlisle's voice, and they're a Hall of Fame band, so I'll round up to four.

This album taught me that I know more Simon & Garfunkel songs than I thought I did; I just didn't know their titles. This isn't surprising, given how influential they were, and how they straddle the edge of my wheelhouse. This album exemplifies my ambivalence perfectly. "Bridge Over Troubled Water" is a gorgeous song. It's also emblematic of the type of S&G song that I don't go out of my way to listen to. Too soft and melancholy for my tastes. I listen to music to feel things, and my natural serotonin deficiency means I've got plenty of endemic melancholy on my plate. No need to go looking for more. And that's what separates the songs I favor on this album from the songs I don't. Give me uptempo S&G all day. "Cecelia" has been a favorite of mine for decades (and inspired my favorite Venn diagram: one circle represents people who are breaking my heart, the other people who are shaking my confidence daily. In the overlapping area: Cecelia, of course). I also enjoyed "Keep the Customer Satisfied" and "Baby Driver." I've got to imagine that the latter is about as close to a Beach Boys song as S&G ever got. And I wouldn't I kick "Why Don't You Write Me" or "Bye Bye Love" out of bed. The rest of the album isn't likely to end up on one of my playlists. But there's no denying the artistry here, and I just can't justify giving it anything but five stars.

I tried to give this album a fair shake, but gave up after twelve tracks. The album oozes "'90s college rock," and not in a good way (yes, it was released in 2000, but there's always a stylistic lag when transitioning between decades). It appears that Damon Gough wrote all the songs and played a bum-ton of different instruments on the album, so he's clearly got talent, but his work isn't for me. Bottom line: this album bored me, and that's never a good thing.

First impression: these guys sound like the Anti-Nowhere League. Second impression: there's some good guitar and bass playing in here. Third impression: it all kinda runs together, and the vocals are often hard to understand. This feels like an album of unmet potential. 2.5 stars rounded down to 2.

My immediate knee-jerk reaction was "meh, another so-so '90s Brit rock group." Thankfully, that first impression was incorrect. There's some quality music on here, much of it pointedly aimed at the frivolous and out of touch upper class. "Common People" was the first song to get my attention (and is probably my favorite song on the album). The line "I took her to a supermarket" was what tipped me off to Pulp's sense of humor. They're theatrical and the album tackles a key inequity in the modern world, but they're not taking themselves too seriously, either. That's a combination I respect. Sonically, they sound like sort of a precursor to The Killers, but they're not afraid to dip into whatever genre suits them. "Disco 2000" was obviously inspired by Laura Branigan's "Gloria"--it's not every band that says "Hey, let's do a disco track." But it fits the album and their self-aware sense of humor. Not sure how many of these tracks will end up in my rotation, but this was a surprisingly solid album.

Is there talent here? Yes. Do I want to listen to more of their music? Nope.

I'm inclined to categorize this as Ramones-style punk. Less raw, more polished than, say, the Sex Pistols, and their has the late '50s-early '60s rock vibe that the Ramones' often has. Depending on the song, the lead vocals might be handled by Exene (whose banshee-like wailing is unmistakable) or John Doe (or even both), and they make for a good combo, giving their music more versatility than the average band. But the standout aspect of their music is Billy Zoom's quick, clean, and precise guitar playing. Personally, I'd have liked to hear him get a little more time in the spotlight, but the results are pure rock n roll whether he gets it or not. Standout tracks include "Universal Corner," "Some Other Time," and "Beyond and Back" (which has a pleasing rockabilly flavor to it), but the entire album's solid. I could happily listen to the entire album without skipping a track. I wouldn't go so far as to give it 5 stars, but 4.5 feels right.

A solid album that leans toward typical mid-'60s rock ("So You Want to Be a Rock 'n' Roll Star," which has a nice bit of trumpet in it and "Have You Seen Her Face," which features some fine guitar playing) and more hippy-oriented fare ("Time Between" sounds like it could be a Grateful Dead track), with a little flirtation with the psychedelic thrown into the mix ("Thoughts & Words," & "Mind Gardens"). Not bad at all.

My initial reaction upon seeing today's album: "Ugh, the Carpenters." Despite a deep desire to just skip it, I decided to embrace the spirit of this exercise and skimmed the album instead. My knee-jerk reaction was justified. This album should have been titled "Music for the Soulless." I'm a white guy. I go out into the sun and I burn within approximately 8.3 seconds. And when the pain and suffering caused by my third-degree burns are over, I return to a mirror-like shade of white. No tanning involved in the process. Despite that, this album is *way* too white for me. It's so white I need sunglasses to protect my eyes from the glare. It's whiter than an albino Mormon eating mayo on white bread in a snowstorm. It is the epitome of every "white people have no soul" stereotype. Tower of Power sang about people catching honky pox, and this album was surely the vector that infected Patient Zero. I literally listened to "Soul Vaccination" after skimming this album, just to be safe. If you need proof of this album's violent blandness and mediocrity, look no further than their cover of the Beatles' "Help." They've turned an incredible song into saccharine schmaltz. It is an atrocity. A crime against humanity so abhorrent that they should have been tried at the Hague for it. It makes one wonder what the world might have looked like if Karen Carpenter had used her vocal talent for good instead of evil. Regardless of the answer, it's ultimately just a fantasy. The reality that cover--and the rest of the album--represents will haunt my dreams for the rest of my life.

This isn't for me. These tracks sound like they're straight out of a musical and I'm just not a musical guy. Lemper has a fantastic voice, but I keep expecting to get accosted by giant anthropomorphic cats, and it's making me jumpy.

Classic reggae, especially "Legalize It." I've always thought that it was pretty savvy of him to speak Capitalism in the song: "Legalize it and I will advertise is." Nothing like appealing to the greed of those in power. "Brand New Second Hand" was the only other track on this album that I was familiar with, but the entire album's solid. "Burial" is nice and funky, and "Why Must I Cry" has a pleasing little guitar solo in it. The only track I didn't particularly care for was "Igziabeher (Let Jah Be Praised)." Everything else was great.

Yeah, nope.

Disappointed with this one. "Nothing Compares 2 U" is amazing (thanks in no small part to the guy who wrote it, the obscure musician known as Prince), but O'Connor's fantastic voice couldn't save an otherwise unmemorable album. Both stars are for Prince.

Thoroughly unremarkable.

I actually own this album, and have always been impressed by the Avalanches' ability to create music using almost nothing but meticulously layer samples. It's almost an aural analog to pointillism. Very cool.

Seemed like this was going to be a decent album at first, but it quickly descended into a self-indulgent "art project." A look at Wiki shows me that "Something Wicked This Way Comes" was featured in David Lynch's "Lost Highway," and that pairing seems perfect: two guys who spend way too much energy trying to be different rather than just getting on with things and entertaining people.

I know MC5 for one reason: the Presidents of the United States of America covered "Kick Out the Jams" on their debut album. The Presidents' version is far more polished, which is hardly surprising given how raw MC5's original is. And that raw sound—which borders on amateurish at times—defines the entire album. But that's not criticism; it's what makes the album quintessential proto-punk. The fact that it was recorded live emphasizes the lack of polish and allows their personality to shine. I was originally set to give this three stars, but then I listened to it again ... and again. And a little more. And it holds up. The track that stands out the most is "Motor City is Burning," not necessarily because it's better than the rest, but because it's the bluesy eye of the sonic storm, providing a stark contrast from the proto-punk chaos that surrounds it. But I'm not seeing a throwaway track here. They're all solid. The album's loud and dirty and imperfect, and that feels just about perfect.

I've always been pretty indifferent to the Doors. Sure, Morrison's voice is distinctive, and they've got a few classic songs, but overall ... *shrug* I was hoping that listening to this album would enlighten me, but my opinion remains unchanged. They're fine, but my life wouldn't be any different if they'd never cut an album.

Throw the Ramones, Sex Pistols, and Clash into a blender, add a dash of Bryan Ferry's vibrato, then blend away, and I'm pretty sure the resulting concoction will be the Undertones. I don't know how this is the first time I've run across them, as this album is fantastic. This is top-notch old school punk*, and the last time I was this excited about a new (to me) band was when Roxy Music's debut album popped up a few weeks ago. I found a 26-track version of the album on YouTube, and there's a lot to love here. It starts off strong with "Family Entertainment," and while "The Girls Don't Like It," I sure do. "Teenage Kicks," "Get Over You," "Listening in," "Emergency Cases" ... So many good tracks. And a special shout-out to "Mars Bars," which is quite funny. Honestly, 26 tracks and I had no desire to skip any of them. That's the dream right there. *Except for "True Confessions," which starts with the line "Don't look so surprised," which amused me because it *was* a surprise, and came out of left field with a Devo-like new wave flavor that caught me completely off guard.

While I'm not surprised to see a Bowie album crop up, I *am* surprised that it's an album from 2013. Sadly, this album feels like the work of an aging artist who's lost his edge. There wasn't a song on this album that caught my ear, and I have to imagine that there are at least 1001 albums out there better than this one. The fact that it's Bowie doesn't automatically mean it belongs on the list.

I love me some '70s-style funk and soul, so this album was right up my alley. "That Lady" is a classic, but it was the only song on the album I was familiar with, minus the original versions of "Listen to the Music" and "Summer Breeze" (they do justice to the former and improve on the latter). My favorite track was "What it Comes Down to," which is '70s soul to the bone. Good stuff.

This entry exposes an inexplicable hole in my personal collection. I know the Foo Fighters. I enjoy their music. Yet, out of over 37 days worth of music on my computer, I have a grand total of three FF songs ("Big Me," "Everlong," and "Learn to Fly"). What the shit is that about? I can't explain it. This album proves to me that I need to fill that gap. It's undeniably classic '90s rock. But what's truly mind-blowing to me is the fact that Dave Grohl wrote and recorded this entire album by himself (minus some of the guitar in "X-Static"). I knew he was a well-rounded musician, but that's exceedingly impressive. With regard to the actual music, I think the album drags a little toward the end, but who cares? Given how good the album's good bits are and the fact that Grohl essentially did this by himself, this is an easy four stars (and a reminder that, seriously, I need to get some more damn Foo Fighters in my collection).

When it comes to the Wu-Tang Clan, GZA is the cool and calm master assassin. He rarely leaves the shadows, but when he does you can be sure that he's going to murder the mic, and won't break a sweat while he does it. They don't call him the Genius for nothing. This album features RZA, GZA's cousin, in full control of the production (as well as lending his distinctive lyrical stylings on "4th Chamber"). RZA defined the Wu-Tang style: layered (often eerie) samples, and dialogue from kung fu films. Unfortunately, RZA's one flaw is putting long bits of dialogue at the beginning and/or end of tracks, rather than featuring them as between-track skits. Yes, they're an essential part of his work, but most of the time you just want to listen to the tracks, not wait through 1:19 of dialogue (as is necessary with the title track, "Liquid Swords"). Despite the lengthy dialogue, "Liquid Swords" is one of the strongest tracks on the album. Other highlights include "Gold," "Labels," and my personal favorite, "4th Chamber." (What can I say? I'm a sucker for Ghostface, and RZA's medieval beat is the perfect match for Ghostface's "Why is the sky blue? Why is water wet? Why did Judas rat to Romans while Jesus slept?") An easy 4 stars, bordering on 4.5

Meh. Nothing here really got my attention. It's fine. Don't love it, don't hate it. 2.5 stars.

A lot of these songs are progressive, DJ-friendly tracks with long intros and outros so they can transition slowly between songs, but "DJ-friendly" often means less palatable for casual listeners. If you're willing to go with the flow, there's a lot to like here (see "Break & Enter," which has some truly fantastic bits in the middle). For the less patient, tracks like "Voodoo People" and "No Good (Start the Dance)" get to the point more quickly. Other highlights include "Poison" (which reminded me that I really need to find a copy of the Pump Panel Reconstruction Remix of New Order's "Confusion," which many will recognize from the blood rave in "Blade"), "One Love," and "3 Kilos" (which sounds like the bastard child of "Low Rider" and an acid trip). It's not as good as "Fat of the Land," but it's still a solid offering by the Prodigy.

I haven't explored their discography in a systematic way, but I love the B-52's so damn much. This isn't their strongest album, but "Planet Claire" and "Rock Lobster" alone are worth four stars. I assume we'll be seeing more of their albums in the future, and I look forward to it.

"Block Rockin' Beats" and "Setting Sun" are classic big beat tracks, so I had high hopes for this album, but found it a bit underwhelming. Maybe I should give it another listen, but for now, I'm rounding up from 2.5 stars.

The larger the sample size, the stronger the evidence: I just don't like indie. Rounding down from 2.5 stars.

Is "Rubber Soul" the best Beatles album? No, but it's still fantastic. This is the album where the Beatles start to get a little weird, and music as a whole has been better for it ever since. You can hear the influence of their burgeoning flirtation with Eastern philosophy and music in "Norwegian Wood (This Bird Has Flown)," which prominently features the sitar. "Nowhere Man" is a bit of a trip, and feels psychedelic-adjacent. "What Goes On" has the country twang that Ringo seems to favor (see also: "Act Naturally" and "Don't Pass Me By"), "Michelle" is classic understated McCartney, and "Think For Yourself" features Harrison's signature desire to shrug off this world's baser impulses and frivolities. My favorite track of the album is "Girl," which is the perfect vehicle for Lennon's pathos. That tortured/obsessive intake of breath in the chorus—like a self-destructive man surrendering himself to the drug he knows could someday kill him—is peak Lennon. *chef's kiss* "Rubber Soul" may not be their best album, but let's be clear: that's a high bar, so there's no shame in falling short of it. Falling short or not, it's fair to say that it's the beginning of their transcendence of the bands they emulated in their early days. From here on out, they were more than mere pop sensations that hit the scene in the right place at the right time. They were artists in their own right, and were beginning to shape the musical world—either because other artists wanted to be like them, or because they *didn't* want to be like them. Either way, the Beatles were now the musical benchmark.

Look up "overproduced" in the dictionary and I'm pretty sure you'll find a link to this album. It's a wall of sound that lyrics only occasionally burst through (and when they manage the feat, they're still nigh-incomprehensible). Maybe it'd work if it were stripped down and remastered ("Sometimes" seems salvageable), but as is, it's not for me. Feels like some serious hipster catnip, though. Giving this a generous 2 stars, rounded up from 1.5.

I was introduced to Roxy Music when their debut album popped up a few weeks back, and it blew me away. I gave it a four at the time, but now I'm thinking I should have gone the whole five stars because while it's maybe a less well-rounded album than "Country Life," the songs I like are better. Nonetheless, I can't see myself giving this fewer than four stars. "If It Takes All Night" is probably my favorite track, with "All I Want Is You" and "A Really Good Time" rounding out the top three (Or maybe "Out of the Blue" deserves to supplant one of them? Hard to say). What can I say, other than that Roxy Music's been the biggest gem 1001 Albums has introduced me to so far.

"Born to Run"? "Thunder Road"? "Tenth Avenue Freeze-Out"? All on the same album? You son of a bitch; I'm in.

The list of Smiths songs I like begins and ends with "How Soon Is Now?" Otherwise, they've never appealed to me, so went into this album with an open mind and and the hope that I was wrong about them. Turns out I wasn't, really. "How Soon Is Now?" aside, I seem to prefer uptempo Smiths, so "Vicar in a Tutu" and "Frankly, Mr. Shankly" were okay. But "Uptempo Smiths" seems to be a rare creature, and I'm not sure what to do with the rest of the album. Am I supposed to be taking lyrics like "And if a ten-ton truck kills the both of us..." seriously, or is there a comedic layer to it? I have no idea, but it it's the former then wow, dude, melodramatic much? I think it just boils down to the fact that I don't like Morrissey much. I don't think of him or the Smiths as goth, but he's definitely got that South Park goth kid gloomy navel-gazing vibe. I feel like he'd be exhausting to hang around. Find an antidepressant that works for you and buck up, my friend.

Meh

No thanks.

Had no idea what to expect with this one, but if I hadn't looked at its release date beforehand, I suspect I would have mistaken it for a punk and/or new wave album from the late-'80s (at least until they started singing about Rudy Giuliani, anyway). The first track, "Deceptacon," knocked me on my ass. The instrumentation is pretty simple (which can be said about the majority of the album), but Kathleen Hanna's vocals are raw and forceful and just about perfect. It's easily my favorite track on the album, which, sadly, isn't as consistent as I'd hoped it would be. Despite that, I thoroughly enjoyed "The The Empty" and "Let's Run," and "Friendship Station" ain't bad either (it's got a great beat). One thing's for sure: after enjoying Hanna's vocals so much I'm definitely going to give Bikini Kill a go, who I've heard of but never gotten around to checking out.

My streak of not enjoying country continues...

I know of Fugazi, but never heard their music before this. My life would be unchanged if that remained true today.

For me, it takes something special to get over the language barrier. This didn't clear the bar.

Oh my God, that's some funky shit! I didn't even need to listen to this album to give it five stars, but I did anyway, because it's not only a fantastic album, but a well-rounded one to boot. It's got classic tracks like "Sure Shot," "Sabotage," "Get It Together," and "Alright Hear This," plus some of their best instrumental stuff, like "Sabrosa," "Shambala," and "Transitions." And let's not forget <insert basically any other track here>. It doesn't really get better than this.

Nick Cave's one of those artists I've meant to check out but never gotten around to. The only song of his I really knew before this was "Red Right Hand," which is pretty cool, so I had high hopes for this album. It was not at all what I expected or wanted. Too slow and morose for my taste. Bummer.

What is it about '90s Britpop that bores me so much? Maybe it's just its utter mediocrity? I can't say for sure, but every time I hear it my mind immediately shuts off. Maybe it's a defense mechanism. Maybe I should harness this phenomenon for good. When my anger or anxiety starts to get the better of me, I can just throw on some Ash or Suede and let the banality wash it all away. It's worth a shot.

I feel like I'm supposed to like Joni Mitchell, but I just don't. I guess that means I need to continue my emotional education.

I guess I now know why "In-A-Gadda-Da-Vida" is the only Iron Butterfly song I know. The rest of the album is fine, but unremarkable. It's certainly far less remarkable than the 17-minute (!!) "In-A-Gadda-Da-Vida" (all praise the radio edit!). This gets two stars for being serviceable Doors-style psychedelic rock, and another for (the shorter version of) the classic "In-A-Gadda-Da-Vida."

This is a solid punkish/garage rock album most notable for Karen O's distinctive vocals, but three tracks stand head and shoulders above the others: "Date with the Night," "Black Tongue," and "Maps." The latter is likely their most well-known track, as it charted in the US. That said, it sticks out like a sore thumb on the album—stylistically, it's more polished and ... I don't want to say "tame," so let's go with "accessible" instead (hence it hitting the charts). It's a fantastic song, but the rest of the album's wilder in comparison, which is likely to disappoint more pop-oriented music fans. "Black Tongue" is more representative of the album as a whole, and a joy for those who love the rawer sound. Karen O's in fine vocal form, and the instrumentation is simple and a touch dirty. While I can't pick out a song I don't like, but I wish there was another song or two that I outright loved. It wouldn't have hurt for them to have thrown "Bang" (from their debut EP) onto the album, just to give it a little more kick. But that's quibbling. This is a great album.

Whenever a publication makes a "Greatest Albums of All Times" list, "Pet Sounds" is inevitably in the mix, and it getting picked #1 isn't unusual. I've listened to it before, but didn't really get what all the fuss was about, so I dove into the Wiki page for context as I listened to it. And then I listened to it a couple more times. And you know what? I wouldn't go so far as to call it the best album ever, but it *is* excellent. Judging the album as a cohesive whole rather than just a bunch of songs slapped together on the same hunk of vinyl helped (and that's what we're doing here, right?). And getting some of the background from Wikipedia helped contextualize it. As for individual songs, "Wouldn't It Be Nice," "Sloop John B," and "God Only Knows" were my preexisting favorites, but new favorites include "That's Not Me," "I'm Waiting for the Day," "I Know There's an Answer," and "Here Today." I definitely slept on this album, but no more! These pets make great music.

Folk has always been hit and miss with me, and it's more miss than hit. I've never particularly cared for "American Pie" (the song), so I didn't have high hopes here. My (lack of) expectations were justified. The best I can say about this album is that if it didn't exist, we wouldn't have Weird Al's "The Saga Begins." That'd be a damn shame, so thanks for the assist, Don.

Feels like this album's title should be "The Beach Boys Try To Be The Beatles." Spoiler alert: they do a poor job of it. According to Wiki, "Surf's Up addresses environmental, social, and health concerns more than the group's previous releases. This was at the behest of newly recruited co-manager Jack Rieley, who strove to revamp the group's image and restore their public reputation following the dismal reception to their recent albums and tours. His initiatives included a promotional campaign with the tagline 'it's now safe to listen to the Beach Boys...'" And that's exactly what this album sounds like: a management-driven attempt to rebrand themselves and remind everyone that "Hey, man, we're still hip and relevant!" There isn't a single song on this album that I'm even remotely tempted to listen to again. I'm embarrassed for them.

It was okay.

A week after giving '90s Britpop shit, I get a Britpop album I actually enjoy. Maybe it's because this feels a little more rock 'n' roll than the others I've gotten thus far? Maybe it's the fact that the album's full of legitimate existential musings rather than treacly, angst-ridden love songs? I honestly don't know. One thing I do know is that "Bitter Sweet Symphony" is a fantastic song. It's Britpop done right, and one of the defining tracks of the '90s from any genre. At the time of its release, it was played, overplayed, then overplayed some more, and while my interest in adding it to my playlists may have waxed and waned over the years, I enjoy it thoroughly every time I hear it. As for the rest of the album, the biggest surprise for me was "The Drugs Don't Work." I first ran across the song on Ben Harper's "Live from Mars" album, and thought it was one of his own songs. Discovering it on this album was definitely another point in the Verve's favor. The rest of the album didn't exactly knock my socks off, but I think I need to give it another listen or two. It appears that Richard Ashcroft is a talented songwriter, and I suspect I'll find more to enjoy if I pay closer attention. Gonna give this three stars, but I wouldn't be surprised if I listen to it some more and end up thinking it should have been four.

I was familiar with the song "Heroes" before this, but the rest of the album was new to me. The instrumental tracks are what really grabbed my attention. Despite preceding the movie by a good five years, "Sense of Doubt" wouldn't feel out of place on the "Blade Runner" soundtrack, and "Neuköln" is equally moody and dark. Sandwiched between them is "Moss Garden," which has an ambient, meditative vibe to it (reinforced by Bowie's use of the koto). Interestingly, the track begins and ends with what sounds to my ears like rocket engines. Apparently the track "V-2 Schneider" is about Kraftwork's co-founder, but surely it's not a coincidence that the V-2 rocket was the first ballistic missile. It's almost as if the "Moss Garden" is a tranquil getaway from the dystopian locations the surrounding tracks represent. You hop on a rocket, get a little peace in the moss garden, then it's back on the rocket to return to the hellscape from whence you came. As for the rest of the album, there's artistry there (as one would expect from Bowie), but I don't see myself listening to anything other than "Heroes" with any kind of regularity.

Solid psychedelic rock. The highlight of the album is Barry Melton's guitar playing. I'm surprised I've never heard of him (or the band as a whole). Gets a littler weirder than I'd prefer at times, but that's par for the course with psychedelic stuff.

Not my style.

First things first: Van Halen was never the same after He Who Shall Not Drive 55 replaced David Lee Roth. For further information, please refer to Nerf Herder's "Van Halen." Now that that's out of the way, anyone with at least one working earhole should recognize the greatness of this album. Not only are "Jump," "Panama," and "Hot for Teacher" my three favorite Van Halen songs, but they're seminal '80s rock tracks, period. All on the same album. They're worth 4.5 stars themselves, and we can just round up the rest of the way to five on general principle.

I was expecting to love this, but I merely liked it. Gets a little too weird and meandering at times for my taste. But they're still incredible.

I was pleased to see this album crop up, as Joy Division is one of those bands that, every time someone mentions them, I think "I really need to check them out." But then I never get around to it, and the cycle begins again. I was *really* hoping to have my noggin blown by this album, but it just wasn't. It appears I'm not too into Ian Curtis' vocals, which sound a bit flat to my ears. None of the songs really jumped out at me, with the possible exception of "New Dawn Fades" and "Interzone," the latter of which features vocals by bassist Peter Hook instead of Curtis. In fact, the only thing that truly caught my attention was Hook's bass playing, which I found intriguingly unpredictable. (Oh, and the album cover, which is a classic.) I don't know. Maybe I'll appreciate it more if I give the album another listen or two, but I'm not in a rush to do so.

I didn't dislike this, but this might be the first time I listened to an album and thought the tracks were too long. All of them. Apart from a 30-second intro to one song, the shortest track was 5:59. Most of them were over 8:30. Like I said, I didn't dislike this, but I didn't like it enough for the track length to not wear on me.

Utterly unremarkable.

Screaming backed by noise. Never understood the appeal of this type of music. Cool album cover, though.

I'm just not feeling this album. Before starting this 1001 Albums experiment, I believed that rock took a nose-dive in the '00s and never adequately corrected itself. I'm beginning to think that (in my eyes, anyway) rock's decline was more gradual, and started in the '90s. There's plenty of rock from that decade that I like (Nirvana, Smashing Pumpkins, Rage, etc.), but it sure seems like most of the '90s rock albums we've gotten so far have underwhelmed me. Maybe I was too busy listening to hip-hop and R&B in the '90s. Or maybe I was listening to more hip-hop and R&B because rock was starting to bore me. Can't say for sure, but either way, this album just ain't lighting up that oh-so-important dopamine pathway.

What do you do after you and the Fugees make "The Score," one of the best hip-hop albums of the '90s? If you're Lauryn Hill, you make one of the best albums of the '90s of any genre. The trinity of "Doo Wop (That Thing)," her cover of "Can't Take My Eyes Off You," and "Everything Is Everything" got most of the attention at the time—and for good reason—but this album's solid as a rock. Want gorgeous tracks about love gone wrong? Then "Ex-Factor," "When It Hurts So Bad," and "I Used to Love Him" will scratch that itch. Or maybe you'd prefer to shut out the rest of the world and curl up with D'Angelo on "Nothing Even Matters." Or get nostalgic with "Every Ghetto, Every City," which has a delicious Stevie Wonder flavor thanks to its prominently featured clavinet. Introspection, faith, social commentary ... this album's got it all. There may be a few tracks I regularly skip, but I'd hardly be in agony if I was "forced" to listen to the album in its entirety. It's both regrettable and fitting that this was her only solo album; she has a mind and a voice worth listening to, but this album sets an impossibly high bar.

The great thing about live performances is they give you a better feel for the performer's personality. This was an intriguing album in that respect. I especially enjoyed the bit where she goofed a little during "Willow Weep for Me"—she acknowledged it, got a few laughs, and kept rolling, totally unfazed. Good stuff.

While most of the hip-hop world was hopping on board the gangsta rap train, the Tribe blazed off in another direction—a lighter, jazz-inflected Afrocentrism that was unconcerned with gangs and gats. I had "The Low End Theory" on cassette as a kid, but missed out on this one. I was familiar with "Bonita Applebaum" and "Can I Kick It?", but the rest of this album was new to me. Unsurprisingly, their debut album is as fantastic as one might expect, with Q-Tip's lyrical prowess in particular shining brightly at every turn. This isn't quite as good as "The Low End Theory," but I'm giving it 5 stars nonetheless.

Whenever someone's discussing the all-time greatest MCs, Nas is invariably in the mix, and it ain't hard to tell why. He's not my #1, but his wordplay is solid and his delivery is quick and nimble. There's some overlap here with West Coast gangsta rap, but much of it is superficial. It's not so much gang-related braggadocio as it is an honest representation of the stark realities of living in the rougher areas of NYC in the '90s—which happens to include drugs and violence. It's classic East Coast hip-hop, and as far as the West Coast is concerned, much closer in spirit to Tupac's more introspective work than, say, Snoop's "Doggystyle."

This isn't really my thing, but Phair has a strong voice (metaphorically speaking)—smart, confident, mischievously funny, and justifiably sick of our male-dominated society's shit. The three-song stretch of "Mesmerizing," "Fuck & Run," and "Girls! Girls! Girls!" was my favorite, and "Flower" had me cracking up.

You know the scene in "Scott Pilgrim" with Crash & the Boys, where it takes six seconds for them to introduce "I'm So Sad, So Very, Very Sad," and that intro is longer than the actual song, which is only a four-count on the drums followed by the words "So sad" sung over two notes on the guitar and bass? This is sorta the opposite of that. Drive Like Jehu just scream "Do You Compute" for seven minutes, or "Rome Plows" for 5:45. Same level of lyrical content and complexity as Crash, but they take infinitely longer to perform it. And it's a small sample size, but I'm pretty sure Crash & the Boys are better musicians. I gave up halfway through the nearly 9.5-minute-long fourth track. Music may not be a race, but I've got shit to do, man. Like watch "Scott Pilgrim" for the umpteenth time.

Prior to this popping up, I was familiar with the three singles off of this album. "Time to Pretend" and "Kids" are decent, and I genuinely love "Electric Feel." I was hoping to find more to enjoy on this album, but upon giving it a listen it became clear why there weren't more than three singles—the rest of the tracks aren't particularly interesting. At best, they're mediocre; at worst, they feel like a couple of guys trying too hard to be profound. If "Electric Feel" is any indication, they'd be better served dropping the pretense and concentrating on making slightly weird, deliciously funky jams.

Not all sea changes are positive, and this album—probably my least favorite Beck album—is evidence of that. Beck is at his best when unbridled, and this is too restrained for my taste. My time's much better spent listening to "Odelay" or, my personal favorite, "Midnite Vultures."

When it comes to bluesy Southern rock, it doesn't get much better than ZZ Top. "Eliminator" will always have a special place in my heart, but "Tres Hombres" is a solid album, and features my favorite ZZ Top track: "La Grange." The rest of the album was new to me, but it didn't disappoint. I particularly enjoyed the opening trio of songs, "Waiting for the Bus," "Jesus Just Left Chicago," and "Beer Drinkers & Hell Raisers." I don't *love* every track, but if someone slapped the record on and "forced" me to listen to it, I certainly wouldn't be begging for them to skip any tracks. Billy Gibbons' guitar playing alone makes the album worthwhile.

This is my kind of jazz; concise, uptempo, and heavy on brass and percussion. I don't generally care for the long-winded, improvisational, "it's the notes they don't play" sort of jazz, so this was a refreshing deviation from that style. No single track truly stood out, which is why it gets 3 stars instead of 4, but if someone threw this on I'd happily listen to it in its entirety (especially if some tropical drinks were part of the equation).

We got Funkadelic's "One Nation Under a Groove" recently, and I was a little disappointed by it. Apparently I prefer Parliament? Not sure, as the distinction's never been clear to me, and it appears the line between the two has eroded over time. Regardless, this was the funk I was looking for. Dr. Dre is clearly a fan of the album, since he sampled at least two of the tracks, most notably "Mothership Connection (Star Child)" on "Let Me Ride." And while it's undeniably part of G-funk's DNA, the album is properly funky in its own right. "Give Up the Funk (Tear the Roof off the Sucker)" alone makes this album worth a listen, but it's funk all the way down. I'd probably give this 4.5 stars if I could, but I'm rounding up to 5 because why the funk would I round down?

Enjoyed this immensely, especially "Uncomplicated," "Tokyo Storm Warning," and "Blue Chair" (but I wish I knew WTF the blue chair is).

Not my bag.

Even without the language barrier, this isn't for me.

Good but not great. "Papa Was a Rollin' Stone" is an all-time classic (although I'll take the 7-minute single version over the nearly 12-minute album version, thanks), "Funky Music Sho Nuff Turns Me On" is properly funky, and the rest of the album was serviceable.

Classic album. There are some skippable tracks—"Blood Hound" (although I like Young Buck, who sounds like a wee baby on this track) and "Back Down" are my least favorite—but I don't outright dislike any of them. Got this on CD when it came out, and I could pop it in and listen to it from start to finish—which I did many times. I took a look at the numbers for this album on Spotify, and unsurprisingly, "In da Club," "P.I.M.P.", and "21 Questions" are the most-played, and understandably so. But I was shocked to see that "Gotta Make It to Heaven" was the *least*-played track. Megahertz produced the shit out of it, and 50 ... well, in his own words: "You ain't got to tell me / you feeling this shit / Because I hear what I'm saying / I know I'm killing this shit." And he ain't lying; it's my second favorite track after "P.I.M.P."

Not something I'd listen to often, but decent if I'm in the mood for it. She's got a great voice.

After listening to this and "Dirty" in the last few weeks, I've come to the conclusion that I'm not a Sonic Youth fan.

It's a little uneven (mostly on the back end), but this is a great album. "Been Caught Stealing" is an all-time great track and is worth three stars by itself. In fact, I thoroughly enjoyed four of the first five tracks (especially "Sorry!" and not including "Obvious"). Things get a little weird after that. "Three Days," "Then She Did" and "Of Course" are about 26 minutes combined, which is about half of the album. If I'm going to listen to a 7+ minute song regularly it's gotta be amazing, and they don't clear that bar. The closest to do so is "Of Course," which has a Jewish fiddle thing going on that I enjoy (reminds me a bit of Green Day's "Misery). And the lyrics about his older brother making him hit himself in the face is likely to get a chuckle from brothers everywhere. TLDR; there's a lot to like here, even if I don't necessarily want to listen to some of the tracks regularly.

We got "Listen Without Prejudice Vol. 1" a while back and I was disappointed by it. I guess that's because all my favorite George Michael songs are on "Faith." Great album.

Classic album, classic cover. Right up there with my other favorite Aerosmith album, "Get a Grip." "Love in an Elevator," "Janie's Got a Gun," "The Other Side," and "What It Takes" are all greatest hits material—which is why they're all on "Big Ones."

I checked out their album "This Is Happening" after finding a truly sublime mashup of "Dance Yrself Clean" and Big Boi's "Shutterbugg" (called "Shutterbug Yrslf, by DJ Lobsterdust for anyone wanting to track it down), and was disappointed by what I found. I was expecting similar disappointment here. Much to my surprise, I thoroughly enjoyed this album. I don't now if it caught me in the right mood or what, but I ended up listening to it multiple times. The top track for me was "American Dream," which hit me in an existential angst-y sweet spot—chock full o' disillusionment with modern life mixed with futile self-destructive flailing. That's kinda my brand (if not musically, then certainly in real life). "Tonite" also pushed the right buttons, and, along with "Other Voices," gives off a 21st century Talking Heads vibe (which I swear was a conclusion I came to before reading my fellow group member's review, who made a similar comparison). They're not as good as the Talking Heads, but this album's got a similar sort of nuance and flavor. I dig it.

Fantastic

This is some seriously dorky shit. This album answers the question "What if Billy Joel wasn't even edgy enough to call himself a downtown man?"

One of the greatest hip-hop albums ever made, and its influence is still strong today.

Not great, but gonna round up from 2.5 stars.

Fire from start to finish. Missy is such an underrated MC.

Sadly, the title track's even more relevant now than it was back then.

A pleasant surprise. Can't quite give it 4 stars, but I'd give it 3.5.

I wanted to like this more.

I recently watched "Beyond the Black Rainbow" and "Mandy" by filmmaker Panos Cosmatos after seeing the trippy "Cabinet of Curiosities" episode, "The Viewing." They've all got a synth-heavy, late-'70s/early '80s vibe, and much of this album would fit remarkably well in any of them—so well that I was compelled to investigate whether anyone in the band was involved with those projects (they weren't). Sadly, what works for eerie, moody films doesn't work so well for general listening. There's some interesting stuff in here, especially if you want to zonk out and pretend you're back in 1980, but overall this didn't do much for me.

I've got nothing but respect for Nina, but this didn't do it for me.

I have been transported back to an off-strip Las Vegas lounge circa 1963. I don't care for it.

I'm more familiar with Eno based on reputation than his actual work (apart from his stint with Roxy Music), so my only expectations here were simple: this album was going to be weird. It was indeed weird. Didn't love it; didn't hate it. Probably an album I'll want to revisit again at some point.

The instrumentation's fine, but I found the vocals exceptionally underwhelming.

Never hopped on the Celtic bandwagon, and it appears that won't be changing anytime soon. This just isn't something I'd actively seek out.

This was an instant classic, and it's the Prodigy at their best. I'm not a huge fan of the final track, "Fuel My Fire," but I don't hate it, either. Everything else is brilliant, especially "Mind Fields," "Narayan," and my personal favorite, "Diesel Power," (which features the underappreciated Kool Keith). Absolutely love this album.

Confession time: Taylor Swift is one of my guilty pleasures, and while her albums are pretty hit and miss (with a higher-than-ideal proportion of misses) I genuinely enjoy "1989." Sadly, this is not "1989." She seems to be going back to her country roots a bit here, and with the exception of "Willow" and "Ivy," the album's pretty bland and uninteresting (and those two exceptions mostly get by on their earworm-y hooks). I also didn't care for the countrified male vocals when they popped up. TLDR; this album's further evidence that I prefer her more pop-oriented stuff. (Also, holy shit, "1989" is eight years old. I am old.)

Good stuff. I'd give it 3.5 stars if I could.

There are some classic tracks here, most notably "Independent Women Part I," "Survivor," and "Bootylicious." That said, those are the first three tracks, and there's a LOT of filler after that. And does anyone else find it mildly ironic that "Nasty Girl" is the track after "Bootylicious," or is it just me?

Love me some Sly et al., and this album didn't disappoint. "I Want to Take You Higher" might be my second-favorite Sly song (the first being "If You Want Me to Stay"), and "Everyday People" is arguably their most well-known. There's plenty more to like here, and it feels a little ahead of its time. The album sounds (to my mind) like it's straight out of the mid-'70s rather than 1969. I'd probably go with a 4.5 if I could, but I can't, so I might as well round up for Sly & Co's general awesomeness.

On the one hand, there's not a lot here that I'd listen to repeatedly. The production is a bit chaotic, which I don't care for. On the other hand, Lamar's lyrics and flow are incredible. This one earns four stars for the artistry, even if it's not an album I'm likely to listen to much.

I think this falls into the "artful but not really my thing" category. Might give it another listen at some point.

I've actually seen Dylan in concert and thoroughly enjoyed it, but this isn't doing it for me.

Not a huge Doors fan, but this was decent.

Given what they went on to achieve, it's easy to forget that the Beatles basically started off as a glorified cover band. Nearly half of this album is comprised of covers, and I'm totally fine with that for two reasons: 1). Their talent shines through regardless of whose songs they're singing. 2). They've got great taste in music. I'm especially fond of their versions of "Please Mr. Postman" and "Roll Over Beethoven," but let's not forget their original stuff. "All My Loving" is the stands above the rest, but there's not a bad song in the bunch. This album's one you can simply throw on and listen to from start to finish without worrying about throwaway tracks.

TIL that Kate Bush is pretty friggin' weird. I respect her willingness to let her freak flag fly, but it appears her music's not really my bag.

Solid glam fun.

Not something I'm likely to throw on on a whim, but not bad if I'm in the mood for it.

Starts strong, but loses some of its luster on the backstretch. Still top-notch big beat goodness, though.

Better than I expected. Maybe I've let the fact that I find Morrissey insufferable color my opinion of his music. Might have to go back and listen to some Smiths again.

He's got a great voice, but other than "Wishing Well," "Sign Your Name," and his cover of Smokey Robinson's "Who's Lovin' You," this album didn't do it for me.

I wasn't sure what I was going to get with this one. I like Dylan well enough, but we got his "Live 1966" album recently and it wasn't great—a lethargic performance that was so nasal it was like he was doing a bad impersonation of himself. But this was the Bob Dylan I was looking for, far more lively than "Live 1966," with a healthy helping of blues. "Leopard-Skin Pill-Box Hat" is deliciously bluesy, and "Rainy Day Women #12 & 35" is a classic bit of silliness that's probably familiar to anyone who's ever been within 20 feet of a stoner. Then we've got Dylan staples like "Visions of Johanna," "I Want You," and "Just Like a Woman." I love me some harmonica, but he hits it a *little* hard on this album, especially on "Pledging My Time." Other than that, the only complaint I have is that it's a little long at 72+ minutes. As good as he can be, I prefer Dylan in smaller doses.

Well, I was not expecting a cover album, so this was a bit of a surprise. I wish I could say it was a pleasant surprise, but "On the Sunny Side of the Street" was the only track that really caught my ear, apart from "Georgia on My Mind." Sadly, the latter did so because it couldn't hold a candle to Ray Charles' version (but that's not a knock on Willie specifically—no one sings that song like Ray). I wanted to like this album, as I respect Willie as a person, but if this album's any indication, it appears his music just isn't my thing. Just too countrified for my taste.

Aretha's the Queen of Soul, and if you can't figure out why after listening to this album then you're probably a lost cause. Not only is it solid from start to finish, but it's got two of my Top 4 Aretha songs, "I Never Loved a Man (The Way I Love You)" and (my personal favorite) "Baby, Baby, Baby" (the other two songs being "Chain of Fools" and the "Blues Brothers" version of "Think"). An easy 5 stars.

There's no questioning that Metallica rocks, but their propensity for long instrumental breaks starts feeling self-indulgent pretty quickly. "Dyers Eve" is the *shortest* track at 5:14, and with the exception of "Harvester of Sorrow," the rest of the songs are no shorter than 6:45 (and two songs clock in at just under 9:50). But hey, this album's got "One" on it, which gets my vote for the most depressing music video ever, so yay? Bottom line: this album's good, but I would have enjoyed it more if they'd rocked approximately 1-5 minutes less on each song.

I'd completely forgotten about "Girls & Boys," which I thoroughly enjoy, but it's far better than the rest of the album, which is just okay. I enjoyed "Clover Over Dover"—it's fun to say and I love me some harpsichord—and "Lot 105" has a campy '60s game show vibe to it, but it's barely over a minute long, which is a damn shame. I think it's safe to say that when it comes to Damon Albarn, I greatly prefer the Gorillaz over Blur.

I'm not sure if the lyrics are washed out by the music because that's just how they like it or because the lyrics aren't terribly good. Either way, it's kind of annoying. Still, the instrumentation's decent and the brass gives them a nice, full sound. Giving them a generous 3 stars.

Didn't knock my socks off, but it improves as the concert progresses. There are definitely worse ways to spend 45 minutes than listening to Cheap Trick.

Way too much dissonance for my taste. It too often sounds like the type of jazz where each instrument seems to be playing a different song. I'm starting to wonder if I respect Bowie as an artist more than I actually like a lot of his work. Guess I'll find out as more of his album's crop up (as I can only assume they will).

An undeniably brilliant album filled with justifiable anger and frustration tempered with a hopefulness rooted in confidence and righteousness. Released less than a month and a half before "Straight Outta Compton" (which that should give everyone a clear picture of how things were going for Black Americans back in '88), its message is far more relevant than one would have hoped after 30+ years.

I would have sworn that I'd never heard of these guys, but "Favourite Shirts (Boy Meets Girl)" sounded awfully familiar, and I definitely knew "Love Plus One." So that was a surprise. The bigger surprise: I fucking LOVE this album. It's new wave perfection, full of funky basslines, sexy sax, and the sort of overtly British vocals that somehow feel necessary for new wave to be *just* right. (Maybe because Duran Duran is inextricably linked to new wave in my mind? I don't know.) Regardless, this album was a delightfully upbeat surprise, and I enjoyed it from start to finish.

WTAF is this? WHY is this? Who was this made for, other than the artist himself? The answers to these questions are irrelevant. This album is genuinely unlistenable, and the only list it truly belongs on is "1001 Albums That Make You Wish You Were Dead." I couldn't even make it through an entire song; the best I could manage was a skim of the album. It is my fervent hope that I can purge this abomination from my memory banks and never waste another millisecond thinking about it. Life's too short to waste on terrible music.

"Mrs. Robinson" is one of S&G's best songs, but I found this album too folky for my taste. The first half was a real snoozefest, and I was set to give this two stars, but the last handful of songs has me rounding up to a generous three. The album held one surprise, though: I had no idea "A Hazy Shade of Winter" was an S&G song—I only knew the Bangles version before this (which I quite enjoy).

As advertised, this was very much ambient, and wouldn't feel out of place at the airport (or maybe as an airline’s hold music). Unfortunately, that's not really what I'm looking for when I listen to music. I know Eno's a musical genius and all that, but these tracks seemed repetitive and without much variation, and “1/1” seemed to be just an x-second/minute-long patch that was simply repeated over and over for nearly 17.5 minutes (and I swear there's a slightly-tweaked snippet of "Frère Jacques" in there). This isn't something I'd ever listen to purposefully, but it might be good to throw on for a massage or yoga class. Or hey, throw it into a video game. Some of this stuff reminds me of Russell Shaw's soundtrack to "Fable," which has a genuinely fantastic ambient track called "Summer Fields." In fact, Eno's "2/1" sorta reminds me of Shaw's "Fresco Dome" (sorta). Personally, I'd rather listen to the "Fable" soundtrack.

Starting my morning with this, and I just can't. Wiki lists this album as "noise rock," and it's a fitting term. This is noise, with vocals that are barely audible, let alone decipherable. If you ever thought to yourself "Hey, I wonder what it would sound like if the noise a 56k modem makes became sentient and made an album?", then you now have your answer.

It's official. I don't like Joni Mitchell. Thanks for coming to my TED Talk.

I'm sure many Madonna fans will disagree, but I'm of the opinion that you could cut her career off at her 1990 single "Vogue" and not miss any of her essential tracks. Taken a step further, 1990's "The Immaculate Collection" is the perfect encapsulation of Madonna at her best, and fulfills all of my Madonna listening needs. There may be a smattering of post-'90 tracks that I enjoy, but I can't think of a single one I'd miss if it suddenly ceased to exist. In short, '80s Madonna is the best Madonna. Given that, it shouldn't be surprising that this gets a low rating from me. The title track is fine, and "Frozen" is fine, too, but not even William Orbit's intriguing house-influenced production gets me into the groove like her earlier stuff does.

Not bad. It comes with the usual pitfalls of electronic music (namely lengthy and repetitive tracks), so it's something I'd need to be in the mood for, but given the right circumstances this is a solid album.

I came into this with preconceived notions, specifically Frank Zappa = weirdo, and while that take isn't exactly wrong, I'd always thought he was a weirdness for weirdness's sake kinda guy. With that in mind, I was a little dismissive of this album at first. In retrospect, there were plenty of clues in the first three tracks, but it wasn't until "Go Cry on Somebody Else's Shoulder" (a pitch-perfect send-up of doo-wop with an admittedly cringey faux-Mexican accent that crops up in another track or two) that I realized "Oh shit, this isn't just weird, it's satire. This is the counterculture letting its freak flag fly." With that little epiphany came a new appreciation for what I was listening to. There's still a bum-ton of weirdness, especially in tracks like "Help, I'm a Rock!" and "The Return of the Son of Monster Magnet," but it's (usually) accompanied by pointed commentary on life in America in the '60s (much of it still relevant today, sadly). It's sorta like Spinal Tap (in the non-meta sense), but the Mothers of Invention are in on the joke rather than the butt of it. Kinda brilliant.

The Byrds are a solid, unchallenging rock band in the mold of the early- to mid-'60s, and this album's a perfect encapsulation of that. Lots of songs that are fine and often make you tap your foot, but unlikely to really stick with you. The one exception to this is "I'll Feel a Whole Lot Better," which is my favorite Byrds song. It's not going to change anyone's life, but it's good enough to feel like it could be a cover of an early Beatles track.

I enjoy the Mamas and the Papas in general, and "California Dreamin'" is inarguably great, but the rest of the album's less remarkable. They lose points for breaking my cardinal rule of covers: if you're going to cover a song, make sure it's as good or better than the original. Nearly half the album is comprised of covers (five out of twelve), most notably "I Call Your Name," "Do You Wanna Dance," and "Spanish Harlem," and none of them clear that bar. That said, they've all got great voices and I don't dislike anything here. This is a three-star album if ever I saw one.

I enjoyed this from start to finish. What I find fascinating is the contrast between most of the album—raw, unpolished, with at least slightly distorted vocals—and "Here Comes Your Man." Next to songs like "Debaser" and "Tame," it sticks out like a sore thumb, all polished and radio-friendly. Personally, it's a sore thumb I enjoy, but it's especially interesting because I feel like "Where Is My Mind?" was also a bit of an outlier. Maybe each album has one? I don't know, but after listening to their first two albums I can definitely say that I'm a fan, regardless of fingers and their relative soreness.

I guess we start this one with the question, "Which version, the one from the UK or the one from the US?" When it comes to the Beatles, the answer's easy: the UK version is gospel. But it appears that the US version takes precedence here, as it's the one on both Spotify and the Rolling Stones' YouTube channel. (Is this regional? No idea.) This means three fewer tracks, including the loss of "Mother's Little Helper," but we get "Paint It Black" in exchange, so that feels like a fair trade. Regardless of the version, this album has two all-time great Stones songs ("Under My Thumb" and "Paint It Black" or "Mother's Little Helper"), while the rest are decent but not particularly mind-blowing. This might get a 3.5-star rating if it were possible, but I can't give it a four, so three it is. (Also, we've been doing this for 158 days now, and this is the first Stones album? I know it's random, but dang, that's a long time. And I'm STILL waiting for AC/DC and Led Zeppelin to make an appearance. Gimme!)

None for me, thanks. Way too boring and repetitive.

I wish I could find the proper words to express why this album rubbed me the wrong way, but I can't—potentially because Stevens used all the words for song titles like "The Black Hawk War, or, How to Demolish an Entire Civilization and Still Feel Good About Yourself in the Morning, or, We Apologize for the Inconvenience but You're Going to Have to Leave Now, or, 'I Have Fought the Big Knives and Will Continue to Fight Them Until They Are Off Our Lands!'" and "To the Workers of the Rock River Valley Region, I Have an Idea Concerning Your Predicament, and It Involves Tube Socks, a Paper Airplane, and Twenty-Two Able-Bodied Men." If those titles elicit an eye roll from you, then there's a decent chance you'll find his music similarly tiresome. It's not all bad; there are some great musical arrangements, with strings and woodwinds and some brass peppered in. But the lyrics (and eye roll-inducing song titles) that accompany the music often feel like they're coming from a newly-minted college student home for the holidays and eager to show off their expanded consciousness—a bit pompous and somehow simultaneously self-aware and oblivious at the same time. I guess I can see why some people might be into that, but it's all just a bit much for my taste.

A weird blend of country, folk, and psychedelia that failed to move me.

Love me some good piano, and this is definitely that.

While this has some classic tracks (most notably "How I Could Just Kill a Man" and "Hand on the Pump"), the rest of the album's a little too uneven to justify four stars. I'd give it 3.5 if I could.

It's hard to go wrong with Phil Spector (unless you're Lana Clarkson, I guess), especially when helming an album featuring talent like the Ronettes and Darlene Love. This album is chock full o' classics; the Crystals and the Ronettes offer up what I consider to be the definitive versions of "Santa Claus Is Coming to Town" and "Sleigh Ride," respectively, and Darlene Love's "Christmas (Baby Please Come Home)" is my second favorite Christmas song of all time. The only song missing from this album is Mariah Carey's "All I Want for Christmas Is You," and given the fact that Phil Spector isn't a time traveler, the omission is forgivable. If there's a better Christmas album out there, I've yet to come across it.

Their debut album, and Boston kills it right out of the gate with two timeless rock classics, "More Than a Feeling" and "Peace of Mind," plus the underrated "Smokin'." The rest of the album is solid '70s-style guitar rock, and I'm always down for that.

I don't really listen to country, but this wasn't too bad. Some of the songs featured an accordion player that gave the music a bit of a Mexican flavor, which I appreciated, but for the most part this was just country that didn't make me want to stab out my ears (which is a compliment). Can't give it three stars, but let's call it 2.5.

Reminds me of the Black Keys, but not nearly as good.

Two things immediately sprang to mind when I started this album. First, it was nothing like the Stooges, which was a surprise. Second, I was getting some serious David Bowie vibes from Iggy's vocals. I checked out Wiki, and it turns out there's a good reason for that: Bowie was deeply involved with the production of this album, writing most of the instrumentation and playing many of the instruments involved. This is almost as much a Bowie album as it is an Iggy album. (Bowie even "covered" (can you cover a song you helped write?) "China Girl" a handful of years later (and did it better).) Sadly, a Bowie album wasn't what I was hoping for. I wanted the visceral, unhinged Iggy, like him screaming "Looooooooord! Aaaaaaaaaaaaah! Aaaah!" at the beginning of "T.V. Eye." (Side note: I took a music class that covered early classical all the way up to contemporary music, and the professor started one of our late-semester classes with that song. Blew. My. Mind. I didn't know what the fuck I was listening to, but I immediately knew that I loved it.) Would I have enjoyed it more if I'd known about the Bowie connection beforehand? Hard to say. But judging from this album, I probably prefer Stooges Iggy to Solo Iggy. That said, it's Iggy and Bowie, so I can't justify anything less than three stars.

Serviceable but not terribly inspiring mid-'90s grunge/alternative. Apparently in a good mood today, so rounding up from 2.5.

I'd forgotten that R.E.M. was even around back in '83. This is a decent debut, but not quite up to the standard they'd eventually set.

We've had two of Joni's albums already, and I disliked them both. I don't see that changing with album #3, so this is officially the first album I'm skipping altogether. I'll give her two stars because apparently there are people out there who know what they're talking about who think she's great. Different strokes, I guess...

Ask me to name a Southern rock back, and the first name I'll come up with is Lynyrd Skynyrd. Ask me to name some Skynyrd songs, and I'll go with "Sweet Home Alabama," "Free Bird," and "Gimme Three Steps." If pressed further, I'd add "Tuesday's Gone" and "Simple Man" to the list. The fact that four of those fives songs are on this album ("...Alabama" being the odd one out) tells you all you really need to know. If '70s rock from a band featuring approximately 8.3 guitarists sounds up your alley, then you're in luck. Get this album and rock the fuck out.

An album by a '60s novelty act without any of their notable hits? I am disappoint. On the bright side, the throwaway track "Zilch" was sampled on one of my favorite Del the Funky Homosapien tracks, "Mistadobalina," so at least there's some future greatness derived from a snippet of this album.

Gang Starr's one of those duos that is so damn good, but never got much mainstream recognition. It's a bit of a head-scratcher for me. DJ Premiere is one of the best DJ-slash-producers in the business, and Guru was an amazing lyricist and had such a great voice (RIP). Between the jazz-inflected music and Guru's evocative, thought-provoking lyrics, one would think they'd have gotten more attention. Maybe their stuff is just a bit advanced for casual hip-hop fans? It's certainly more subtle than the gangsta rap that was starting to take hold of the industry in the late '80s/early '90s, although one would think the lack of misogyny that was so prevalent in gangsta rap would be a mark in its favor. *shrug* Regardless, this album's fantastic from start to finish. I'm vacillating between giving it four or five stars, and I suppose that if I'm not 100% sure then it's probably four. Or 4.5. But great beats, great lyrics, and a positive message throughout ... this is quality stuff.

FINALLY! I've been waiting *checks history* 175 (!) days for a Zeppelin album to crop up. "III" isn't my favorite, but that's like saying "Help" isn't my favorite Beatles album; regardless, it's still fucking fantastic. That said, I'm not as familiar with Zeppelin as I am with the Beatles. I've got a multi-disc box set that's been my main source of Zeppelin experience, so seeing which tracks are on which album will be fun, as should getting acquainted with the tracks that didn't make it into the set (or ones that were in it, but I overlooked). "III" has its share of classics, most notably "Immigrant Song," "Bron-Y-Aur Stomp," and "Tangerine" (and "Gallows Pole," and "Since I've Been Loving You," and...), but I was unfamiliar with "Out on the Tiles," which I quite enjoyed, as well as "Hats Off to (Roy) Harper". This is a solid album, especially if you're a fan of Jimmy Page (which I am; he's my second favorite Jimmy, second only to Jimi Hendrix). "Hats Off..." has especially sweet, bluesy work by Page. Bottom line: it's fuckin' Zeppelin, man. You can't go wrong.

Unusual, as expected. This isn't an album I'd listen to often, but it was an interesting experience and I respect Bjork as an artist. Might as well give it a 3.

Old school country fetishizing the Old West? Pass.

Thanks to this album, my days of finding James Taylor aggressively uncool have come to a middle. I'm giving him two stars instead of one because someone has to make music suitably bland for elevators and lobbies, and he fills that role with aplomb.

Like many people my age, my introduction to Nick Drake was a VW commercial. And while I think advertising in general is superficial and manipulative (and even kinda evil at times), it's actually about as artful as a commercial can get. It's a sweet little vignette, and the wistful accompaniment of Drake's "Pink Moon" is what makes it work. (I can't believe I'm praising a commercial, but here we are. Hell hath frozen over.) Commercials aside, this was my first time diving into one of Drake's albums, and I'd hoped to find more to enjoy, and I did, sorta. Apart from a little piano in the title track, it's just Drake and his guitar, and that's not bad in small doses, but when it's an entire album it all ends up sounding rather similar. The stripped down nature of the album is to blame, especially his vocals. His delivery is nearly identical on every song—soft and understated (at times to fault). This album's nice if you want something to blend into the background while you do other stuff, or are trying to coax a kid to sleep (I'd imagine), but it's not something I'd reach for if I wanted to actively and attentively listen to music (minus the title track, which is fantastic).

Didn't care for the vocals or the lyrics.

This kind of stuff always makes me feel like I'm in a lounge in the '60s, and I keep looking for Austin Powers but he never shows up. Very disappointing.

Elvis Costello was one of those artists that I'd experienced piecemeal until starting this exercise. I knew "Alison" and "Watching the Detectives" and a handful of others (including his infamous 1977 audible on SNL, when he broke into "Radio Radio" after being explicitly told not to play it), but that was about it. In other words, I knew him well enough to respect him, but that's about as far as it went. I was excited when his "Blood & Chocolate" album cropped up a while back, and, unsurprisingly, I enjoyed it thoroughly. This is better, a solid enjoy-it-from-start-to-finish album. He's a great lyricist (often tackling serious issues, yet keeping the songs from feeling like lectures), and the album's got a rich, full sound (I especially enjoyed Bruce Thomas on the bass and Steve Nieve on keyboards). As with "Blood & Chocolate," I ended up listening to this album twice, just to get a better feel for the album as a whole and to suss out the songs I particularly enjoyed (including—but not limited to—"Senior Service," "Oliver's Army," and "Two Little Hitlers"). It's clear that Costello's thoroughly up my alley, and I look forward to more of his albums appearing on this list. This isn't quite a 5, but let's call it 4.5.

Got shit to do, so keeping this short: Janis Joplins had an amazing voice and this album is fantastic. Brava.

I was set to really enjoy this, but it was a disappointment. Hoping that I'll enjoy the next album of theirs that crops up more.

Call me crazy, but when I queued up an album called "Guitar Town," I expected to hear some impressive guitar playin'. That is not what I got, but I did get country music, which is always a tough sell for me. <insert '90s-era Hercules "Disappointed!" .gif here>

Both the title track and "Fame" are fantastic (they're definitely in my Bowie top 10, and maybe even top 5), but once again I find myself underwhelmed by a Bowie album. As I've said before, I appreciate the artistry involved, but I'm not in a hurry to give this another listen (the aforementioned two tracks aside, of course). I feel like a philistine. I shall now retire to my closet, don my hair shirt, and begin the ritual mortification of the flesh as penance for this blasphemy.

I ... don't know what to do with this. It seems like something I'd like on paper, but it's a little too surreal for my taste. Or abstract? Or both? Whatever it is, it's weird, and not in a way that releases that sweet, sweet dopamine. Thundercat certainly gets points for creativity and originality, though. Let's call it 2.5 stars.

This is our 188th album, the fifth Bowie album we've gotten, and the second in three days. No disrespect, but I'm ready for a break (or should I say "ch-ch-ch-ch-changes?"). STILL haven't gotten an AC/DC album. Or any of the Jacksons. Or Weird Al (he better be on this list). Or Prince! C'mon, algorithm. Hook a honky up with some different all-time greats.

This is a solid hard rock-going-on-metal album, but the only song that truly sticks out for me is the title track. That said, "Ace of Spades" is one of the greatest hard rock songs ever, so I feel like that earns the album a 3.5.

Didn't love it, didn't hate it. Definitely didn't push the right buttons for me.

I think it's safe to say that prog rock isn't my jam. Much like this album's title, the genre feels like it's trying too hard to differentiate itself from popular music (a term I use generally, not in reference to pop specifically), and it usually ends up coming off as pretentious to my ears. There are interesting bits scattered throughout these overlong tracks, but I mostly found myself somewhere along the spectrum of indifferent to actively rolling my eyes.

I should have paid closer attention while listening to this, so I'll have to revisit it. For now, it gets a 3.

I don't typically enjoy indie rock, but I quite like "Mr. Brightside" and "Somebody Told Me," so I wasn't sure how this one was going shake out. I was pleased to find that I liked this album quite a bit, even, ironically, the track "Glamorous Indie Rock & Roll." Got to this a little late in the day for a second listen, but I'll definitely revisit this soon.

Up until today, the only Rundgren song I could name was "Bang the Drum All Day," which I quite enjoy. But if this album is any indication, I suspect that "Bang the Drum..." is a bit of an outlier in his catalogue. There's no denying that this album has artistic value, but the fact that my favorite part was the medley covering '60s R&B/soul songs sums up my feelings pretty well. This isn't for me.

This one took me by surprise; I wasn't expecting something so dance-oriented. Regardless, I didn't particularly care for it. Didn't hate it, didn't love it. Giving it a 2, but let's call it a 2.5.