This album sucks!!!!! Van morrrisin more like van BORRISON,,!!!!! bitch

Whoa, this is crazy ahead of its time. At least, it sure feels like it. The electronics add to the music rather than detract, and man is that bass playing really satisfying. I actually love this album. It's just experimental enough without sacrificing the music to really bring me in. Sure, there's some weird circus-y stuff, but it hardly detracts it for me, in fact, I think it adds to the charm. Shame this is their sole album, would definitely binge their discography otherwise. I love how well it eases from psychedelic rock to baroque pop to ballads while all sounding like its own thing. Reminds me of what I've heard of the later Kinks but more rock heavy. Again, just crazy ahead of its time.

When I saw this album I had never heard of last night my first thought was "three star at best", but alas, instead this is probably my favorite album so far. Amazing how an album I've never heard of by a band I've never heard of suddenly becomes one of my favorite things I've listened to in recent memory. Just excellent. The falsetto was a joy to listen to and the energy the album had really scratched that "weird but catchy" itch stuff like Oingo Boingo, Jack Stauber, and even David Bowie hit for me. And the fact this is almost fifty years old makes it all the more impressive.

Fuck, I really like this, and I was not expecting that AT ALL. I mean, five songs all longer than what I consider casually listenable? Seems like something I'm destined to be annoyed or at least bored with, but I really adored this. Firstly, it's gorgeous both musically and lyrically, with the strings really meshing well with the weirder choices such as a mouth harp and banjo. In that way it reminds me of a Leonard Cohen album, but I'd say the lyrics are far more abstract than Cohen's works, but it still really works. I like that there s no regular song structure yet it returns to the same line every few minutes to bring the song into its own orbit and not let it stray too far outwards and become a mess. I don't know if I'll go out of my way to listen to most of these songs separately due to their length, but as a whole album this is certainly up there as something great. I will admit her vocals remind me a little bit of whoever sings "Dance Monkey", but not really annoyed at it here. Then again, I never found the vocals on that track too annoying either, so perhaps I'm the one broken. Any way, amazing album, truly unexpected.

First off, very funny 1001 Generator, I don't know if I would've thought of doing that if I tried. Second off, fuck Morrissey. I won't be giving it a one star just for that, because I think that's unfair to the rest of the band, but fuck Morrissey. This album is excellent, not only do the notable songs actually stay enjoyable, but even the not so famous songs are enjoyable, which is an issue some albums from this era suffer from. I know some people think this just sounds sad and that's all to take away, but I think there's more to it then that.

While an album I cannot deny as influential with its sound and design, and some of the songs are indeed classics to stand the test of time, but the album as a whole is obviously meant to be listened to as an album, never on it's own. Many songs lead directly into the next dong, which is fine for those with lyrics, but the instrumental songs that are three in a row feel strange, like they're supposed to be an intermission, but it comes at the end, just making it feel like a movie soundtrack. Iconic, but not that fun of a listen.

While blues as a genre isn't always my thing, I still found my self tapping my feet to most of this album. It started a little shakey, but in the middle I was enjoying myself quite a bit, and while I wasn't a huge fan of the ending song, I still am extremely satisfied with it.

Every single song was just such a slog. Five minutes of quiet in the beginning, then starts to build up, then either stays built up or goes back to being quiet. Now, I know that sounds like most songs, but there is a specific brand of it with U2 that makes it all just blend together. It's only getting 2 stars because while I didn't completely enjoy it, there's no denying the 1-2-3 punch that is the first few songs. Would of been better as an EP with just those and Bullet the Blue Sky

Some other review said this was weird Halloween music, and I agree, but in the best way possible. I actually quite enjoyed how weird this could get, but blues still isn't for me, so some of this album was a bit repetitive. Excited for other Tom Waits albums, though.

When listening to this album a situation would arise often where I enjoy how a song sounds, and am thoroughly enjoying it, then it goes on another three minutes. That's not to say the songs are long, because they all don't really surpass five minutes, other than the B-Sides, but they don't go anywhere. Often I'll be waiting for the song to heighten or have some sort of climax, and that just never happens, and I understand this is not necessarily something that needs that "drop", this isn't Dubstep or anything, but even comparing it to something like Fatboy Slim, it just comes off as weak, and it really loses steam in the second half, mostly being over prolonged atmospheric music. I mean, three stars is still pretty good, because I didn't dislike the album, it's just hard to praise the album when we live in an age where this style of music has only been improved. Who knows though, perhaps I'm not smart enough for it.

I almost feel as though I shouldn't be listening in to these songs because of how personal they can get, but I'm glad I can. Although I do find some songs kind of funny (such as Black Hair) I can still respect the message behind these songs, as well as the emotion. Into My Arms obviously being a standout performance that alone deserves the praise the whole album gets.

When I first started this album I really wasn't feeling it, and as such some of the early songs felt weird to listen to, but I gave it another shot with some proper earbuds rather than just my car speakers and man does this jam far better in that style! I'm also glad the version of the album I listened to had some songs twice for the singles version, because it gave me a second chance at some songs just in case I was on the fence, and this was just all around a solid album.

I think some of the reviews here saying all the songs sound exactly the same is quite the exaggeration, unless sticking to one genre constitutes as that nowadays. Songs were enjoyable if a little simple, but sometimes something more lighthearted is good. I may be bias though, my parent's showed me Lemonheads at a young age, so I may be going easy on it.

Yes sure does like their long songs, huh? Overall good but can't see myself listening to any of it again due to it's length compared to how I listen to music. I also think the later album, Fragile, is far better.

When it comes to an album such as this, a lot of thought has to be put into what you rate something like this. The early 2000s were an interesting time for music, and some of that shines through here, and we now live in an era where stuff that was tough and what the "cool kids" listened to now comes off as vulgar and childish, but that's exactly it. That's the point, an album like this isn't meant to be seen as a literal commentary where every word is someone's thoughts and opinions, it's a mash-up of a person going from rags to riches, with both themselves and a character they made up to choose to rap through, and in the process it can start to get muddy on what is supposed to be taken seriously, and what is a comment only meant for the shock. I do not think this album is for everyone, and I can understand why someone may hear some of this and decide there that its just vile, because it is, but sitting back and viewing it in the context of the world at the time and why this album was made gives it reason to really breathe and say what it says. Although admittedly some songs do go a little too far to the point where I question if there is anything being said. What cannot be denied is the ability of the rapping here. We had not yet reached Eminem's era of puns=good rhymes (window pane comes to mind), and instead got a situation where every song had a consistent flow where multiple words were rhyming in conjunction with all of the next five lines, all without question. The little small skits also really start to show that this album isn't meant to be the most serious thing in the world, but some of the rapping really does sell every single line. Do I feel bad bobbing my head to someone saying they're going to kill someone while insulting three different minorities? Absolutely, but there's something there I cannot deny that makes me enjoy this album. I will note the fiest half the album is far superior to the second half, but even the second half has songs like "Criminal" and "Bitch Please II".

This album was a weird one for me. Obviously there is an influence of an album that can be seen while looking at it, and it's obvious what this album did for this sort of rock going into the 90's. Bands such as Oasis are obviously inspired by this, and I could see why at the time this would be something big. The issue comes in to the fact that it doesn't change that I'm just not a fan of this album, or really this style of music. I mean, I enjoy some good jangle pop, but the singer's voice sometimes can go from just a little weird but okay sounding to very whiney (which ironically is a complaint I have for Oasis as well), and it makes a lot of the songs feel very repetitive. I'm not saying the songs all sound similar, because they don't, but it does start to blend together. I was honestly ready to give this a two star rating, purely pushing it up a little because of it's influence and "There She Goes", but I will push it right over to three stars purely due to the final song, "Looking Glass". I'm a sucker for long songs that get more and more frantic or "stressful" as the song goes on (see "I Want You (She's So Heavy)" by the Beatles), and this one stratched that itch pretty well.

When it comes to Billy Joel I know some people get a little sick of it, stuff like Piano Man seemingly playing wherever you go, and a lot of his other songs being so well known that they seem to be heard at least once a week, but doesn't that just show the man's talent for this sort of thing, especially when the songs you don't hear everyday have that same level of quality? That level of quality doesn't shine brighter than The Stranger. Every single song on this album is excellent, even the longer ones which any other artist of the time would have caused it to feel as though the song is a drag, but not on this album. The album even flows well from song to song, with each placement just making sense. Sure, some of Joel's songs may be a little cheesy, but the musicality and enjoyment from each song on this album gives me no other choice but to give it five stars.

I've gotten quite a few blues-y type albums now, and I'm starting to warm up to it a bit more, so my new challenge is now overcoming the next threat: live albums. That's what makes this so complicated, I understand a singer can really put their all into a live performance to make it better than any studio recording (Frampton Comes Alive! springs to mind) but often these songs just aren't as good as something with no random audience members cheering the whole time or the usually less than optimal sound quality, but I will admit, despite what the number down below may seem like it says, I did enjoy the album. It's just when it comes to something like this it's hard for me to think too much of it, and the addition of blues, which I already struggle to decide if I like or not, makes it a bit more of a mixed bag for me. I can understand why this is considered one of the best live albums of all time, I just can't fully get into it.

There is a semblance of an album that I like within this album, but all of the songs get close to doing something I like and then don't do it. I can understand why someone may not like his voice, but that isn't what bothers me, there's just something I can't fully grasp as to why I don't entirely enjoy this album, but I must be missing something, it's obviously considered a masterpiece of somesort. Perhaps I'll return to this on my own time and see if anything changes.

First off, very funny 1001 Generator, I don't know if I would've thought of doing that if I tried. Second off, fuck Morrissey. I won't be giving it a one star just for that, because I think that's unfair to the rest of the band, but fuck Morrissey. This album is excellent, not only do the notable songs actually stay enjoyable, but even the not so famous songs are enjoyable, which is an issue some albums from this era suffer from. I know some people think this just sounds sad and that's all to take away, but I think there's more to it then that.

A nice album where you can obviously see the weirder and innovative roots you would see in later Doors' albums, but the organ solo stuff, while good, does feel a little too safe and extended at times. Still though, overall very good, and still earns a four star.

When I was younger, my knowledge on David Bowie was very slim, I basically knew Space Oddity and that he was in Labyrinth, but when he sadly passed away I decided to change that, but I always kind of ignored this album because it was more rock 'n' roll than his later albums, and I had grown tired of classic rock as a genre. Boy do I regret this, that was amazing. I mean, of course Starman is great, but the rest of the album is no slouch either. It's no wonder I usually see this at the top of rankings for all his albums, and I'm super excited for his other eight on here.

This is another case of an album almost doing stuff that I like, but not quite reaching it, but this album is far better than the usual line up that does something similar. A lot of the songs just sound very manic, which has its place, but sometimes its hard to listen to, not in like a depressing way, but just like how a lot of stuff doesn't resolve how you want it to, and that's usually the whole song. Top tier album name, though. Its also weird hearing "Coconut" and realizing you knew a song off an album you had never heard of by an artist you had never heard of.

I really tried to like this. I tried getting myself into the first song, and all that jazz, but it just kept going, and going, and that's when I realized I still had two-and a-half more songs like this. The third song was fine, because at least it was normal song length, but then the beast that was the last song just never stopped, and I couldn't even get through it, for the first time on an album while doing this daily album thing. I decided perhaps I just didn't like the song itself, but I went back to the versions this song was covering, and the massive fifteen minutes of difference in length really showed me the filler this album can have. Perhaps I just don't understand soul, that seems to be the case with a lot of albums similar to this, but I really don't like this one. Only getting a two star because that third song I saw the appeal somewhat.

I admittedly don't think I get blues at all. All of these songs would start interesting and then drone on and on, not really doing anything more with the songs. It was just really boring. I liked Hooker's voice but his choice of perhaps five words to each song is underwhelming. Oh well.

I do understand a lot of O'Connor's songs are mainly built around the lyrics and what they are about, but that's only one part of a song, and sadly, I usually enjoy the sound of a song before the lyrics, in which these songs really lack for me, even "Nothing Compares 2 U", in which Prince's at least has it's own sound to it. All I could think while listening to this album is "This sounds like if Enya was the lead singer of The Cranberries, which makes sense, considering they all are from Ireland, but I still couldn't shake that feeling, and it made a lot of songs sound like nothing I've heard before. I don't sound too harsh, but literally nothing here was something I cared about, even pushing it below U2. It's just a nothing album for me. Guess I just don't like Irish singers, except the Cranberries.

I admittedly knew very little to nothing about Brian Eno before listening to this album, but I was admittedly very worried judging from what kind of music comes up when you type his name in. Luckily, this album seems to be nothing like that, and in fact, was quite enjoyable. I can see why he was very much connected to both David Bowie and David Byrne. Looking forward to the other albums by him on this list.

I saw the overall review score for this album and got a little worried, but afterwards I realize that's just because I'm guessing most aren't the biggest punk fans, and that's okay. I'm really not either, but I did generally enjoy this album. It did get a little repetitive at times but it's shortness and raw energy made up for it. I mean, I didn't find it anything super special, but it was still enjoyable.

Unlike a lot of other reviews here, I actually hadn't seen this Rolling Stones album before (somehow), so this was a whole new experience for me. That being said, it wasn't that special of one. I never was a huge fan of the Rolling Stones, as it didn't do much for me, but this album was okay. That being said it was just okay. There wasn't anything that truly stuck out to me and while it started out strong in never really went anywhere. It's a very consistent album, so those who like the Stones will probably enjoy this album quite a bit, but all this is for me is another driving force as to why I will never understand the Beatles vs. Rolling Stones comparison

First non-english speaking album, and man what a jam. Saw some comments saying all the songs sound the same and I couldn't disagree more, every song was a totally different song, just under one genre, and it was enjoyable throughout. Some songs went on a little long, but that's okay! It almost feels like something you'd hear in a game like Katamari.

An enjoyable album that flows well together. It really felt like something I would hear in something like Tony Hawk's Pro Skater or something similarly 90s. A lot of the lyrics still accurate today, but sadly a lot of lyrics are also questionable, like the entirety of "Da Bichez", but at least somewhat enjoyable to listen to. Like one ear and out the other sort of deal here, can't see myself listening again, but we'll see.

Well, it certainly isn't the sound I was expecting when I started the album. Sadly not really a sound I'm crazy about. It takes a very simple approach for a lot of the songs, but that just means a lot of the songs start out good then don't do anything to stick in my head. I will agree that the bass is very nice, and some of the songs remind me of other songs I do like (early Ministry comes to mind), but this really doesn't do it for me.

This isn't exactly what I was expecting for this album to sound like, but it did sound pretty cool. Not like, regularly music cool, more like a roller-coaster of emotions from something you can tell was made with a music video in mind to the Metroid soundtrack, but still very good.

I will not deny that the guitar on this album is obviously very ahead of it's time, but save for that, I don't really get the specialty. I think the album cover is more iconic than the music inside of it. Again though, guitar is great, and is really carrying this score itself.

This album grew on me as I listened to it, as my intial thoughts were more along of the lines of "they experimented so much they forgot to make an actual song". That being said, still don't think it's anything crazy. Every song is reverb effect, repeat a line for three minutes, add jungle noises. Like, I like some stuff, but even those often didn't turn into something I liked until too late, such as Bluish. Not to say the songs all sound the same, because they don't, but they do all have the same general formula that gets repetitive in one sitting. I do like how each how each song goes into the next, I'm a sucker for that stuff, but most of the songs don't stand on their own when needed.

I'm not exactly a fan of Van Morrison as a person, so I figured this album wouldn't be up my alley, especially since I kind of despise Brown Eyed Girl, but this album was okay. I recognized far more than I was expecting to, and the standout songs the other reviews are mentioning are as good as they say. It is mostly just "You know that guy who did Brown Eyed Girl? More of that", though.

The first album on here I've actually heard all the way through before this when I was going through all of ABBA's discography, but I'll listen to it again to freshen up my opinions. While not my favorite ABBA album, it is certainly up there. It's such a change up from usual tone of an album by the group, being far more open to minor keys and more "darker" subjects (not that the album is deeply psychological or anything), and I think it benefits from it. It certainly has that "final album" feel to it, which is why their new album, Voyage, is such a huge disappointment to me. Head Over Heels is a huge standout to me, which seems to not be the most popular song on here judging from other reviews, but I see it as a top five ABBA song easily. It's an album that shows ABBA is capable of a lot more than just generic pop like many seem to think it is. You can especially tell in the reviews who didn't bother to listen to the album (why bother rating it?) and who did. Oh well, very enjoyable. Perhaps not as good as I remember overall, as I don't return to listening to songs off this album as much as stuff like Voulez Vous, but still good.

Just enjoyable. Songs had a similar sound but changed it up enough for each song to be discernable, and the big change ups like the electronic focus in Electronic Renaissance was always nice. Nothing hugely amazing here, but would happily listen to the entire album again, and I'm looking forward to their other album on the 1001 list.

I originally knew Cornershop from Fatboy Slim's remix of "Brimful of Asha", and man was that all I ever needed of Cornershop. Every song here was just boring, with a weird mix of folky sound and dance music not meshing together really at all. It got to the point where every song I was just waiting for it to be over after like thirty seconds. Best song was Brimful of Asha, but as I said, no reason to listen to it when a better version is right there.

While I do think the album is indeed rather quite sad, I think that's hardly a reason to rank the album so sad. His voice is sometimes a tad droning, but it often works with the tune of the song, and it only heightens the emotions when his voice raises in pitch, it shows he really does view his writing as something worth sharing. I think if you view these songs as poetry first this really is an excellent album.

This is what I would think of if someone said "stereotypical rockabilly album", which isn't necessarily a good thing. I mean, I understand this type of album wasn't exactly common at the time, so I'll give it a couple bonus points there, but considering there are multiple other Costello albums to go, I'm not exactly revving to listen to more. I suppose I didn't dislike how it sounded, though, at least for now.

Man, I saw the amount of songs and that this was a punk album and got so worried I was gonna have a terrible time but boy was I wrong. This album rocks. Not every song is amazing but it all works so well together, and the amount of real topics mixed with just goofy shit makes this really enjoyable, and as others are saying, this is far funkier than any other punk I usually here. One of my favorite albums so far.

Man, this was not good. Not even anything here was interesting like the samples. I mean, they made the 007 theme boring. How?

Pretty cookie cutter rock. Well... perhaps not, as this is 1969, and I wouldn't say much rock sounded quite like this yet, just people started to sound like this. Nonetheless more interesting sounds already existed by then. The last song was pretty alright, but they ruined that by adding like five minutes that weren't necessary.

I relatively enjoyed my time with this album, but it was just pretty much 90s alternative rock, and nothing more than that. Nothing bad, but nothing absolutely remarkable either.

Just like the Neil Young I got before this, much of this album is exactly what I would expect from this. Not bad, not anything spectacular either, although I did enjoy it more than Young's solo stuff.

Well, I didn't hate this, but it really wasn't notable. Like stuff you'd hear on your local rock radio when it was feeling spicy and tired of other 90s rock.

I was suprised by how many songs I knew off of here, whether that be songs I knew as Johnny Cash songs or just didn't know were U2. Sadly, while I do like this more than Joshua Tree, still nothing I care for whatsoever. I just don't get the appeal of U2. I suppose at least everyone was right and they do sound different between albums. Not good, perse, but different, made it less monotonous.

Surprisingly good, but I should have expected that from an early 2000s rap album, they are always surprisingly good. Funky and every song flowed into the next so well. Really enjoyed my time, even if it was a little long.

Wow, this is not really soul, huh? I liked almost everything with this album except the main part, Cee-Lo's rapping. His voice just does not much what he is saying at all. The couple times he actually did sing were far better, but that was rare on this overly long album.

This album really peaked in the middle, with banger after banger, but the beginning and end felt a little same-y. Still very good though, glad to have finally listened to a full album by Jane's Addiction

Olive Garden

When I saw this album I had never heard of last night my first thought was "three star at best", but alas, instead this is probably my favorite album so far. Amazing how an album I've never heard of by a band I've never heard of suddenly becomes one of my favorite things I've listened to in recent memory. Just excellent. The falsetto was a joy to listen to and the energy the album had really scratched that "weird but catchy" itch stuff like Oingo Boingo, Jack Stauber, and even David Bowie hit for me. And the fact this is almost fifty years old makes it all the more impressive.

I originally wasn't going to listen to this album, as it isn't available on my streaming service of choice, but I thought that was unfair to giving this a fair rating, especially after I liked the last Cohen album I got, and while I certainly don't regret listening, I don't know if this one had as much of an impact. It was hard to take some of the songs seriously with the Jaw Harp in the background, and while some songs were enjoyable (I particularly enjoyed Story of Isaac and what I believe is the most famous song from the album, The Partsian), a lot felt very similar to what I heard on the previous album of his. Obviously, for Cohen lyrics are the most important thing, as it's basically poetry, but it is hard to ignore the similarities, such as the quick picking of the guitar. It sounds good, don't get me wrong, but it's very similar. I suppose we'll see what the other Cohen albums choose to do, still got three more.

Hmm... I can't decide between 3 and 4 stars on this one. It was so incredibly haunting that it was interesting to tune into, and some songs were certainly a joy to hear for the first time, but others felt a little overly long. The last song I still can't decide if I liked or not because it would flip-flop between making me feel different things so much it's hard to pin down. I think I'm gonna give it the 4 stars purely because I can recognize the pure art behind it.

I did enjoy my time with this album, but sadly it was another case of a lot of songs almost doing what I want them to, but not quite hitting that mark. I did enjoy a lot of the actual musicality of it, and almost every instrument switching from speaker to speaker was a joy, but the lack of a lot lyrics sometimes made the songs blend together, and I have no clue how I feel about that last song.

I'd like to preface by saying I have no clue why this album is on this list. It's the most steretypical rock album I've ever heard. My only thought was that perhaps it was ahead of its time, but it's from '83, so if anything it's behind it's time, so I can only assume it's because of the former Mott the Hoople production that got it on here. Other than that the album is alright. It's not like it's a bad album, just a boring one. Like a boring early Alice Cooper album. I'm still gonna give it three stars because I did find myself sometimes bobbing my head or just enjoying it, and the vocals are different enough, I suppose. It's a very light three, though.

I started this album thinking it was gonna get a 2 star for being just kind of a standard R&B 2000s album, but god damn did this album do whatever it wanted. I really love how experimental it was. We've got rap, R&B, drum and bass, experimental techno, whatever you wanna call "!!!!!!!", and just a really experimental album. Was it perfect? No, everything that was safe wasn't that interesting, but I really love whenever it would do something weird, made it fun. That upper review that said something about hating rap obviously didn't listen to the album, because it's far more than that.

Really not a fan of live albums. I could see why this is a must listen to, but nothing really stuck out that made making it live any more important to it's musicality. Just a lot of screaming. My favorite song was the middle part of the medley for the fact that people would just let the man sing. Obviously he's having fun with the crowd, having them participate, but it's not that fun for the actual listener. Seems like I'd prefer an album by Brown that isn't live, huh?

In my experience listening to this album, it wasn't really anything all that notable. I wouldn't say the songs really sounded the same, but I wouldn't be able to tell you what any sounded like moments after the song ended. Nothing here was bad, but even the song I liked the most, "Jesus", wasn't anything too special. I can see why others may say differently, though.

I genuinely don't get it, and I tried not to let my already present disdain for Clapton bother me, as I do try to separate art from the artist when I can stomach it, but that didn't help this album. Every dong sounded like exactly what you expect it to, hardly anything stuck out, and when it did, it was because it was just notable how much worse the song was compared to the original. I just don't get it. Sucks, because 1974 was doing pretty good as a year so far, but this just felt like a compilation of songs you'd hear on the classic rock radio and forget as soon as they stopped playing. Not impressive at all, and doesn't really make me feel like "well at least his music is good".

I had obviously recognized the album cover and band name because of Smoke on the Water (which I will say right now is far too overrated when there are far better songs on this album alone), but I never knew too much past that. This was just seen in my eyes as "dad rock" through and through. This was alright, though. I mean, nothing spectacular (besides that guitar, all of the soloes were wonderful), but certainly nothing bad, save maybe Space Truckin'. There were some times where songs genuinely surprised me with their quality, and I don't regret listening in. Will I be adding Deep Purple into my band rotation? No, probably not, but I still enjoyed it, in a middle of the road, one time romp, sort of a way.

Most of this album was pretty mediocre, and felt almost like a more pop-y R.E.M., but I did enjoy some songs when they decided to change it up, and the last song was really quite good. I think the album would've benefited from more soft spoken songs such as that one. Other than that pretty middle of the road.

This album was just nothing for me. It blended into the background really well once it started, and it only had me start listening a couple times throughout the album. Did I hate it? No, but the only situation I could imagine actually liking it is in the middle of playing something like Gran Turismo, otherwise I can't imagine dancing, or just listening to this.

I can't stand most 90s alternative British rock, other than Radiohead (yes that includes Oasis), so before I heard of this album I thought it would just add to the pile, but this was pretty great. A lot are mentioning influences like Oasis and Beatles, and while I do hear that, all I could think during was actually Smashing Pumpkins. Not only in his voice, but being able to rock out then reel it back in to really give the album some nuance. Not every song is a banger or anything, but this was still really enjoyable, and the last few songs were absolutely fantastic.

The beginning of this album had me worried, as while I don't mind talk-singing, it didn't exactly sound great in the first song, and then the second song was mostly instrumental, but it wasn't interesting instrumental. Luckily, the third song, Mama Roux, was actually pretty enjoyable, and I enjoyed my time with the rest of the album. I don't know if I think it's anything all too special. Even if this was 1968, I'm sure plenty of other artists were making music such as this, as it's obviously inspired by such. Forgive my ignorance if that's not true, though. But yeah, okay. Perhaps I'll revisit this album sometime to see if my views become more positive, as I could see it doing that.

You can definitely hear Brian Eno in this album, especially in the instrumental focused second half, but that definitely isn't a negative. Considering almost every vocal focused song is an absolute delight while a lot of the non-verbal songs are good at driving emotion as well, this is a quite good album, although I will admit the second half is less interesting overall. Not the best Bowie album but still excellent, because, well, it's David Bowie. This is a high, HIGH four stars.

Starting this album, I really didn't get it, as it just seemed like Pacific Rock from the era, and not much more, but the second half of the album, starting with Thoughts of You, really changed the album into something that felt a lot more impactful. His voice seemed like it genuinely meant what it was singing, and the musicality really showed through from that forward. It felt like the first part was like "Yeah, I was the Beach Boys, but these are my true musical abilities. It's a shame that he died so young and couldn't have a flourishing career, I truly think it would've only gotten better.

While I'm not as attached to this album as some others seem to be, I cannot deny that this album is excellent, or at the very least has excellent songs. Some of it is a little steretypical rock for my taste, but stuff like Stairway to Heaven and Black Dog are famous for a reason. No, the big surprise for me was the quieter song Going To California. I've never heard anyone talk about this song before, and it's probably my favorite. It's just so nice and calming, while still definitively having that Led Zeppelin flair. Almost reminds me of what I've heard from Zeppelin III coming into one perfect song. Album was great as a whole, though, not perfect, but deserves it's recognition.

Just kind of a punk album. A lot of it blended together for me, and while I didn't dislike it, I couldn't tell you much about most of it. Some songs were definitely better than others. Pretty much a straight down the middle sort of album.

I don't think I'm much of a Prince fan. This is the first of his albums I've listened to in it's entirety, and while there were a couple songs I liked, a lot of songs felt like filler. Really the whole album felt like a filler album, and that's a shame. I thought giving Prince a proper shot would change my thoughts on his music.

I actually know this album pretty well, as my mother would play it constantly as I grew up. Despite now questioning if this was the best lineup of songs for a child to be listening to, this album is excellent. The song has a great presence of punk that a lot of folk "punk" bands miss. It certainly feels just like raw emotions, and sounds good doing it. Are the lyrics questionable? Absolutely, but I'd say not understanding that that's the point would be a major disservice to this album. Every song just knows exactly what beats to hit when needed, and ending on a slower, melancholy note really wraps it all up. Just wonderful.

Far better than expected. I'm more familiar with Chicago's later work, and while 25 or 6 to 4 is an absolutely excellent song, the more and more ballads the less and less interesting. Luckily, this album had none of that, it was just excellent Big Band/Funk/Rock all around that also had some unexpected very experimental sound. I enjoyed the first half more than the second half, but it was all good, and if Jimi Hendrix thinks the guitar sounds good, then you're doing something right. Now if only the songs didn't go on so long sometimes. Not like they're repetitive, they certainly earn there length most of the time, but it makes it hard to imagine wanting to listen to them again when half of them are twice or even three times as long as the average song.

When I first got the album I wasn't interested, then I looked into it and became interested, but being done with it I was right to be uninterested. Was it bad? No, but a lot of the songs never really went anywhere for me. I'll use Radiohead as an example as Yorke does appear on this album, but a lot of their songs build up to a climax of some sort that's satisfying. This album does not do that making a lot of songs feel similar and not notable. The songs featuring Yorke were the best and the more calm paced songs came out better than any rock heavy song, but still not really anything notable.

Van Morrison should really stick with the horns section he rarely uses. It always sounds the best of all his songs. Sadly he instead thinks aimless guitar playing a yell talking counts as music and just bad poetry with annoying sound.

Just amazing really. The album may be short with it's amount of songs, but when the "worst" song on here is better than most other songs, you know you have created something basically perfect. I just adore this.

Relaxing, and the first album I feel asleep to, which no other album has even come close when I try. Not much actually notable about each song though.

This was actually one of the first albums I ever listened to all the way through without interruption, so I suppose you could say it holds a place in my heart of some kind. I mean, obviously it's a double album, but it's crazy how many memorable songs are on this album. 1979, Bullet With Butterfly Wings, Zero, We Only Come Out At Night, Lily, and many more. It's just a really fantastic grunge album that has a lot of variety. I admittedly seem to like the first part more than the second part, but both have great songs and are a joy to listen to. Getting some good albums lately, can't wait for another line of stinkers.

Yet another case of a lot of songs on one album just not quite doing what I want it to do. That may be due to its short run time for a lot of the songs, but often they'd have a good backbone (especially with that bass) then just repeat it rather than building it. I know that's kind of how punk generally goes, but it's still disappointing. It did get better as the album went on, but it was still just okay by the end.

When the album started I was gonna be one of those people going against the pack, as with the first couple songs I didn't understand the more than four star average rating, but as the album went on I understood it a whole lot more, especially the last couple songs. Obviously Franklin's voice is magnificent, but as the album went on instruments came in to compliment the voice rather than just copy it and it became a nuch fuller album. Not perfect because of those first few songs, but I do get it now.

The nicest thing I can say about this album is it certainly sounds different, but that still isn't a compliment. It sounds like they took all the Samsung ringtones no one ueses because they sound weird and made beats out of them, but squeaker and more repetitive.

Man, horny 90s R&B is gotta be one of the worst genres, so in comparison, this is... better? Still not very good... Some of this album sounds good but then I actually listen to the lyrics and I start wondering how anyone can take this seriously, or at the very least not get uncomfortable, but most of the time the songs boil down to the same thing, slow beat, and lyrics about fucking at night. Nothing much else to see here. I've also now had to listen to two different versions of "If I Was Your Girlfriend" because of this website now, and that song wasn't really worth more than the one try, didn't really need a lesser cover. Can't decide between 1 and 2 star, but gonna lean towards 2 star for the sake of not seeming overly hateful.

I'm going to just go out and say I always thought this album was far too overrated. I mean, obviously there are some excellent songs on here that defy expectations of what a "pop" song can do, but then you have songs like "Fixing A Hole" that just come off as awkwardly paced and boring. I just always felt this was the worst of latter half of The Beatles musical career, and that includes Yellow Submarine and Let It Be, and that Magical Mystery Tour was just a better version of this album. Now, it sounds like I hate this alblum, but of course, a less than average Beatles record is still better than most albums in all of the history of music, and this album is no exception. A Day In the Life is fantastic, She's Leaving Home really shows that Paul just excels in more than just "silly love songs" and the beginning of the album until Fixing A Hole is hit after hit, really showing how important this album is. I view this album as an important stepping stone as to what we would see in the future, but doesn't quite hit that mark for me to be a perfect album.

I just don't think PJ Harvey is really my style. This is now my second album by her and while I did enjoy this one more than the previous one I received, this one still felt like not quite something I was dying to encounter in my life. I don't think it digs hard enough into it's anger for my taste, but again, I did enjoy this enough, felt more grungy and less simple alternative rock. Perhaps this one will grow on me.

Picture this: I start the album, and am greeted with a sick drum and guitar combo, I'm thinking this will be another Minutemen situation where I get a funky punk album I enjoy a lot. Now picture that all being ripped away ten seconds later, when the song completely changes to some folk punk that pales in comparison to bands like R.E.M. and Violent Femmes. The album isn't awful, but it never feels like it commits to the style, which I get would be a highlight, the variety, but despite this all the songs still blend together and only when that funky sound starts to bleed out does it get a little better, but nothing ever hits that high that those first ten seconds explore.

Similar to my last Stooges album, Raw Power, I didn't think all that much of this one. It was full of manic energy and most of the songs were pretty blood pumping, but most of them also felt more like live renditions of songs, with lots of noise but not much back bone. Works in a setting where you're jamming in some sort of crowd, but not sitting and listening in an office or car, like many are when they listen. Just can't see myself choosing this over different energy filled songs when I'm in the mood.

I saw electronic album and figured I'd be in for a bad time, but the year did give me some hope, and hey, this was far better than I expected! It did something a lot of later electronic albums seem to forget as time goes on, which is to actually do something with your time. If you're going to take up ten minutes of my time, at least have it go somewhere, and this one did, at least moreso than expected. Was it a little goofy sounding at parts? Yes, but in a good way, really feeding into itself. My only wish is that some of the parts were split up a little more. Not removed, but split up, as I really enjoyed the first half of Part 5, but the second half wasn't quite my thing, and it also had a pretty big change, like it was supposed to be two parts but they kept it one to have less parts. Overall, surprisingly good, and if people are comparing this to Eno, then I have hopes when I get to his ambient stuff.

A lot of songs on this album give off the feeling like they're building up to an absolute breakdown that would be in place in the cutscene of a video game before a boss fight, but that "boss fight" music never comes. If not that than it's just basic bossa nova. None of it is bad, just elevator music with flare, and I generally like "elevator music". I also think it's funny many are saying it gets better as it goes but some of the later songs made me laugh out loud at how ridiculous they sound.

I thought this one would be a little more definitively four star than it is, but it dtill earns it. Most of the songs are high quality and enjoyable, I'd just say some of them go on a little longer than needed. I do understand why the big songs from this album like Ex-Factor are the big songs, though. The skits at the end of some of the songs are cute and don't hurt the songs they are attached to like I was led to believe. Just a more solid than average 90s R&B. This should be the album getting the praise for this genre, not crazysexycool.

It's very obvious this album is meant to be listened to with a sound system where you can hear all of the instruments and sounds blend together. The issue is that as an album, it's usually preferential to build an album out of that, but still make it good without that necessity. This album, without that help, is boring. It is not terrible by any stretch of the imagination, and I could understand liking these songs when you know them well, but nothing sticks. I wiuld struggle to tell you one thing about any of these songs once they're over. They usually have a good hook that never goes far enough to be catchy or interesting on a casual listen. Obviously an album can just be intended as a high art form where you listen from start to end with the best equipment, and that's the only way to listen, but that's hard to expect on a casual level. Again though, I did not HATE this album, there were parts I enjoyed, it just feels like something that went in one ear and out the other. I feel as though I'm being more aggressive than I am feeling, so it's gonna go right in the middle at three stars to show it is the perfect "this exists and is alright" album.

I have no clue how to feel about this album. First off, Ye, or Kanye West, is a certified crazy asshole. He always has been, and looking up to him for his personality, is questionable. That being said, after listening to this, I understand why this is some big event in rap and even in other genres. This album definitely sounds different than anything releasing at the time, and the sampling is easily the best part of the whole album in my opinion, which is actually one of my gripes with songs like Stronger from his earlier album. It has an energy to it where even songs I'm not liking get me enjoying it, it knows how to be a good album, and I cannot deny that. I do think it comes off a little egotistical, however. Both in the lyrics, which is expected, but also in the sound. A nine minute song where the beginning is single piano keys for the first bit? That doesn't come off as musically impressive, it comes off as full of yourself and thinking you can do whatever and people will call it art, and that's ehat people did. It's just so many pros and cons I gotta but it right down the middle. I will say the idea people found King Crimson through this album makes me happy.

ARE YOU KIDDING ME TWO KANYE ALBUMS IN A ROW?!! I see much more negative reviews on this one than My Beautiful Dark Twisted Fantasy, yet this has the same issues that one seemed to have for me, so I suppose we'll see. Okay, just listened, and man this is a step down, at least for me. I will say the pros is songs still get you enjoying them in the moment, so he still succeeds there, but nothing here sticks with me, and the production has not increased, in fact I'd say stuff like rather than clever samples and an orchestral sound we have this screech-y electronic sound with way too much autotune. Can I hear modern rap in this album? Absolutely, but not a compliment. It also feels worse as we go. Some of these lyrics are also pretty hilariously bad. This is Eminem's level of pun cheesiness for some of these. Just as self indulgent, but I don't see why this album gets that critique and not his other albums. I just don't know what to say. This is alright at best, aggravating at worst, but at the end of the day this was just unnotable. Perhaps if I was very into rap at the time of this release I would of seen the revolution being played, but all I hear is songs made out of dog barks are the drills in the car repair shop while a sex obsessed narcissist knows he can say whatever and will get a perfect score and millions of sales. Yet, I struggle to give this a 1 star. Truly an anomaly. I think it will indeed fall into that 1 star category though. I think fleeting memories of Kanye's work I do like will suffice for me.

Wait, the album with Hungry Like the Wolf, the most overrated 80s pop song of all time, is not only good, but really fucking good? The bass is so suprisingly funky, and not at all scared to hide it, unlike a lot of other songs in pop. Everything has such a good energy to it I was tapping my fee the whole way through. Man, and I thought I disliked Duran Duran. Time to give them a chance. Only dropping it to a four because the songs do tend to go on a little long, and as I said earlier, Hungry Like the Wolf is just straight up not very good in my opinion. But it's a high 4.

Okay, I saw electronic and 2000, and braced for at best a two star, but this is nothing like other electronic music! The consistent vocals and more ambient tone really made me feel like I was listening to a calmer song in Radiohead or Muse's discography, rather than repetitive dance music with no clear goal. Songs weren't overly long and I just really enjoyed a lot of this. Songs were similar but not repetitive, and it was just excellent all around. Super shocked by this one.

Man, this has the set up to be a good album, I like the instrumentation, and this feels like something I'd like, but that voice. I understand the back story and it's "unfortunate" (although it worked out for her so I suppose it isn't all bad) but the voice rivals Springsteen in annoying. It's comparable to if Nina Simone's voice was shakey and awkward rather than powerful and soulful. It just isn't enjoyable to listen to. I mean, it could be worse, none of the songs were bad per se, but they weren't good either. The best song was the final song, as her voice far more complicated the very harsh tone, but even that tacked on one or two minutes that really didn't feel the need to be there.

Just to be safe I listened to both all of the main songs and the songs marked "(Religious Overtones)" included with the version of the album on YouTube Music. I promise you, however, that these songs do not sway my opinion of the album. This album just is not good in my opinion. Was it good in the mid-50s? Perhaps, but it isn't enjoyable now. A lot of my issue with modern country is it falls into stereotypes rather than pushing boundaries, and that's something I always liked about the country greats like Johnny Cash. Sadly, it seems this album leans more into the "falling into stereotypes" side of things. Lots of songs are tragic, so the title of the album fits, but that doesn't stop them from being repetitive and almost whiney at points. As another review pointed out, a lot of the harmonies you would expect from a duo, are near non-existent, with both brothers just singing in the same tune for a majority of the album. The guitar playing is also very ho-hum. I did enjoy the (I believe) mandolin that snuck its way in there at points, but it hardly seemed to do more than lead into said ho-hum guitar playing. At best the album was boring and inoffensive, but at worst it was hard to listen to and somehow made three minute songs feel longer than five. If these two are number four on Rolling Stones' twenty best musical duos, I hate to see what's 5-20.

Best part about these older albums is how short the songs are. Makes them far more digestible. This album seems to definitely have some iconic riffs in it, as often a song would start then I would recognize it moments later. Issue is that you never expect these riffs to be a small part of another two to three minutes. I mean, nothing overstays it's welcome, but nothing is extremely notable either, past the before mentioned riffs.

Oh Prog Rock, the only genre where I see 10 minute songs and think "Cool!". Also, I didn't expect a band I know for much poppier sounds and members who make, again, much poppier sounds, to make such a banger of a prog album. Each song is super enjoyable and always keeps you invested, long or short. I wasn't expecting to love this album so much but each song brought something to the table I thoroughly enjoyed, and brings you back in pretty quickly if it starts to slip. Shame I got this album today when I just saw a vinyl for it yesterday; would definitely of bought it had I known.

As far as Bruce Springsteen's discography is concerned, this is my favorite of his I've heard so far, but that still isn't saying it's anything special to me. His voice is still harder to enjoy than praise, and while some of the inclusions of things like saxophone do heighten the experience, a lot of it just feels like that classic rock 'n' roll your great uncle would play at the family BBQ, rather than something to actually rock out to.

This was okay. It kind of reminded me of Jack Johnson's music. You know, the guy who did that one song for Curious George. That isn't necessarily a bad thing, but the best part of this album was the instrumental songs, as their sound was far more up my alley. Weird that this guy was in The Jam, from what I've heard this is nothing really like that.

This is an interesting situation for me, as my streaming service of choice does not have this album in full, so I had to go out of my way to watch a YouTube video with the full thing. Sadly, this is a little disappointing. I mean, don't get me wrong, it's good, but I had pretty high expectations, as I quite enjoy what I've heard from Supertramp (and that's more than just The Logical Song, I swear), but this was just an alright album. Perhaps it was my inability to listen at a higher streaming quality, but it felt often like something that was almost there, but often went in the wrong direction for my tastes. Again, still above average, but I was hoping to walk away with an eye opening prog experience, especially after the suprise that was Selling England By the Pound, but it just felt like decent music, and nothing more.

While I've never really dived into the solo career of either Simon or Garfunkel, I do have some songs from both of their times apart from each other, mostly Simon, so I was cautiously optimistic of this album, and while this does indeed sound like Paul Simon, I don't fully understand what makes this more notable than any of his other work. Perhaps because it sounds more folky than most stuff releasing in '83? I just didn't see too much from this to be more than a three star.

If I had one genre that I actually can't find much to like about it, it would be pop country, and this album is just that. It isn't as egregious as what you may hear on half of the radio stations available while you're driving in the middle of nowhere, but it still really isn't good for me. Country is built a lot on the stories the lyrics tell, but none of these songs feel any more interesting than what you could hear on something in any other song, and the instruments, while I suppose "soothing" are repetitive. That country twang can only be added to so many songs before I start to become numb to it, and then it goes from being annoying to boring, both things you don't want your music to be. Could I see why people may like this? Perhaps, and it's year of release was around the time when country music was starting to transition from more of a blues and folk focus to something more like what it is today, so this is probably for that "revolution" in music, but I just don't enjoy it. If you don't like country music, this does nothing to win you over, but it's certainly not the worst album I've gotten, and the last two songs on the album show some hint of something that could be good. Too little too late, however.

This was alright, and it was interesting to hear R.E.M.'s origins, but it wasn't super notable to me. His voice hasn't really developed into what it's recognizable for, and it makes it stand out less. There's some good songs on here, but also some that don't stand out. Basically one step forward one step back the whole time. Still good, just hoping for more from later R.E.M. albums.

This was pretty alright. I mean, the lyrics haven't aged well, and some of the back beats are a little grating. But for everything I didn't like was something I did like. The amount of featured artists was astonishing and kept it fresh, and how apmost every song flowed right into the next was a feat I don't know if I have heard to this extent outside of something like a prog rock album. I probably won't come back to this anytime soon, and the lack of it being on any proper streaming service is a pain, but I did enjoy my time. It did go on a tad long, and with other things I'm gonna put it right down the middle at a 3.

Wow, I was not expecting this! How is this from the 90s? Let alone considered pop? Not that that's necessarily a bad thing, but this never what I would picture if you said that. The voice is absolutely magnificent, and the orchestral backing is gorgeous. Are some of the lyrics a little cheesy? Sure, but I don't care, it sounds amazing, and while this isn't technically an "album", so maybe it shouldn't be on this list, but I'm so glad it is. Fantastic. Reminds me a lot of Nick Cave.

Recently my partner got this album, so it's fresh in my mind. Unlike my partner, however, who didn't like it quite finish to push it into the five star category, I think it clears the bar. Each song has this feeling of what made early 2000s rock sound really good, before it became to homogenized and relatively safe by the mid-2010s, and I'll say while the lyrical content isn't usually too crazy, songs like Michael feel very ahead of their time in discussing a topic like it does. Then there is of course the crown jewel, Take Me Out. Everyone knows this song and for good reason, the slowdown with the tempo absolutely makes it a bop-and-a-half, and that technical quality is through the whole album. This album and Is This It by the Strokes really felt like they formed the alternative rock genre into something amazing, and while it may have crumbled a bit, I still can't deny this album's quality and importance. It helps that it holds up. Two 5 star albums in a row, let's keep it up generator!

I enjoyed this quite a bit, although I do find the "longer" songs near the end started to drag the feeling of the album a bit, even if they were still telling compelling enough stories. I would understand why some would not like the song structure in Mitchell's vocals, often going for whatever, whenever, but I actually really enjoy it, with the falsettos often being placed in a way that make them satisfying rather than annoying. Just a solid album, but not perfect.

A serious contender for the best album of all time. I have heard this entire album plenty of times and hear the songs present often, and while I have pages I could write about the amount of amazement this album holds within, I worry that this may have a word limit, and so I will keep it brief in saying this is just immaculately made, and while nothing here is my favorite Beatles' song, many come close. Perhaps not my favorite Beatles' album, but easily the best, and no matter what a 5 star. One of the few albums that deserves the overwhelming amount of praise it gets.

Well, I didn't expect this to be as hard to decide what to rate as it did. I figured it would either be a case where I only liked Master of Puppets and the rest was boring (I already have had run ins with Battery and Sanitarium and I still think those are boring), but the songs I had never heard are suprisingly good. In an almost cruel twist all the best songs are the long ones, while the shorter ones almost always seem too long. Basically the whole album is high highs, such as the absolute fantastic guitar, and lows such as the honestly very subpar singing, which wouldn't be that big of deal but it usually makes up half of the songs run time (seriously, Orion was a godsend and a nice break before the finale), and for whatever reason the band acts as though it's just as important as the musicality, when obviously the instruments were the most impressive. It does feel far better though then the Metallica output nowadays, where they actually seemed like they cared about the music and not just because they were THE metal band. I'm just all over the place here with thoughts, and I'm gonna smack it right down the middle of the rating system, but my thoughts here feel more conflicted than a star system can really express. All I know is that as this was Cliff Burton's last album, I wish his bass playing showed through more. Throw a bass solo in there, you were willing to back in your debut! It almost feels like they're hiding it in audio remasters, but perhaps my listening apparatus of choice for this album is at fault.

The first song was okay. For two minutes. Then the next song was okay, for one minute. It didn't recover after that until the end of the last song, which I wasn't really enjoying after the four minutes I had to get through first. He sounded like Bob Dylan, but they music was just straight boring, and at times not good.

This one is interesting because you can still hear the bluesy influence in some of these songs, something that definitely phased out as the albums went on. Sadly, that isn't a great thing in my book, as blues isn't exactly my favorite genre. This album was alright, and I think Babe I'm Gonna Leave You may be my favorite rock-centric Led Zeppelin song I've heard, but a lot of this album felt it went on quite a bit longer than needed, despite it's small amount of songs. And while the guitar and vocals were excellent, sometimes there was just too much empty space, due to the blues influence mentioned earlier. Overall an alright album, but you can definitely tell Led Zeppelin only got better with time, at least in my opinion!

I am not looking forward to this. Scumbag who already makes middling music any way? I would just skip it, but if I listened to Kanye I should probably listen to this. What, the guy who made music like this is a terrible person? Color me shocked! I was actually thinking about a two star with this one, as I didn't mind some small parts of some small songs, and the production value is pretty good. It reeks of 90s, which if that's your thing, then here you go. But then it just kept going on and on, with no song really feeling that different from each other. Whoa, he screams a bit, then at the end of the song various background noises start happening that are supposed to be eerie and uncomfortable to listen to? It judt becomes mind numbing by song number 9. Issue is the album then goes on almost double that. I also soley blame this album for the people who have "no lives matter" bumper stickers on their 2003 Honda Accord, as if they think they're edgy. All of that plus Mairlyn Mandon himself makes this a pretty definitive one star. God I hate Nu Metal.

I feel as though I'm betraying myself a little bit, but I'm actually struggling between a 4 and a 5 star on this one. Obviously those are both good scores, but I figured going in this would be an easy 5 star. However, once actually listening I do have some faults, such as despite most of the songs being relatively short, it does go on a little long, making the "oomph" of the music lose it's touch near the end, and some songs just aren't very notable and blend together. I think I'm going to have to go with the idea this is a very high 4 star, but not quite that 5 star material. Perhaps one of the other White Stripes albums on here.

Huh, I disliked this more than I thought I was going to. I knew southern rock wasn't really my thing, but even though musically it's impressive, it's also pretty boring. Non of the songs really stick out that much, other than perhaps Proud Mary (but that's because I already knew it), and the yell singing done by the singer even starts to get a little grating. None of it was BAD per se, just not interesting or my thing.

Wow, this album I have never heard of in my life sure does have a lot of accolades, huh? Guess we'll see if it lives up to it all, but I have a sneaking suspicion it won't. It indeed did not, but it wasn't the worst thing in the world. Perhaps on a bad day this would be getting a one star, but I didn’t particularly hate anything, and the rest of the album was so nothing for me that the bluesy sounding song, a genre I generally don't like, was actually pretty alright. No clue why this is deemed so important in the world of music though, and that first song reeks of 80s, but not in the good way like new wave, but in the bad way, like "oh this is why music changed so much in the 90s".

This album rocked pretty hard. The sampling and the back beats were extremely satisfying, and sampling themselves and news stations talking about them is a novel idea that works really well here. Plus the topics being way ahead of their times on ideals, despite the controversy one of the former members was apart of at the time, which is unfortunate. Album is only getting a 4 because it does lose the momentum it had gained as the album goes on, making the later songs feel a little unnecessary, but this album was still an absolute joy. Probably my favourite rap album I've had so far, and excited for the other Public Enemy record on the list.

Wait, I actually like Iron Maiden? Like I thoroughly enjoyed this? But this is the band your one uncle (you know the one) likes. Am I become that uncle? Oh no. Any way, this was super good, and I loved the energy. Some of the songs fell a little flat, and with an album this short that's more of a hindrance than normal, but it starts super strong and stays strong on most of the songs, making it really enjoyable. Not perfect by any means, but still shockingly good.

Man, this is extremely sexist, but I can't help but enjoy it? Perhaps it's because I know by the next album the Beastie Boys were apologizing for the lyrical content of this album, but even after listening to stuff like the Chronic and the Marshal Mathers LP, this one feels even more apparent than those, even though it definitely comes off as more delinquent-y in this album than those. Just something to note before I praise the rest of the album. The absolute joy the (albeit cheesy) lyrics, the flow between the three, and the samples/beats really bringing it all together makes it super clear why this album is so important to rap, especially for the era. I could totally see comparing this to anything modern and laughing (as I said, it's almost childlike in it's attitude), but it really adds to the whole mood. Not to mention how many lyrics here I reference without even thinking about it constantly, just because they stick in your head so easily. My only fault here as mentioned before is the lyrical content, but it's such a stellar groundwork for more Beastie Boys albums to come that it certainly won't keep me up at night. It's also extremely good at blending genres, bringing in a lot of hard rock influences that I can only assume helped the album really take off, being the first rap album to be on the billboard top 200. I don't think this is my favorite rap album (I don't think it's even my favorite Beastie Boys album), but it certainly is very good. Very, very high 4 star. Would get a 5 if not for lyrics and perhaps not changing quite enough near the end (they kind of use all of there metal influences in one fell swoop in the middle). Both of these I think will be addressed in the other albums by them on this list.

Well, this should certainly help my jazz and 50s score, as I enjoyed this quite a bit! I knew I actually quite enjoyed jazz in the right style, and this more big band approach is definitely more up my alley. Each song pops so much and it's really appreciated how Count Basie let's his whole orchestra speak rather than taking the limelight like some other jazz artists I hear, it makes it feel like a full group. It does suffer from songs being hard to differentiate, especially at the beginning, but in the middle and end it tries to fix that a bit. I also don't usually judge an album on being an "album", as not every album is meant to be a concept album, but this one also does just feel like a collection of songs taped together, which while expected of the 50s, does still drag it down a little. Just a suprisingly enjoyable album, although unsure what kind of mood I'll have to be in to listen to most of this again. Not exactly driving or chilling music, and I don't dance. The last song may be good sunny day walk music, but as it's snowy where I am, may have to wait a little on that.

Huh, this wasn't quite what I was expecting, but also exactly fits? If that makes sense. I think this album was pretty in the middle. For the pros: the way each song is connected is phenomenal, it really makes it feel like such a tightly brought together album, despite the slight change in genres every now and then. The instrumentals are also pretty incredible, and I'd almost say this would really work as an instrumental album in it's entirety, but I'm guessing that's not what got this album such a high average score. As for "negatives", while his voice is impressive, I don't find it very notable, and it actually makes a lot of tracks a bit more of a lull. I also seem to be missing what makes this so important? Yeah, it sounds good, but it just sounds like a 2019 rendition of a style many albums throughout the decades have done just as well. I also don't understand how this won "best rock album", it's not really rock whatsoever, but that isn't this list's fault. It's hard to put into words my issues, but I don't see the fantastic album here. It's alright, and I can see why it's on this list, but I don't take much away from this as a whole. More power to those who did get something from this though, it's gotta have that high score for a reason.

Okay, I'll admit, maybe I'm just uncultured and don't know what I'm talking about, but this was awful. It isn't exactly "modern" pop (over a decade old!), but it sure feels like exactly why people say they don't like modern music. The ideas behind the album are in good faith, and the messages are okay, but the songs all sound pretty same-y, both in sound and in lyrics, and an over reliance on a heavy bass sound rather than any actual instruments really drags the songs down. This album also goes on far too long, with as I said, half the songs feeling like alternate versions of previous songs. Most of the featuring artists felt useless and in the background, usually in an annoying capacity (such as Drake's feature). The last song was sweet and probably my favorite on the album, but it didn't really recover the album at all. Just like Kanye West's "Yeezus", this may have changed pop music, but that isn't necessarily a good thing.

Oh, awesome, modern pop country, my ffffaaaavvoooorrriiittteee. I'd first like to say I'm under the belief lyrics, while important to a song, are usually a backseat compared to the instrumentation, otherwise it would just be poetry. That being said, the lyrics in this are awful. When they're not cheesy they're just bad. "In Tennessee, the sun's goin' down, but in Bejing, they're headin' out to work", what the fuck does that mean? What does that have to do with this love song? Yeah, timezones exist, good job Kacey. It doesn't even rhyme within the song, which I would excuse as an artistic choice, except the very next two lines rhyme with each other, so obviously it wasn't that. There's other examples all throughout the album, but when your first song has a lyric that makes me burst out laughing, you probably don't have the keen-est sense of writing, and there's probably a reason most pop singers don't write their own music anymore. Another thing is the actual choice of genre itself. It's pop country with light sprinklings of more electronic-esque genres, but that isn't used in any interesting capacity, they just usually are either a light backing track that aren't notable enough to talk about, or start the song, hoping one of these songs will actually sound different, before switching back to pop country about five seconds later. This pop country is also aggravating. It's the worst of country, never really committing to the genre, which is fine by me because modern country is pretty awful in my mind, but I agree this is more pop music than anything. Bad pop music, that is, because none of this has the goal of pop music, which is to be catchy, and I don't remember these songs two seconds after they end. How do you make a song called "Space Cowboy" boring? Or "Velvet Elvis"? There's just really nothing here I enjoy whatsoever, and the amount of modern pop albums I could understand being on here compared to this makes this even worse. Is it as bad as a male lead vocal modern country song? No, it isn't about trucks and beer, it can attempt something more interesting, it just doesn't stick the landing whatsoever.

I've never spent the time to really listen to Rush, but my significant other considers them their favorite band, so I've been exposed to various songs by them for years now. So, after finally giving one of their albums a full listen, I've got to say I'm super impressed. I mean, it was slightly in good standings already, as I knew Tom Sawyer, YYZ, Limelight, and to a lesser extent Red Barchetta, which makes up more than half the album (number of songs wise), but I enjoyed the stuff I didn't know as well. I will say none of the songs really hit me with a strong feeling like other Prog Rock songs do (other than YYZ, that song has always, and will always, be one of my favorite instrumental pieces), but it was still all super solid and it's hard to say an album is anything but a five star when each song is good. It's a light five star, as I don't think the new songs will stick with me unless I give them a few more listens on my own time, but still a very good album I'm happy to have heard.

This was pretty good, although since it's very, VERY obviously meant to be dance music, it doesn't really jive with most of the other albums on this list and how you may listen to those. Some of the instrumental songs become background noise only a minute in, and the songs with vocals, save for one or two, are usually very simplistic. Again, this is all exactly the point in the context of the album, but I can't see myself listening to most of this in any moment of my life, other than a random shuffle. Still good enough to get into the four star range, but this is really in it's own category.

Wow, I was worried at first, but as thw album just went on I loved it more and more, then I went back and I loved the songs I was initially questioning, and the whole album really clicked for me. It's really interesting, as I hear the 60's sound people say they here, but I also hear some music that would come from the 90's britpop era, but like, not bad? It's hard to explain, but I encourage if you think this album was close to clicking with you, listen again, it was really lovely, and I think this album is great. Can be a tad whiney at times in the vocals, but it doesn't detract past a small part of a song near the beginning.

I absolutely adore Darlene Love's voice, it's magnificent, and I assume that's why of all the songs on here, hers are the ones I know the best. Sadly I'm not as crazy for the rest of the album. Christmas (Baby Please Come Home), specifically this version, is one of my favorite songs. It's a shame it's produced by a murderer, but considering he doesn't actually sing in any of these (although he does talk like a weasel near the end) and it doesn't detract from the album. I think I would've adored this with just Love, but instead we'll have to keep it in the middle. Still pretty good for a Christmas album, I'd say. Also, again, very funny, giving this on Christmas. It's like the Queen Is Dead all over again.

Suprisingly good, but I did know Kendrick was this amazing rapper, and I even planned to listen to Pimp A Butterfly in my own time at some point, but since this came up before that, I get to experience this first. I think it's funny how many people say these lyrics are "offensive" in the review, as if this isn't an autobiographical album. Media literary isn't people's strong suit, I guess, but considering one of the one stars gave the Kid Rock album a 5, I don't know if that's all there is to it. Any way, I just found this to be a really good album. The flow on a lot of the raps were super satisfying, and the stories they tell are far more engaging than most other rap albums in my opinion. I don't think every song lands, and the longer songs do stretch a little thin, but things are still top notch. I will admit, I was not ready for the beginning of m.A.A.d. city to unlock memories of Vine, so that was weird.

Y'know, I look at this album after listening and think how much of an album this is in the "walk by without thinking about listening" spectrum, which is really a shame, because the contents inside are excellent. The violin's ability to go from scretching to being absolutely gorgeous at a moments notice, or the piano appearing sporadically to aid with the Vibraphone's more mellow sound, or the bandoneon really partnering with everything else to create this great album. Yes, the songs do go on a tad long, and I could understand why someone may find this more boring than anything, but just listening to the wide range of emotions really lets this one spread it's wings and be absolutely fantastic. Perhaps not music for a Sunday drive or a workout, but music for the point of listening.

Ah, yes, the album that I knew before I knew anything about rap or hip hop culture, while I didn't know it was all the way from back in 1994, I knew when seeing the album that it was important. And... it was okay. Kind of boring? Like, the flow with wach verse was crisp, but I wasn't extremely engaged with the words being said by halfway through, and a lot of the beats were simple. I could understand how this stripped down production could still be enjoyable, but this really does feel like "90's Rap Album" without much more to read into. The album is still alright, but not much more than above average.

Damn, I really am gonna become THAT uncle; first I enjoy Iron Maiden, and now I think this was pretty good too. I do have a few problems with this album to keep it from that five star, though. First, some songs do tend to blend together, especially in the middle. Axl Rose's voice, while impressive in range, can get a little annoying when he is doing his higher range, and finally Paradise City. Just in general a bad song in my opinion. So, just a pretty good album with some issues, which I suppose is exactly what I expect from late 80's hard rock. Slash's guitar playing is crazy for a (famous) debut such as this. Sure, the hits from this album are annoying now, but it's still crazy the amount of songs from this one album that get that treatment. Even the big boys don't get that

While I'm not a fan of blues as a genre, and this did not change my mind in anyway, it was more enjoyable than the average blues album for me. I really liked how snappy it was, never really lasting longer than necessary, and the crowd wasn't annoying like some other live albums. I just think this was an alright album that is dragged down by my dislike of the genre, pretty much putting it right in the middle.

I completely understand how important Buddy Holly is to music, and it is interesting to think if he would've continued to be this huge influential presence without his passing, but in the real world, he was. So, why is this album so non-interesting? I mean, it's good, don't get me wrong. Nothing here is bad, and some of it is relatively nice (extremely short and sweet), but most of it goes in one ear and out the other. It's pretty much middle of the road for it's good sound but lack of intrigue from a modern eye. It isn't like I just dislike this style of rock, there's plenty from this era that can become an earworm, but this isn't it. I think my significant other will like it way more, though.

I'll start by saying it's super smart to start the album with an explanation of the music style, that way listeners unfamiliar with the instrument and style can perhaps understand it a bit more by the first "real" song. That being said, this is kind of extremely boring. Am I missing the point? Absolutely, I was listening to him in that first song, after all, but as the top review seems to imply, I feel a boatload of substances are needed for this to be anything I'd want to go out of my way to listen to. All the songs are unnecessarily long, and nothing ever sticks in my mind after even just a minute. I feel bad saying this, as with George Harrison being my favorite Beatle, I should be living it up with this album, but I'm not. I don't hate it, none of it sounds bad, but I don't really care, and will forget I even listened to it by tomorrow's album. I can hardly even remember the album's name.

I do enjoy this album. In fact I enjoyed it quite a bit, but it took about halfway through for that enjoyment to really kick in. I mean, the first song had a such good energy to it, and then the next few songs just felt like the same level of energy? Like, to the point that everything was blending together. It wasn't until about halfway through where it felt that each song knew it's proper placement a bit more. The slower pace of a couple songs, or the rapidly changing energy is something that the early parts of the album would've really benefited from, and would've in my eyes pushed it to that 5 star range. Will just have to settle for pretty good, I suppose.

Plenty of genres in here, yet they all sound pretty similar? I suppose you could call that both a success and a failure, depending on who you ask. This was okay, but most songs fail to do much more than the surface level presented, and it makes a lot of songs just alright. Certainly not a bad album, but I don't see myself putting this on again. Certainly not what I was expecting though, I thought Adam Ant was more new wave pop-ish than this.

I've known the first two songs off this album for a solid chunk of my life, so I'm curious to see what I think of the rest. There was this fainting familiarity with some of these other songs, but it doesn't matter too much because I know them now! Man, this album was awesome. Sure it was kind of generic but the riffs were nice, the music never got grating (something a lot of classic rock causes for me) and I was jamming most of the way through. I only wish this album was more prog-ish, because you can totally hear that in there with some of the songs, but it doesn't really go for that. Amazing album regardless.

Man, I have no clue what to think of this. This is both extremely interesting for it's time period, and at times very good, then randomly they just pull the most... peculiar choices, such as cutting the audio in one speaker in a way that sounds like it's connected wrong. No matter what, I can't say I hate this? Perhaps it is indeed better on drugs, but if music is only good on drugs, I don't know if that really counts as "good".

Ah, the White Album. While it may not be the best Beatles album, it is a high contender for my favorite LP of there's, if not favorite album in general. It even sports what is perhaps my favorite song of all time, Julia. The album starts with, while not my favorite Beatles song, a great start to an album with hugh energy necessary for the ninety-three minutes ahead. It then flows perfectly into Dear Prudence, which is just super nice and calm, and I think of all things Rock Band really nailed in the visuals, adding color to the formally monochrome gameplay as the song heightens the sound. As we enter Glass Onion I remember thinking how I disliked the song for being a little to self referential, but I've grown to like it with this re-listen. Perhaps it's due to the focus on the severely underrated Magical Mystery Tour LP's songs. Next is Ob-La-Di, Ob-La-Da, which is not that bad. I think people only hate it because John said he hated it so much, and it grew from there. It totally goes for the energy it sings about and nails it, and I think it's a great test to see if someone can just enjoy a happy song. This sentiment continues with Wild Honey Pie, which is absolutely hilarious, and is short enough where it isn't a bother. The first song that does actually irk me is The Continuing Story of Bungalow Bill, which chorus does grate me a little on so many repeats, and the vocals on the rest of the song doesn't help, but this is totally forgotten by the time you're getting into the opening notes on While My Guitar Gently Weeps, which is a rare moment where despite being a famous song, absolutely earns it and does not lose any luster because of it. The absolute emotion coming from both the guitar and Harrison's voice speaks volumes to any listener, and is in my opinion one of the few times Clapton earns his recognition. We end the first side with Happiness Is A Warm Gun, and it's range from the beginning of the song to the end is such an impressive range of understanding how to write a song that it is an absolute joy no matter how it sounds. We start side two with a jolly song about a dog. How a song about a dog can be such a lovely tribute is astonishing, and may be the perfect example of how much McCartney truly loved things in his life with this joyful passion that sometimes other Beatles members feel too cold to take advantage of. I'm So Tired, while the weaker of the Lennon sleep duology, is really good at stripping back it's sound to let it stick in the listener, and to also build up the sound as Lennon sings "A Little Piece of Mind". Blackbird shows that McCartney once again is an excellent song writer. The guitar on this is fantastic and I've yet to hear a cover that recreates it just as well, and the vocals suit it perfectly. Not McCartney's best guitar focused song (how can you top Yesterday), but it is still amazing. We do next have a tad bit of a stinker in my mind with Piggies, which is a rarity for George, but this song has never worked for me. The harpsichord sounds too dainty, and the vocals almost sound drowned out by the orchestra at times. Perhaps a stripped down version would be up my alley more. Rocky Raccoon probably has my favorite outtake of any Beatles song, and tend to listen to more than the original, but this only makes me somewhat fresh-faced for this re-listen. I think it does an excellent job telling this simple story, something certainly not rivaling Dylan's storytelling, but just fun, which fits for once again Paul. The Old Timey piano hits this sweetspot for me that I think the harpsichord in Piggies was trying to go for. I may all be bias though, as my name is in this song. Next is Ringo's only song that he wrote himself other than Octopus's Garden (which George helped with anyway), and I should hate this, as the fiddle can come as annoying and Starr's vocal talent is less than ideal, but I don't. In fact, I quite enjoy this. It has the same energy some of the goofy Paul songs from earlier bring, while completely showing Ringo should have truly been a country music singer, and just so happened to be in the most famous rock band of all time instead. Why Don't We Do It In the Road? really shows that vocal talent I love about McCartney, and shows some of that not silly love song energy from Paul we'll see later with Helter Skelter. Paul gets a completely contrasting song right after with I Will, just a completely relaxing piece that is that silly love songs that McCartney fans, including myself, just adore. The little background instrumentation that happens is severly underrated in this piece. And then we get Julia. Dear God Julia. It's just so gorgeous. We have John just singing his soul out to his deceased mother Julia, who while their relationship is certainly... "interesting", it doesn't detract at all from the pure love in this song. The vocals, the lyrics, and the guitar playing just feel the most authentic the Beatles have ever and did ever feel, and while John has never been my favorite Beatle, he does earn my top spot for the song by a Beatle. I would write more, but I want to cut myself off now. Perfect way to end side two. Side three starts with Birthday, which I'm sorry but this song isn't that bad either. It is the perfect song for what the song is about, and Paul sounds genuinely more excited for my biethday than I have ever been. Just feels like an older Beatles tune, but if they didn't have to write about love for once. In my opinion this nails what Back in the USSR tries to capture. Which is of course why it is led up with John saying "Yes I'm Lonely, Want to Die" to really bring you back down from that pleasant high. A very bluesy number, which indeed makes this a song I'm not too crazy about, but that riff certainly sticks in your head, and those repeated lyrics I already mentioned are an excellent line to show people who don't know the lesser known Beatles discography. To pair with Julia we have McCartney's Mother Nature's Son, a very melancholic song, which feels like something you listen to while laying in the grass. Just so light and airy, and the orchestral brass giving it the weight to keep it tied down to earth. Not as emotional as Julia in my opinion, but glad this made it over of Child of Nature (especially so Jealous Guy could make to Imagine later on). What I would say is somehow the most forgettable song on the album is Everybody's Got Something To Hide Except for Me and My Monkey, which other than John belting out the title, I completely forget the sound of after hearing. Not a bad track, but nothing crazy, and totally doesn't earn that ludicrous title. With Sexy Sadie I remember thinking it sounde reminiscent of a Hunky Dory era Bowie song, but I have since noted the actual influence in Radiohead's Karma Police. This used to be one of my favorite songs on the album, with it's 50's style doo-whop type sound really sticking in my mind and the piano focus only taking a backseat for the guitar in the chorus (save for that enchanting guitar ending) really feeling great to hear. Then Helter Skelter starts. Now, this song has been in my concious for years and years, so it's nothing new, but this seems so crazy for 1968. I'm not about to say the Beatles solely invented metal, because that would be really narrow-minded, but the raw power on this track is stronger than the album Raw Power. We end side three with another Harrison song, Long Long Long to really round out the semifinal part of the album, which is just a heartfelt message from Harrison, something he is quite good at doing. We start the final part of the album with a taste of what is to come in just a few songs. Luckily this one is far more casually enjoyable. While I don't like this version quite as much as the high octane rendition the original presents, this is still a good head bopper that really feels from it's era in a good way. Shoo-bops and all. Speaking of songs alluding to other songs, Honey Pie is sorely underrated, often being undermined by it's far weirder and shorter sibling, when it deserves to be a highlight of the album. The way once again Paul just shows a true love of the music he is making really presents an enjoyment rarely seen in the music industry. It's almost criminal that the show tune style this song goes for is not given a chance more often, as it really gives it this nostalgic feeling while still being thematically relevant to the lyrics presented. I like this kind of music indeed. Savoy Truffle is a track I always thought when I first went through the entire Beatles discography was a McCartney track because of how bubbly it is, with the horns really adding to the song, and the food allusions really just makes it so groovy to listen to. With Cry Baby Cry, which I was saw someone say was the most British song ever, is enjoyable on it's own, although a little simple, makes an excellent choice of adding a snippet of Can You Take Me Back at the end to have relaxed sound after a slowly building up song. Perhaps it's good to have to prepare for what's to come. Now Revolution 9 is... well, it's bad. Is it super experimental, and thus perhaps impressive for the time? Definitely, but it isn't enjoyable to listen to or even dissect, as it's been done to death. It's boring at best, and extremely uncomfortable most of the other time. It's coolest thing is how it messes with the audio channels, but the actual song presented should never be listened to as a song, and is definitely something I consider a sour point on the album, especially so close to the end. Luckily we get to end on an extremely peaceful note, with Ringo using his suprisingly soothing voice to basically sing as all a lullaby and bring us back to peace after that... experience. It's no wonder he went on to narrate Thomas the Tank Engine for a time. The sweeping orchestra really makes me adore this one too, and is a perfect placement and a perfect send off to this fantastic album. Now, this album does obviously have small issues, but there's so much fantastic stuff here that it really destroys any negatives this album may have, and makes it what I consider a near perfect album, and certainly good enough for the 5 star. I love this album, apparently enough to write something about each song, something I've never done and may never do again, and I just really appreciate getting to listen to this all again in one sitting, haven't done that in so long, and it really made me remember why I love the Beatles so much. Once again, fantastic album.

As someone who listened to Muse over Radiohead most of their life, I had always heard Muse was the rip-off band, among other things. Personally, I don't hear it that much, other than both being alternative rock bands that tend to use electronic sounds, so space rock. That being said, this album is still alright. I mean, it's nothing too crazy, and I knew most of my favorite songs off this album before starting (Subterranean Homesick Alien, No Suprises, etc), so nothing was too big of a revelation, but I still enjoyed it pretty well. It certainly is claustrophobic and hits what it's trying to do super well, almost like being stuck underwater, but in a good way.

I'm almost surprised how high of an average score this album has, and it's not really that high. Two nearly thirty minutes songs doesn't really seem like most people's cup of tea, but I suppose the beginning of the first song is an iconic theme in film, so perhaps that's what's bringing it up? As for me, I think it's crazy that this was written and played in its entirety by Oldfield at the age of just nineteen. That's a crazy age to be attempted to write something this influential, let alone succeeding. I'm not sure how to rate this album, however, as my usually rating system doesn't really work on an album so long yet with only two songs. I do really enjoy this album though. I don't think it's perfect, there are small parts that are either boring or a tad weird (what's up with the Korn-esque growling in the middle of the second part?), but I think the musicality of it is often very nice, and there were parts I genuinely would want to listen to over and over. The downside is I can't see myself listening to the songs anytime soon, due to the length of each song. Still, very nice. I think this would be really nice on a calm evening drive or laying in bed at night.

This has got to be the most severe case of so close to something I like but not quite making the mark so far, and I'm not even sure why. My only thought could be is perhaps I wanted the songs to change a bit more as they went on, but I didn't really have that issue while listening. I think it was just a simple case of a song not really doing quite what I wanted it to. It was alright, I certainly don't regret listening to this, just wonder if there's more to be had with this Jane Weaver's other work.

With less than 150 albums even generated, I have finished all of The Doors' content that is on this list of albums. This album actually had me worried at first, as it almost felt generic in the first half, save for what is perhaps my favorite song by The Doors, Love Her Madly, but similar to the Dennis Wilson album, the second half of this album came in clutch to earn it four stars. However, I thought this one would be my favorite of the three, but it's probably my least favorite, as some of the songs lack that style The Doors had in past albums. Definitely still pretty solid though.

Man, this album was not good at all. Like, Witchy Woman was alright, but the rest was either at best a poor man's America or at worst god awful country rock with no variety or depth. I would give the little bit for the small parts that were okay, but of course they're also obnoxious about music streaming and make it impossible to play the only okay song on the album within the album itself. Nah, fuck this band, I knew all they were good for was Hotel California, and this album doesn't even have that radio fodder.

Similar to David Bowie's Blackstar, this is a very fitting "final album, even if it isn't technically his last. It just feels so emotionally driven and his voice is absolutely haunting, bringing it all together is the orchestral sound. While I have enjoyed what I've heard of Leonard Cohen's guitar playing, having instead a hard hitting orchestra makes his words have so much more depth to them. I was worried I wouldn't like later Cohen due to the voice change, but if anything this may be my favorite one I've heard so far. It only misses the mark for five stars because some of the songs do go in one ear and out the other, or sound too similar to another song, but that hardly hinders this cool thirty-six minute album.

Suprisingly good, albeit pretty childish at times. The flow and the beats are super satisfying, and a lot of the songs do stick in your head. Only issue, as mentioned, is the lyrics can be so vulgar they're hard to ignore at times, but otherwise very good.

This feels like a really good idea executed very poorly. Metallica and even the crowd often overpower the orchestra in sound, causing them to become background noise you forget about. Perhaps if it wasn't live this would be a lot more impactful, but the constantly cheering crowd is never not slightly heard in the background, and really bothers the sound for me. The intro with Ecstasy of Gold really feels like the most self indulgent thing ever, too, get over yourself. None of my criticisms are towards the orchestra itself, of course, they did great for what they could, and maybe S&M 2 would sound better, but no way am I trudging myself through another two hours of a live metal album anytime soon if I can help it. I'm sure this was awesome live, but the only thing keeping it from the lower stars, despite my pretty negative reviews, is the rare moment when a song works, or when they do something original to the concert so the crowd isn't screaming all the words.

It feels and seems weird that there is a modern band on here with an album that's a compilation. What makes this any different enough from other compilations, and what makes it more "allowed" than stuff like Queen's Greatest Hits or Changesonebowie? Besides that, this album was... fine? Really generic 2000's punk. Certainly not pop punk, but the complete lack of difference between songs, and this supposedly being the "best of"? Not terrible, but not impressive.

A really awesome album that was ahead of it's time. Not much more to say about it for me. It doesn't quite hit the 5 star mark because a few songs aren't all that notable for me, but it's short, sweet, and a really high four star. We're talking super high four star.

Extremely strong start with the first few songs being all absolutely great, but the spark does seem to find a bit in the middle to near the end, with Mamunia Picasso's Last Words being pretty boring. However, the final song is a pretty great bop and ends the album on a high enough note to ensure a four star. This album was very good, but I still wish Ram was the Linda and Paul project that made it to this list.

This is a weird mix of pretty generic meh 60's rock and some absolutely great songs, such as Thoughts and Words. I was expecting this to be a little more country than it was, which was a nice change of pace, but I'm going to have to be reasonable and say that the album overall was pretty mixed, earning a three star. Seriously though, Thoughts and Words rivals the Beatles in quality.

You know, after the name of the artist and the album itself, not to mention the slightly off-putting album cover, I was expecting a much more hard to listen to album than the one I got. This was a pretty joyful album all things considered, and while a lot of it was background noise, it was pretty enjoyable music. Perhaps this is heightened musically on something like LSD, but it's still pretty nice without it. Nothing amazing, and a lot of it forgettable, but I don't regret listening. I suppose just throw it in with other 90's electronica.

A natural progression of the Beatles formula, and in my opinion the first time you can hear what is to come with albums like Revolver, Sgt. Pepper, etc. It's interesting how all over this album can be quality wise. Like, there's songs like Michelle and Girl, which while being very much like older Beatles songs, feel like a deeper understanding of that style of music. You also have songs like Drive My Car and The Word that really just feel generic and boring. Finally you have songs like Norwegian Wood and In My Life that sound like what's to come more than anything. It's just a situation where for every bad song there's three great songs, but those bad songs still sour the music, leaving to be unable to grasp that five star rating. Still a must listen for that transition period, and still has some fantastic songs (Girl being in my top three Beatles songs), but every Beatles album has good songs.

The worst parts of The White Stripes (which are rare) combined with the whiney-ness and "not knowing when to stop a song"-isms of Marilyn Manson to create an album that started out already at a two star and just got worse and worse. I had decided one star by the time we got to the nine minute song that was just a combination of the song before and after it for a twenty minute "epic" that just was repetitive and boring. Perhaps this should be a two because none of this was awful, per se, but as my partner taught me: if you find yourself turning the music DOWN as it goes on, it probably isn't your thing.

Often when listening a song would start really strong, with all the instruments hitting pretty hard and grtting you pumped, and then that mope-y voice would start singing. It's certainly not a bad voice, but it feels so dainty that it takes a way a lot of energy that the songs often try and have. Obviously there are songs that work around this, with stuff like the Scientist being actually pretty good, but most of the time it almost goes for this sound with a "get up and fight" attitude yet no actual punch, and Clocks is just awful, but that's definitely due to overplaying and it just being plain boring.

I'd like to think I like Run-D.M.C, but considering many of their songs I have are from later albums, so I was cautiously excited for this album. Sadly, a good chunk of this album is a little hollow sounding, with lots of empty space and the flow of the rapping often being choppy. Obviously that's because it was very early in the genre, and I respect it heavily for that, but albums only a couple of years later in the genre don't have that issue. There are a couple songs without this issue, such as Rock Box, but then the other issue is the length, with most of the songs opting for an instrumental for long periods of time, or just ending when it should. This is close to something that's good, but the cheesy lyrics on top of all of that makes it something I'm not crazy about.

Seemingly not available on my streaming service of choice, so YouTube it is! How is this hardcore punk album, something that is supposed to be pretty "out there", one of the most nothing albums I've gotten? It didn't even give me the honor of being short like some punk albums, just kind of being normal album length. I mean, this wasn't awful, but it sure was what it was trying to be and nothing more. I understand why it's on the list, but... yeah.

I recently saw someone call Foo Fighters "surprisingly safe radio rock" which I assume stems from the prior band Dave Grohl was apart of sounding not too similar to what Foo Fighters outputs. However, I would say it makes complete sense if you look at the music Grohl actually chooses to engage with. He may play the drums more intensely than the average band, but the man cried about the newest ABBA album, so I think he's a bit more sensitive than just "the heavy drummer should only make the heavy music". I know sensitive is a silly word to use, but you can kind of feel it here, since this album was pretty much solely made with the intention of being a sort of therapy after Kurt Cobain's passing. I think later Foo Fighters could get away with being called generic rock, but I think there's enough here for this to seem like a genuine effort. Having songs like "Weenie Beenie" sound the way they do gives off a Nirvana-esque energy, and having something like For All the Cows just two songs later, which is a completely different style tells me it's at least not all generic. I will admit there are some songs here that go in one ear and out the other, but I think this is more than just a pay check trying to be made.

An absolutely amazing voice that is sadly restricted by some pretty generic songs from the era. Certainly not bad music, but it's hard to really get into music that if anything sounds like something from the late fifties. It's a shame, because there are some musical hints of greatness and definitely would've evolved had there been time to do so.

Not only is this a situation where my streaming service of choice doesn't have this album available, but it also hits my other usual case of everything on this album being super close to something I like, but because nothing quite gets there, the whole album falls flat for me. It doesn't help I already don't like Britpop, despite what some of my favorite albums may say (why is Franz Ferdinand Britpop?), so this really just isn't anything for me. Not bad enough for a one star, certainly, but still nothing crazy.

Other than their first album, this was the only Simon & Garfunkel album that I knew nothing from going in, so I was intrigued going in to see what I would get. This is the first album in their discography on this list, so I was also intrigued to see why this made it over Sounds of Silence. In the end I think this a pretty good album with some snags. There is quite a bit of variety for something from '66, and there is quite a bit to enjoy. I think some songs here are just not very notable. Other songs, such as the final song, are very strong sounding, but aren't something I imagine wanting to go back to. Overall I enjoyed my time and will be giving this a light four. You can think of it more as a 3.5 if that helps you sleep at night, if my score seems more positive than my review.

Why is this marked as Country and that's all? There's a lot more going on here than that. This was pretty good otherwise. The starting songs were easily the best of the album, with some more good songs peppered throughout, but still pretty solid, was expecting to dislike this more than I did, though. It has this feeling of "meh" resonating from it.

Man, this really is just an "Ocean of Noise", huh? Really not good, and the addition of a member being an assaulter? Man, easy to hate this. It's pretty funny that this bad mix of Mumford & Sons and Modest Mouse is on here three times, yet nothing by either is on here. Not that I'm dying for Mumford & Sons to be on here, but all this feels like to me is indie rock with too much of a budget.

This is kind of weird to listen to after just listening to this same man coming to terms with death just a few weeks ago, so the whiplash of this 80's cheese is a little goofy. Certainly not bad, but hard to get into, as the words don't much the artificial sounding music, unlike the guitar playing of earlier albums or orchestra of later. I have to give credit that a lot of similar singers were struggling in the 80's, such as Bob Dylan, but perhaps if I looked at these albums of Cohen's all as purely poetry they would all be equals.

I sure as Hell won't become THIS kind of uncle. I draw the line here.

Well, that wasn't as bad as I was expecting my second Costello album, with me originally thinking one was enough, but this still wasn't anything special. I mean, don't get me wrong, it's alright, or it wouldn't be getting three stars, but I really don't see what some see in this album. Just was boring most of the time and a lot of the good bits were a bit covered up. Only saving grace is it feels a bit more like its own thing, where I can see where someone may start to say "I like Costello because of this!", but not totally for me. Would rate lower, but I'm feeling nice, I guess. Very low three stars.

I always had this visual of Jimi Hendrix that was endless guitar solos and pretty so-so lyrics, but after this, I was blown away. When the (pretty much) first song comes on and it's soulful the way it was, and then songs afterwards kept being different genres with their own flaire, it was just consistently enjoyable. It was a bit long winded at points, dragging the score down a little, but I'm now even more excited for the other Hendrix offerings on the list.

Well, this was an interesting listen for sure. I'm usually not a fan of the random garage rock esque playing of the more Avant Garde style of music, but there was certainly stuff here that I enjoyed. The story of "The Gift" kept me legitimately enthralled for the whole eight minutes, and stuff like John Cale's voice was very enjoyable, which was surprising after really only knowing Lou Reed from this band. I mean, this has a lot of issues, definitely, so don't mistake my praise for enjoyment, a seventeen minute song is almost always unnecessary, and this was no different, and not much was actually notable, like a case of trying to be too artsy with no real direction, but I could definitely see the enjoyment here. Gotta give it right down the middle, but I will admit this is perhaps my closest to the four stars of all my three stars? I'll have to fact check that for myself, but it seems right to say.

I'm usually not a fan of country music, and in my opinion the 80s were when the genre really started pushing that "country pop" I oh so loathe. However, Dolly Parton is a treat of a person, so I won't dismiss this instantly. While the harmonies and vocals were impressive, the album left a lot to be desired. At best, it was pretty okay but less than notable country music, but it often dipped into either hard to enjoy 50s era country, or was very generic 80s country, the exact that I figured I would not enjoy. There is enough here to keep it out of the one star, but I see nothing here to make this album notable, save for vocals that are outdone by other singers or Parton herself on this very list.

I actually just recently listened to this album for the first time a few months ago, and I loved it, so we'll see if that love sticks for this re-listen. I must admit, after re-listening to this album, I think the honeymoon era for me is over with it. Its still extremely good, don't get me wrong, but I don't find myself wanting to come back soon after this recent listen, and am satisfied with fewer of the songs overall. Once again, still a really good album, but not quite as perfect as I once thought. The songs present are really good at making your head bop around during, and the vocals hit this perfect blend of being unique without being annoying. This may have dropped from a five star to a four star album for myself, but I still enjoy it deeply, and must state this is a high four star.

Well, I always thought I vaguely liked Kiss and their weird mesh of genres, but apparently those songs I do like are flukes, because this was pretty bad. The album started pretty good with the first song, but past that it was generic and boring. It's a shame, because considering Kiss is usually seen as glam rock, I bet this will drag my score down for that sub-genre, which I figured would be my favorite by the end of this.

I am sorry to say I couldn't get as in to this as I thought I would. I mean, the hits definitely earn being the hits, but a lot of the songs aren't the most notable in the world. Like, this definitely is enjoyable in the moment, but past that I tend to forget them. Until then, its pretty middling.

Suprisingly good. I liked the White Stripes-like music and the nicer poppier stuff was nice too. Only thing holding it back is the weird moaning in a lot of songs. Hard to take that seriously.

God I hate Green Day. Almost all of their famous songs either sound goofy, cheesy, or rip-off another song. You can argue that "songs sound like other songs" all the time in music, but Green Day does it so much that they constantly get called out for it, and that obnoxious voice only detracts from these iconic songs. Now, I will admit most of these rip-off songs are not on this album, but that doesn't excuse my hatred of this whiney ass band. So, let's just say I'm not going into this album with the most neutral mindset of these pop punk shit. Alright, this isn't any better. His vocals still suck, and knowing almost every song in some way just made me know right when it started I hated it. And why, oh why, is a punk album, what's know for being short and sometimes sweet, have multiple way too long songs. I realize they are usually multiple songs in one, but they are always listed as one, so they shall be punished as one. Just awful. Have no clue why pop punk is such a popular genre.

This album is mildly hard to rank, because I feel as though this supposed to be some sort of otherworldly experience judging from the composition and lyrics, but considering I'm as sober as a judge right now, this album tended to be a little boring. I really enjoyed Part 1 of Yoshimi Battles the Pink Robots, and knew this before going in because of my significant other and Rock Band, but the rest of this felt pretty samey with some bright spots shining through. There were some musical effects that had hairs on the back of my neck tickling a little, but otherwise an album that's certainly just okay.

I've known about this album for years now, and after finally hearing it, I understand why this is such a standout part of hip-hop and rap. Lauryn Hill impressed me as an artist earlier in the list with her solo album, so I was looking to enjoy this too, and it delivered. I would even say I enjoyed this more, with the little skits not being as intrusive as in that album. The only thing holding this one back is its overall length, with some of the songs feeling almost like filler, and are obviously lesser compared to some of the others. However, great album and I wish someone had forced Killing Me Softly unto me sooner.

I'm starting to think I'm not much of a Wu-Tang Clan sort of person. Both this and when I scanned through 36 chambers were pretty unnotable to me. Perhaps I'm being too hasty, as I said I only scanned through one of them, but I found this pretty boring.

I've seen people say this is a "love it or hate it" sort of album, with quite a few people on this generator going for the "hate it" route, but quite honestly, I've neither. I just think this is alright and really interesting, with a sort of folk-psychedelic vibe going on that may be annoying at times but really works at times. There are times when the hard acoustic guitar, such as on "Swift as the Wind", goes really well and sounds great, with the dreary vocals adding to it. I just fail to understand how this apparently the fifth worst album on this whole list, as it reminded me a lot of Pink Floyd's first album on here, and yet that has a almost a whole star on this album. Guess it just goes to show that artist bias is most certainly a thing. You know what? This gets a 4, it may not have earned it totally, but it won't move the number too much any way, and I wanna help it get up a bit.

An album that really feels like it ushers in the sound of 90's pop and R&B music. The issue is that isn't really a good thing. The cheesy synths and the "we need to make the world a better place" lyrics really don't do much for me.

I had gotten Belle & Sebastian's album Tigermilk a bit ago on this generator, but knew of this album from my partner's love for it, so was hoping that may enjoyment from their prior album would just be heightened more in this, and it absolutely was. It is hard to explain what makes this album so enjoyable, but the melancholy feeling with the easy listening really are heighted with the almost "locomotive" feeling of some songs, while knowing when to reel it back to really make the album feel fuller. It's just a feeling that isn't quite folk, alternative, or anything else, but its own thing that is really quite enjoyable. Excellent listen.

Her voice is great, don't get me wrong, but this all sounds the same, and that's over three hours of all the same. That's ridiculous, and the fact that this is a compilation hurts it more. Lots of songs where words are rhymed by adding "-a" at the end, and that was annoying. Just an annoyed experience, overall, and her voice saves it from the dreaded one star.

Hmm, this one is kind of tough to rate. The songs were nice and pleasant, but I never really felt as though I was getting into them most of the time, and there were small things throughout the album that were annoying more than anything, such as Charles Coleman's laughing throughout the whole song, or when Makeba's singing was muffled by herself via saying certain syllables. I really can't ignore the impressive vocals, however, and I didn't outright dislike anything, so I think it'll go in the middle with a three.

An album that starts absolutely fantastic with Roundabout, then lulls around for a bit, but brings itself back by the end for an album that while certainly not perfect, feels like a solid little package. Nothing elevates above that opening song, though.

The supposed birth of the metal genre as we know it today, and its first song really tells you that. While I do enjoy this more than Paranoid, which I got a couple weeks ago, this still suffers from guitar solos that feel as though they go nowhere and lacking substance. I think there's a lot more to enjoy here, with it feeling more like a metal album than their follow-up album, but I still struggle to praise this too much. N.I.B. may tie with Sweet Leaf as my new favorite Black Sabbath song, however, I really enjoyed that.

I really love the variation in this album. You'll be getting a punky jam at first, then a new wave bop, and just moments later a ballad, all with really excellent singing and instrument playing. I mean, listen to those meter changes on Tattooed Love Boys. The thing holding this record back is perhaps a little too many instrumental only parts and a couple songs that aren't that notable, but this was super ahead of its time in pretty much all fields.

The very essence of "in one ear and out the other". None of this was bad, per se, but other than some cool switching between audio sources, there isn't much here.

An album that's great for driving, with high energy and the vocals not really mattering. However, once you actually sit down and listen, it does seem to lack any nuance that was on similar albums from the era. Certainly good if you just wanna jam, but runs out of steam quick on an already short album.

It's been a little bit, but I think this is an example of an album that will really grow on me if I ever were to re-listen to it, and that feels pretty likely. It's pretty crazy that this was 1988, as you can really hear the coming musical wave in this album. Considering they have two albums on this list from BEFORE this album, I'm curious what they'll sound like. Sometimes this album does just sound like noise, and that can be annoying, especially since it's relatively long, but I think overall this is a really solid package.

A pretty un-notable singer-songwriter album and not much more than that. This album had an issue I hear for Joni Mitchell albums a lot where the songs seem aimless, but at least with Mitchell there is something there musically and vocally. This kind of reeks of 80's. Not in the way new wave does, but more like just in its boring production values that just feel like they're missing something, so songs can start to feel very much the same. Only saved from a one star because nothing here actively made me angry or annoyed. Most media I'd rather be angry than bored, but that does not stand with music, because this at least did not offend my ears.

I didn't enjoy this one as much as Blue, but I still liked this well enough that I'm not worried about the other Joni Mitchell albums on the list. I can only hope that I still haven't reached the peak of her music. I really adored Blue Motel Room off this album, though, may be my favorite song of hers, just not enough here to raise it to the four star rating.

I really feel like an asshole saying it, and I wish I had gone into more in-depth thoughts when I said it for Miles Davis' "Birth Of The Cool", but all this does is remind me of Olive Garden. It certainly is easy listening, and the bass has some really impressive moments, but otherwise this is dreadfully boring background music. Perhaps if I were actually there it would be one thing, but otherwise this is just long and repetitive, only saved by it having its enjoyable moments peak out.

I genuinely don't understand how Supergrass (or Franz Ferdinand while we're talking about it) could be considered Britpop when Britpop is so awful yet these albums shine so spectaculary. I remember when I got In It for the Money I was genuinely surprised how good it was, but this is even better. No song here is filler, and the shock of knowing a song, that being Alright, without actually knowing who it's by was a good kind of whiplash. Just genuinely super enjoyable. There may have been a small dip in the middle of the album, but not enough to hinder the album at all.

Honestly, I don't really get this album. There is something there, and perhaps Pavement other album on the list will sell me on that something, but this felt aimless at best and extremely mediocre at worst. The thing putting this album in the 3s despite all this negativity is how many times a song just barely didn't click, making it feel like there is a version of this album out there I enjoy much more. An alternate life, perhaps. All I'm saying is it makes sense why I had not heard of Pavement before now, despite the genre of music and era.

You know, Led Zeppelin IV should be the be all end all of classic rock, and a master class in turn. So, why do I like this album all the more? The acoustic sound, the vocals really sounding more emotional than ever before, and the bluesy parts becoming there own just clicks something for me the other two Zeppelin albums I've listened to have not done. Excellent album, I'm in shock right now how much I liked this. I mean, there's definitely parts that don't really amaze me, but songs like Tangerine and Since I've Been Loving You have made up for in spades. Not sure yet if this should be a 4 or a 5, but I suppose you'll know when you're reading this.

I feel bad giving this a three, because my partner quite likes this album, but this just felt like generic grunge. There were some moments here that stood out a bit better, but I forgot it as soon as it left my ears, and had to remind myself what songs sounded like pretty often. Nothing here is bad at all, just kind of boring.

I was listening to this album bobbing my head while also thinking the whole time: "I hate this". A head bob is a head bob though, most have got me enthralled enough.

This is my first introduction to Bob Dylan for a full album, and I have a feeling this isn't the best example of the heights this man can reach. This wasn't bad at all, but a lot of times it felt like a call back album, not something from the late 90s. It wasn't particularly innovative or interesting, and was really only saved by a few of the songs working with his voice, which I can see why its considered grating here. A completely middle of the road album at the end of the day.

It seems like until the Beatles came around (I'm not just attributing this to them) a focus on the voice was all that mattered, and it leads to a lot of songs from the era to sound impressive vocally, but missing something deeper. It is easy listening, certainly, but it's extremely surface level. I can't necessarily blame the album for that, but it doesn't change how I feel about it in the (currently) modern age. Another down the middle album with this one.

I absolutely love that you can think you know what you're expecting when you go into a Nick Cave album, yet get totally thrown off guard every time. This album's first part was pretty good, but The Lyre of Orpheus was only excellent from start to finish. It is a double album, however, so I must rate them as one, and that leads to a four. Seriously, though, that second half is glorious.

Man, why is punk always so boring? I just don't get it at al- wait, I actually like this? My partner just listened to this and said it was pretty boring, but I enjoyed my time with this album, even if the voices did annoy me a little sometimes. I can understand why this is a pretty important start, and enjoy it enough as is.

First David Byrne/Talking Heads project I've gotten on this generator, as well as my first time actually listening to a full album, and it does not disappoint. I never realized how funky this could get, and the fact that this is so ahead of its time comparatively is just awesome. What an excellent album, looking forward to more.

I've tried to stop referring to other reviews in my reviews, as it feels less like my own opinion when I do mention it, but I feel as though it should be mentioned here. It is interesting how much people seem to hate this album for "shoving this movement down my throat". Now, there are plenty of good points within all these reviews, such as the amount of short interludes, or the lyrics leaving a bit to be desired at points, but I question why what I assume is a twenty-something white dude thinks this album is for them, or is trying to specifically tell THEM the message. This album felt a lot more like a love letter to black people for black people that also can be enjoyed by everyone, so viewing it as just "another piece of the BLM cog" and nothing more seems really ignorant. There are plenty of issues with this album as is, so why do you think writing a rant about BLM or any other black protests is gonna make you look like anything more than racist? Who knows, though, perhaps I'm wrong. As for me, I quite enjoyed this album. I agree the lyrics are a bit repetitive, but the musicality of it is really satisfying most of the time, and the just overall positivity of it was a nice refresher after so many of the albums on this list trying their hardest to be the most "nothing matters" shit and nothing else. I'm sure the score of this album is dictated more by politics than the actual thoughts on the album, and that seems like exactly the issue that people should realize as they write their rants on this random generator hardly anyone will ever see. Anything to get those likes and feel validated though, right?

The first couple of songs reminded me of The Avett Brothers and other folky stuff of the modern age, so I didn't hate that, but everything else afterwards felt like it dived hard into the the country music part of the genre, and they all blended in together, to the point where I was getting pissed off. Plus, it's way too long, which doesn't help at all. There's also the whole thing surrounding Adams that makes this a pretty easy one star. No clue how there's another album by him on this list.

When I first saw which Queen albums were on the list, I was kind of shocked, because most of the picks certainly weren't the big ones but after listening to this album, I can kind of see why this was picked over others, as this feels a lot more like an fully realized album, rather than just an album of attempts at the next hit maker. That does benefit that album, feeling pretty consistent throughout, and enjoyable in such. Nothing crazy amazing, but very good, looking forward to Sheer Heart Attack, as I assume its more similar to this? Perhaps not, we'll see.

I'm a sucker for an accompanying strings section to an album, it was one of my favorite parts of Lronard Cohen's You Want It Darker. So, considering this is also a singer-songwriter album with an orchestra tied to it, I did enjoy this. It was pretty mellow most of the way through, so it wasn't like something insane was in here, but it was still pretty enjoyable. Considering all of Drake's discography is on this generator, guess we'll see hoe it improves as his career goes on.

I do not have an inherent issue with live albums being on the list, but man do they like to have parts that are too long for their own good. Now, I know that's the point, you want a long show to keep you entertained, but in listening it often is just boring, and there's no exception ere. It does not help this is my first album by The Who, so not a great intro, but I'm sure I'll enjoy it more when we get around to the studio albums. For now, we're tied to a pretty mediocre live album that certainly had its charming moments but otherwise is a weird addition. Must be big, though, as I see it at every record shop I've ever gone to.

I feel like I'm going to get every 90s electronica album before I'm even halfway through this list, but at least this one was standable. Extremely boring, but standable, dare I say alright at certain points. Again, though, nothing notable, and I just keep getting confirmation that the 90s is the worst era of music.

I shared with my Bob Dylan album in the 90s that I thought I'd enjoy older Dylan more. Turns out I like, at least this album, less. A lot of it is draining to listen to overall, and while not a long album, it certainly feels long. There's parts here I do like, but I hope I do find something to enjoy out of Dylan by the end of this venture. Been sitting with me for a moment, and I'm actually bumping this up to a very VERY light 3 because the final song is actually quite enjoyable. Still not better than I hoped, but it helped a little.

Man, what is that singing on the first song? It's nearly appalling. In fact, this whole album is kind of torture. It's so BORING. Usually that'd be a two star, but this album has zapped motivation from me for the rest of the day, it was that bad. Haven't had an album that boring since all the way back with my first one star. God, I'm falling asleep just thinking about it... zzz....

It is pretty crazy how quickly rap as a genre grew, as just five years before this rap was sounding pretty simplistic (in my opinion) and this album sounds a lot fuller in its sound. Sadly, the album still feels pretty dated still, not necessarily lyrically, but in its sound it reeks of 80s in a way that's hard to enjoy. Other than the album is pretty enjoyable, but the length is also pretty unnecessary, as I'm still waiting for one of the hip-hop albums on this list to not far exceed the cool forty minutes I feel most albums work best at.

Absolutely gorgeous. I was a little wary with the first song, but the album pulled me in extremely quickly and rarely let go. It is an utter travesty that this is unavailable on any steaming services, because I want to listen to this constantly.

Hey, one of the recently put on the generator albums, glad to see the missing ones are getting in here! Usually with an album like this, at this point it becomes common place for me to think not much more of the album other than being "Olive Garden music", but the fact that the vocals here are so pleasant really elevates this album a whole bunch for me. There are a couple times the saxophone appears a little too long for my liking, but it hardly hinders the album whatsoever. I completely understand why I've heard such high praises for this album.

Blah blah, excellent voice, but can the music actually be interesting? Put a guitar teang here, a generic country music sound here, throw in an okay Beatles song, and let's top it off with a Shel Silverstein poem for good measure. Just weird, but at least it's short, and I don't dislike everything here, I just wish someone in the country music genre realized they all sounded like each other.

Whoa, this is crazy ahead of its time. At least, it sure feels like it. The electronics add to the music rather than detract, and man is that bass playing really satisfying. I actually love this album. It's just experimental enough without sacrificing the music to really bring me in. Sure, there's some weird circus-y stuff, but it hardly detracts it for me, in fact, I think it adds to the charm. Shame this is their sole album, would definitely binge their discography otherwise. I love how well it eases from psychedelic rock to baroque pop to ballads while all sounding like its own thing. Reminds me of what I've heard of the later Kinks but more rock heavy. Again, just crazy ahead of its time.

I actually quite love Damon Albarn's other musical project, Gorillaz (which only has one album on this list, somehow?), and would call it one of my favorite bands. Despite this, I've never really dug into Blur as a band, save for Song 2, which I think everyone knows. I was intrigued to finally hear a full album, but my partner had gotten a couple of their albums already, and not thought much other than being better than average Britpop, so my expectations weren't set too high, and after it was all said and done, I'd say it's okay overall. It certainly is better than most Britpop (not Supgrass though), but it is overly long and often times a song will start with something I like then not do enough with me. Very quantity over quality feeling. None of it bad, but if this is the definitive Britpop album, then I have to ask why other Britpop albums like to change what they're doing comparatively.

When I got the album Fuzzy by Grant Lee Buffalo, I thought it would sound like how this Wilco album does. Man, is this slow, boring, obnoxiously twangy, and way too long. After a while, I started to become numb. Glad they moved away from the alternative country stuff as they went on, as this certainly didn't do any favors for what I thought of Wilco.

I kind of got the picture by the first song. Sure, it was pretty jazzy and catchy, but I would probably never go out of my way to listen to this again.

Some really cool ideas and pretty decent songs buried under trying to do weird things with pretty much every song that usually ruins a song, where a minute or two of a song is usually used up to build on the next song or just make noise. The album is also overly long, with some things repeating for seemingly no reason. I can't help but like this a little bit, but it's definitely a type of album that's been more so surpassed by internet music artists such as Jack Stauber.

The first song was energetic and enjoyable enough, and I liked it more than I thought I would, but then the album kept going. None of it was bad, but certainly not for me, and an eight minute song to top off the album just felt unnecessary. Just not really my genre unless in very small doses.

I always wanted to listen to this album because of its album cover, but I held off for one reason or another. Glad I finally got to listen to it, as it was really enjoyable. I did enjoy the more avant garde style of the first half than the pop sound of the second half, but overall still really enjoyable. Can definitely here where Rundgren's production style comes from. Also, Dogfight Giggle sounds like a song from Yumi Nikki, so there you go for the .1% that read this review and know what I'm talking about.

What is with rap albums and feeling they need to make their albums so long? Even the ones I like can usually shave a solid twenty minutes off the run time. Otherwise this album is alright. I like the lyrical content, and it is indeed pretty funny like many here say, but there's something here keeping it down, probably the length, honestly. Pretty average otherwise.

Definitely mom music, but some of the last couple songs, Million Years Ago and All I Ask, with just her voice and an instrument really blew me a way. I wish the whole album was that personal, but instead they mostly went the mid-2010's pop production style, and it really drags it down.

I thought I'd like this one more, but with each song going into one another, it flows so much I can hsrdly tell songs apart, and makes everything blend together. Doesn't help when some songs use the exact same backing music as well. It was alright overall, certainly some good stuff, but it left a lot to be desired. Right down the middle with this one.

Certainly funky and groovy enough as an album, although it does go on a bit much for my taste at points, which was normal for the disco era, I suppose. Perhaps it would be better to listen whilst dancing, but not today, please. Otherwise, alright.

Listened to the UK version, as I believe that was the intended album for this list. That means no Paint It Back, sadly. Overall, this was better than the other Rolling Stones album I got so far, but it definitely uses the best material early on, with it never really recovering from the needless eleven minute song. I could see why one would like this, but it still feels like it's set in its ways as to what rock was in the era, rather than evolving anything. I've gotta be missing something, I'm sure, but it does only confirm more for me that the Beatles vs. Rolling Stones argument makes no sense in a modern lense. Totally different things going on here, in my eyes.

Hey, I was just talking about these "guys" with my Blur review! I much prefer this project to that one, but I never really gave their first outing a fair shake, much preferring the 2nd and 3rd proper LPs. Those aren't on the list, though, so... this one was pretty alright, although I thought I'd be more confident in the four star I'm giving this. Obviously very enjoyable, but you can tell there were times when they were like "what if we did a song with this?" and never expanded it past that. That certainly has its place, but it can feel aimless here. Still, the stuff that is good is really good, just wish this isn't all those new to Gorillaz had to work with on this Generator, as this certainly isn't their best work in almost any aspect, save for a representative one or two songs most people already know any way. Man, I sounded way more negative in this review than I really thought. Basically, Gorillaz good.

Hmm... I can definitely see why this is influential, being basically post-punk before the punk movement had even really fully taken off, but I find it mostly either boring or annoying, with only snippets of an enjoyable album peeking from behind. I could totally get why someone liked this, but not really for me.

No, it's okay guys, he watched 21 Jump Street. Actually, I'm shocked, but I quite liked this. What happened between this and Yeezus that went from something so good to something so... Yeezus. Any way, this was pretty great, nothing amazing, but satisfying flow and great beats. Only some songs where my dislike for Kanye started to shine through, but that ego definitely wasn't fully developed yet.

I actually liked this more than I thought I would, as this is definitely the kind of music my father likes to listen to (as well as The Avett Brothers, if you wanna really see the duality of man) so it's almost oddly nostalgic. That being said, this isn't what I would call "good". Most songs sound the same, and while there is definitely technical abilities on display here, none of it translates to anything I would find worthy outside of a mosh pit. Probably fun on Guitar Hero or in concert, but not exactly for while catching fish in Animal Crossing, y'know?

I was expecting this to be more up my alley than it was. I mean, it was alright, but some of it blended into music you'd here at a Mexican or Cuban restaurant and not much more. The only thing sticking it up there for me is the more folksy sort of sound present in the latter half of the album.

Watching the fine line when it comes to art pop of making a song that's enjoyable to listen to and still interesting is hard to walk, and in my opinion, this album fails at it. Often it feels aimless or like it needs to throw anything and everything in at once without really sticking with me. Definitely angrier than expected, and that led to some manic parts I liked, but it was definitely wearing thin by the end. It does make me curious about her 90s album on the list, as I can't imagine it's too similar production wise. Or perhaps it is?

A glam rock album? With a Christmas song (in some versions)? With a high register singer?! AND THE LEAD SINGER COVERED A SPARKS SONG LATER IN HIS CAREER?!? I haven't listened yet but this may line-up to be quite the hit with me. While certainly glam, we're talking Journey and some hints of Queen more than Sparks, which was obviously my hope, but I still enjoyed this a bit, even it was hard to place this album and its sound. We were going pretty hard rock one moment, to showing remnants to what was to come with the emo wave of music, and then just straight up the most steretypical 70s glam metal, thirty years late. Either way, it's enjoyable enough to be barely a 4, it definitely helps that it's a shorter album, making the parts I disliked more being swift. The highlight was most certainly the lead singer's vocals when he chose to use them in just the right way. Again, a very light 4.

I was a little concerned that I just didn't get it with the first few songs on this album, with them not doing much for me, but Sir Duke and onward it was off to the races, with very few songs to slow it down. There are quite a few songs here I can't imagine I'll come back to too often, hence the four star, but otherwise an amazing album with some fantastic songs on here, such as the already mentioned Sir Duke, as well as Another Star, As, Summer Soft, and quite a few more. I'd say had the album trimmed the fat a little this would be a solid five for me, but as it stands still really good and I'm looking forward to the other albums present on the list.

I was optimistic about this album, because my partner seemed to really like it, but this is kinda generic at best, save for one or two instrumentation parts. A couple of the last songs certainly picked it up, and Hot for Teacher has an awesome intro plus I quote "I brought my pencil! Give me something to write on," all the time, so I'll give it a really light three, but disappointing for sure.

I absolutely love how focused on the bass is in this album, often being the main part of a song, and it makes it so even the songs I don't like as much are still fun to at least bop your head to at various speeds. I was worried I would end up not liking this album too much, as I got their second album already and I figured they had honed their craft more at that point, but this was far more enjoyable. I liked the manic energy that I assume spawned from the punk influences, but the dreary sound makes it so each song doesn't really sound the same, which is my main issue with a lot of punk albums. A really solid four, and I imagine re-listens would only help its cause.

I thought an album less out there than White Light/White Heat would be nice, but I actually feel it benefitted the album, as this started to blend together. There is enough here to be nice and enjoyable, though, as I do quite enjoy songs like the last one. I also like the idea of The Murder Mystery, but that nine minute run time makes it far less digestible. A light three with this one.

It is actually pretty amazing how similar this is to my album from yesterday, The Velvet Underground, and how it's that sort of Psychedelic Rock that never goes too far out there. This album, just like that one, I think would've benefitted from some more out there performances and more use of the female singer, as all the best songs are performed by her. No matter what, this was better than what Jefferson Airplane would be turning out by the mid-1980s.

A really strong start with 2 + 2 = 5 that lulls for a good chunk of the middle before coming back with an excellent last few songs. I can see the idea with a lot of the album, with a lot of songs building up to one part, but this one part is not given enough room to breathe, and the song feels cut off most of the time. I think the album would actually benefit from less songs, but make them like seven minutes long, as I can here things that are predecessors to the longer songs by bands like MGMT and Tame Impala, but the songs here are far too short. Those last four or so songs are doing so much heavy lifting for this album that it gets a light four.

Song from the hit 2005 animated film Robots and fourteen other hits! Pretty good, love the piano in here.

I knew hardly anything about The Kinks before starting this generator, with them just being one of the other British Invasion bands for me, but as my partner got a couple albums by them and showed me a few of their songs, I really fell in love. It is just so creative and charming compared to the rock 'n' roll focus still happening at the time. Obviously, The Beatles were also at their creative peak, but that doesn't stop The Kinks, and especially this album, from really standing out. Really looking forward to their three other albums on this list, as this one was awesome. Shame that the leads of the band seem to be twats at times, but that doesn't matter here!

Damn, the generator went from giving me none of the Beatles stuff to almost all of it in the same 100 albums. Anyway, this album rocks. I've always said Abbey Road is the best album by the Beatles, but this is the BEATLES album, if that makes sense (and White Album is my favorite). Just the amount of musical innovation here that was overshadowed by Sgt. Pepper shortly after really goes under-appreciated due to it in the modern eye. Sure, Eleanor Rigby is the beginner's song for getting into the deeper Beatles discography, but are you jamming to the dissonate chords in I Want To Tell You? Obviously, no gate keeping here, like what you like, but basically, this album just has everything for everyone. Want rockier stuff? Sure! Ballads? Hell yeah! Weird trippy shit? Gotcha covered! It just is such an excellent thirty minutes that happens to have the smudge that is Doctor Robert, and that's okay! Even the punching bag of this album, Yellow Submarine, is too iconic and jolly to dislike unless you're too far up your own ass. I'm partial, personally, to I'm Only Sleeping (the better of the Lennon sleep cycle duology), Here, There, Everywhere and For No One. God, I didn't think I liked this album this much, but writing this reviews makes me feel I have so much to say here, that I'll cut myself off. Easy five stars, though.

I really love this chamber pop style, which is the same reason I went against the tide and gave A Short Album About Love by The Divine Comedy a 5, horse lyrics and all. I really don't understand why people take music like that so seriously... any way, Coles Corner! I don't love this as much as that album, but this is still extremely good! I just believe it may have gone on a tad long overall, and some of the more guitar heavy songs weren't nearly as enjoyable as the more orchestral sound of the rest of the album. A lot of it reminds me of less so Sintra like a lot of people are saying and more so Roy Orbison if his voice was lower and not quite as vibratto-y. Any way, still very good, just maybe too big for its britches.

I had hopes as the album started that it would be something that I would like, despite the country and punk influences, due to the era and some snippets I heard before, but this album just gets progressively worse as it goes on. The fiddle isn't the issue, it's the barrage of sound this album presents with no real weight behind of it. It gives it a "band playing at a music festival you don't wanna be at" vibe, that is only saved because it never is offensively bad save for the one or two times it absolutely zapped my motivation in the moment. I do think my sister will think this album is amazing, as she loves everything going on here, so thanks for that Mekons, someone is getting something out of this, it just isn't me.

Y'know, I was gonna call this more rockabilly/jazzy Ziggy Stardust, but considering Bowie himself calls this album Ziggy goes to America, I can't think of a more apt description. Really excellent range of songs here that is brief but extremely enjoyable and still undoubtedly Bowie-esque. I love when this album gets really out there for the era, with stuff like the opening guitar for Cracked Actor, and when Lady Grinning Soul closes the album I know no other bliss. Not my favorite Bowie album, but still absolutely excellent, which seems to be a common belief around these parts.

Certainly not music you'd hear in Olive Garden, unlike the other Miles Davis album I've gotten before. However, I would of vastly preferred that over this noise. Is me slamming on a piano for ten minutes really count as a song? Sure, if you want, but why would you want to listen to it? I'm certain this album is purely being carried by the name(s) behind it, because otherwise this is awful. You're lucky if you hear even a minute of something that sounds vaguely organized, or even listenable, and the fact that there is an hour-and-a-half of this in this album just makes it all the worse. Maybe I'm just too dumb to realize how "amazing" this is, but it genuinely sounds like at best a sound check, at worst: toddlers. Makes me angrier just writing this review.

Call me a prude, but this album is kind of gross. I feel like, while embracing this sort of stuff is important, and acting as though human-beings don't have urges is gross, but it being this on the nose with not a lick of nuance in sight makes me just roll my eyes when I hear some sort of allusion to sex for the billionth time an album, and don't even get me started on what the back of the album and the inner sleeve look like. If not all of that, then covers a plenty. Overall, the album is okay, but most of it is forgettable or dated. I imagine when people say they dislike new wave, this is what they're imagining. Very light three.

Similar to the Simon & Garfunkel album I got prior to this, this album is realistically more close to a 3.5 than a 4, but considering I cannot do that here, it shall be rounded up. I enjoyed the overall vibe of this album, although not every song hits the mark for me. It is a huge benefit, however, that the album is pretty short. It makes it a brief and enjoyable experience I could see myself coming back to and re-examining as something I enjoy more.

This album had a lot of moments within songs I liked, but not whole songs themselves. I think a big reason for that was how horny it was, which got old quick, and the lack of real instruments, instead opting for synthesized versions, save for Kissing A Fool, which was easily my favorite song. It just made the album feel incredibly dated and stretched out. So, when I give an album like this a three, it's purely due to one or two songs doing all the leg work, and not hating the rest of it. So, good job Faith, I guess. Light three.

Not going to lie, I went into this planning this one star, and it stuck through for the five minutes I could muster before I started skipping through. Each song is musically terrible, tone-deaf, and boring, and the story is not the perfect tale people (who obviously grew up with it and don't want to admit it's bad) say it is. The only reason I could see someone giving this a five is because it made them laugh so hard it's their new favorite comedy album. Seriously terrible. When the best song is still worse off than most other songs on albums I've given a one star too, then this is all the more terrible. God, this makes me angry.

This album is cool. I was under the impression this was generic 60s rock and nothing more, but I thought the heavy use of orchestral instruments such as brass and strings was really cool, and I loved the melancholic sound a lot of songs have. There are certainly times my mind starts to blend stuff together, but there is enough here to stand out that I could say I enjoy this pretty well. I could see myself returning to this and loving it all the more.

I had quite the dilemma with this album, because it may surprise you (not really) to learn that ranking purely instrumentals with a bongo as the background beat as kind of difficult. I knew I enjoyed what I was hearing, and not too much past that, but I could totally see the enjoyment and novelty of this album. I believe I'll go down the middle with my ranking, as it just seems the most accurate.

I'm actually kind of surprised with this one. I mean, obviously this is good, otherwise I wouldn't be giving it a four stars, but I didn't expect easily the most iconic album by Talking Heads to be less liked by myself than More Songs About Buildings and Food. I just feel that a lot of the songs like to do this more ambient thing (which makes sense with Eno in the producers chair) than the funky stuff I loved before. Obviously that awesome bass is still there, but it doesn't appear nearly as often, and there's a good chunk of the album that isn't exactly the most uplifting. Not saying it has to be, but it wasn't what I was expecting with this album. That's alright, though, as a 5 and a 4 star so far with this band only means good scores are going to come when I get the other two of their albums on the list.

This was standable, and I was generally bouncing my leg along with it, but thank God this was only fifteen minutes long, otherwise I don't think I could even manage this two. Never been so drained so quickly.

That opening is absolutely excellent, and the rest of the album is pretty good too. I love the beats and backgrounds here, and the more jazzy sound of some of them. I'm not madly in love with this album or anything, but still very good, and the normal length (rare for a hip-hop album on thie generator) definitely helps.

There were parts of this that felt relatively generic in the 60s rock world, but otherwise this was really cool. There were some cool, ahead of its time stuff, and I think the variation of sound kept it really fresh. Found myself shocked at a lot of the sounds going on here, for sure.

I feel bad giving this album this score, as there were plenty of parts of somgs I liked, but it always felt like it didn't go far enough into what I would enjoy, and would slip away from me being interested in the song by the end of each song, and that either happened with every song, or the song didn't catch me in the first place. I can completely see why this is something worth listening to, and I'm glad I did, but this is either not for me, or at the very least I am not in the mood at the moment, and probably won't be most moments of my life.

This is embarrassing to listen to. Lyrics that the kid failing school because he didn't try but blamed the school relates to and record scratches that puts Jet Set Radio to shame, there is nothing here that I enjoy. The fact that System of a Down is lumped in with this whiney rap-rock bullshit because the era of nu-metal just happened to be going on is awful. Everything here just sounds the same, and the best part here is that it is relatively short compared to most other albums on here.

The first song is definitely iconic, but there's a reason its more famous counterpart is far shorter. The rest of the album is the music that you listen to in the background. Not quite elevator/phone music like some reviews say, but certainly nothing special.

This album starts pretty stereotypical, but after one-and-half Beatles covers and an amazing song in (They Long To Be) Close To You, the album shifts to this anywhere from melancholic to straight up dark sounding sound that really sounds great paired with the sometimes pretty, sometimes haunting vocals. Sure, it's nothing crazy, especially for the time of release, but there is more here than just Marge and Homer Simpson's song and other songs tacked on.

Perhaps the lightest three I've given on this generator. It generally is just generic pop music, with moments that help it stand out. That production feels like every other song in the era, though, which really does not help it. The best thing when it comes to this album is the art, which I cannot deny is gorgeous. Just wish it was attached to something a bit more interesting.

I was pretty sure this was getting a five as soon as I saw it, often heralded as the best of the Beatles solo albums, despite never listening to it. Surprise surprise, I was right. There were moments that worried me a little, especially in the middle, but Harrison is able to pull off a wide range here, where even the country guitar teang doesn't come off as cheesy and annoying, which is a feat. Just the pure emotion oozing from this album made it great, and when I even liked the instrumentals (which I might add aren't technically apart of this album), I knew it had to be a five star.

Not a bad album, but pretty boring. A good chunk of the songs had a decent hook they did nothing with, and I believe had this album released in the era the Super Furry Animals are trying to emulate, it would've been a release that just blends in with the rest of the timeframe. Voice wasn't as annoying as most other Britpop, though, so that is a plus, I guess.

I have a feeling I'm not going to remember a good chunk of these tunes past listening to them this last hour, but it was still a good experience, and did not overstay its welcome. Not an amazing album, but enjoyable enough to edge itself into that four star rating.

Choppy beats and flow, corny lyrics, and lacking substance are being merely held back by snippets of enjoyable music and inspirations surely brought forward by this album keeping it barely afloat. There are certainly other "items" to bring this album down more, but as it is not directly tied to the album itself, the album stays at that low two rating. Thank God hip-hop got much more interesting by the end of the 80s.

This album is BORING. Why is it so long winded and repetitive? This only barely gets a two because a couple of the songs have something possible to enjoy, and I appreciate the feature enough, but seriously, got sick of this "Blue October sings Radiohead" crap pretty quick.

This album has nice, relaxing instruments in the background, but I cannot get past that singing. It makes me wish it was just the backing track most of the time. That and way shorter. Didn't like this, but I can't say I hate it.

There were parts of this album I enjoyed in small doses, and it helps that it is short, but this really feels like Bob Dylan-lite more than anything. There are parts of this album that feel like they could develop to be more, but the country influences hold it back from achieving something truly unique.

What a "nothing" album. I think this album pissed me off at first, but then it just kept going and started not caring more than anything. The singer's voice is obnoxious, but it's often so drowned out in the mix that it's hard to, once again, care. Why is this album so long? Why is this artist so popular? Why do people think this and the Beatles are nearly equals?! Jesus, what a mess. At least it didn't have Wonderwall.

This was pretty alright, but not too much past that. I think it's pretty obvious to tell this was ahead of the curve in a lot of ways, but that does mean a lot of sounds were done better by others later on. It's still good, don't get me wrong, but it left a lot to be desired at points.

I actually enjoyed this album a bit, but it was pretty repetitive and the topics of the songs started to repeat enough it got kind of old. Still, pretty good. There's a style to this that's generic but still it's own flair to make it different.

Better than the other Marley album I've got, as the variation near the end of this one helped it quite a bit, but it still doesn't do enough for me to think anything too crazy about this one, and the titular song, which seems to be considered one of the highlights of the album, is considerably boring. It was alright, just don't think too much past that. Reggae just isn't my thing, I suppose.

She really does have an excellent voice, and there is some melancholic sounds here I enjoy quite a bit as well. I don't understand this "Son of A Preacher Man" praise, though, it was probably my least favorite song on the album. Heresy, I realize, but the album is very good nonetheless.

I think another listen of this album would make me "get it" even more, but it was starting to click with me more and more has the album went on what this album is trying to accomplish. Of course, I think most of the songs aren't really "snap on whilst driving" sort of tunes, but as a whole album I can really appreciate the sound here, even when it does sometimes just sound like someone messing around with settings on a synth for the first time. This may be my favorite Radiohead album so far, as far as being a whole LP is concerned.

There is stuff here that is certainly good, I especially love when they let the piano shine, but it is still an overly long, somewhat repetitive jazz album. Still, better than most.

This is not really what I expected, but I dig it. The rapping parts remind me a bit of the verses in West End Girls by Pet Shop Boys, although sometimes it does start to feel a bit more like Inner City Preasure by Flight of the Conchords at points instead. Otherwise, though pretty good. I like the beats very consistently and the use of older songs never feels like a cop out. Just a very solid album, I can see the appeal.

This is so close to being something I like more, but the country influences and the lack of any real oomph in most of the songs makes it where it is on my rating system. However, I don't understand the super low score; just seems like those of the generator don't like this style of music most of the time.

What an awesome album! Sure, the vocals are a little rough, but so is everyone else's from the era, so it hardly had an effect. It just is really satisfying synth-pop that understands to use the synth to it's benefit rather than as a crutch. It can jump from pumping you up to being dark and electronic, and I really enjoy how it knows not to overstay its welcome. Always wasn't sure what to think of New Order, only really loving a couple of the hits, but not thinking much of other, but this definitely leans me towards liking this group a whole lot more.

A light four with this now. It definitely is repetitive, but I think it has this light-hearted nature to it that is enjoyable, and I like the singer's voice more than most other punk acts. I sometimes think I don't like punk, but I think my partner's disdain and pop-punk are the reason behind that thought.

This album started out with me hopeful it would get better as it went on, but it ended with me bored. Parts I liked, but most of it dragged, and the inflated length didn't help. Not bad, but is this really an all important album? Is Fleetwood Mac an all important band, for that matter?

These songs are definitely super personal, and I can recognize and respect that, but a lot of this album is just generally boring, especially due to the style at the time musically. Also, once again, overly long, which seems to be a theme for albums for me this week. Still, not as bad as I expected, there were even genuinely good parts.

I think modern indie folk has really ruined any enjoyment I could've had for this album, as it just reminds me of the rise of bands like The Lumineers and Mumford & Sons in the early 2010s. It isn't exactly the same, but it's close enough that it really makes it a far less interesting listen. There are parts of this I like, such as the build-up in Death to Everyone, but the payoff isn't worth it to make the album good enough. This isn't bad, just not amazing with a modern set of eyes.

This is eerily similar to the other Janis Joplin album on here when it comes to my opinions, that being that there's one especially notable song with the rest of it being not all too notable for me. I did like this album more, as some of the rock reminded me of other groups I enjoy and the such, but the fake "live" sound did start to annoy me near the end, and songs generally felt relatively similar. None of this makes this a bad album, because I can see the importance here, it just isn't my cup of tea musically.

When this album started I thought I was going to hate it, but while I still don't like it very much, I can't say it is something I despise. It just is generally boring more than anything, but gets better as it goes. The most interesting thing here for me is the lyric later used in Vampire Weekend's holiday. Otherwise, renaissance faire fodder.

Despite me giving this a four (because it is good) I'm disappointed in this album. Black Hole Sun is just such a good song that I figured the rest of the album would be up to snuff, but there is definitely filler here bloating the run time, and it makes the album much less enjoyable to go through than I would've hoped. However, stepping back and actually listening to the album for what it is, this is tight, and can get you into it, no matter the situation, and the songs that are good are REALLY good. I think all of that earns it a light four, despite it's hiccups. I mean, Black Hole Sun gets it up to a three star all on its own, so why not add a star for everything else?

Either I didn't notice how pretty and bombastic Yoshimi was, or this was way more up my alley. I love the orchestration and punch a lot of songs have. The lead singer sometimes isn't really up to snuff with the rest of the music, but it does add charm to it. Just a solid album.

This was alright, certainly an albums you would bob up and down to, but it doesn't feel it has too much substance. Once you ignore that, fun enough.

Just kind of nothing. Like, it was pretty repetitive and he is certainly full of himself. I just don't have much thoughts. It wasn't terrible, and not really bad. So, congrats.

My partner told me this was pretty alright, and they don't generally like punk, so I was hopeful, but this was pretty terrible. Just vocals that annoyed me, and instrument playing that seemed more erratic and off the cuff than anything meaningful or well thought out.. I enjoy the lyrics, because its nice to have lyrics that feel they mean what they're singing, but it really can't salvage the sound of this. Perhaps if they spent the song writing process writing the music and not just the lyrics, I'd like this more. At least it wasn't overly long, as a lot of similar albums like to be.

What's with French electronic duos making everything else in the genre look like child's play? This was great, I loved how mellow it was, and some of the production felt years ahead of other electronic acts. Really chill, but never boring, and the mix of vocal and instrumental tracks kept the album fresh throughout.

Yeah, this was pretty nothing. Jangly 90s pop that's part folk influence, part Radiohead-lite. I wouldn't judge anyone for liking this or anything, but it's hard to get into something so lethargic and simple. I could get why people would like this, but I wonder what it did to get here. Best track is the hidden track at the end that of course is tied to another song and you have to sit three minutes in silence to hear it. Love that, totally.

I actually went into this not interested at all, had my folk-rock fill with the Travis album I got yesterday, but I actually really enjoyed this. The music is very pretty, and the lyrics are never too seriously. It actually reminds me of Ben Folds (which makes me wonder where he is on this list) but gay. Really good, goes on a bit long, but most of these songs are very nice and a good mix of earnest and silly. Those last four songs are spectacular.

This sort of, to me any way, just sounds like an alternative version of Duran Duran, albeit before Duran Duran. It isn't bad at all, but I didn't hear anything here that was too crazy for the era, other than perhaps being pretty early on in the style of pop? Unsure. Pretty middle of the road with a good song here and there.

I am living for these early Queen albums. I thought Queen II was good, but holy shit was this even better. I may have liked the theming of Queen II more, but all the songs here are at least good, if not all excellent, and I'm still a big fan of the non-hit maker Queen that we see here that isn't present on the later records. I'm starting to see why Dimery picked the Queen albums he did, for sure. Loved this one, just one left, the big one!

This album sucks!!!!! Van morrrisin more like van BORRISON,,!!!!! bitch

Very close to being a five star here, I think there's just too many times on the album where songs go too long and it dampens the intial impact the song has. Otherwise, very amazing, I love the shift from ballad to funk bsck to ballad throughout the album, and Wonder's voice is as soothing as ever.

I'm going to use my ignorance here as a crutch as to why I dislike this. I'd like to think I'm at least somewhat musically adept, as I've played both bass and piano for years now, but this sort of stuff can really come off as a wall of noise and not much more to me, where I know I'm hearing something musically impressive, but gaining nothing from it. It certainly isn't as hard for me to like as Bitches Brew in this case, but this album still suffers (for me) with this stuff. There was things I liked (like, shocker, the bass and piano), but there were also plenty of moments I was growing quickly sick of what I was listening to. This manages to claw itself out of the one star depths, but mostly because I feel it is more my fault than anything that I think, at best, nothing of this.

How else can I describe this album other than overwhelming? Not in the same way that shoegaze can be, but more so due to this albums lack of focus or any sense of normal song structure? Lots of random things thrown into the songs to make it feel less like a natural progression and instead something where you're jumping up, down, and all around. This can be a negative on the album, with it being pretty poor listening music at points, but it can also make the album stick out, especially compared to other pop of the late 00s. It, at points, reminds me of a Vampire Weekend jam session, and that is both a blessing and a curse. I think that when I give this album a four, it doesn't necessarily mean I think it is on equal standing with some of my other ratings, but rather does enough to stand out and have bright moments that the oddities of the album don't bring it down too much. I do, however, totally understand the relatively low average score. I struggle to put into words how I feel about this, but despite my middling review, I did enjoy this, and that's what matters here, I suppose.

This album has an absolutely amazing and gorgeous A-Side that is nothing but excellent music and the peak of folk music. This steam continues on to the B-side with The Boxer, but as the album winds down it starts to lose a lot of its muster, and the inclusion of a live piece, while it makes sense, is really jarring with how loud the crowd is, and it leaves a sour taste in my mouth, being pretty much the finale. I could see me coming arouns to a five with this album over time, but as it stands, this is an extremely high four. I'm glad one of the Simon & Garfunkel outings on the list didn't leave me feeling disappointed, even if they are also good.

My partner hates this album; it was their first one star. However, while this list was their first time listening to this, I have some experience with these songs due to my father, namely "Jesus Built My Hotrod". Hell, I've been to a Ministry concert, even if I was only their for Primus. So, there is definitely some leverage here for me that makes me enjoy it a bit more, I'd even say the before mentioned song is my favorite thrash/industrial metal song of all time. Overall, the album isn't really too much for me, I'd say it's too mindless as it starts to unwind, which I'm sure was the goal, but it makes it difficult "listening" music. There are definitely things here I like enough, however, to get it into that middle of the road ranking, and I could see myself jamming to some of this while driving.

This was alright. I'm not a southern rock kind of person, but there are things here that transcend that and are much more enjoyable like Simple Man, and I could see myself liking Free Bird if it was some unknown song I'd never heard of. Oh well, at least it's fun to play in Guitar Hero.

This was leaps and bounds better than either Joshua Tree or Achtung Baby, and I understand that probably isn't the most common opinion. I mean, this still isn't anything super crazy for me, but I can at least find enjoyment in this, probably due to a good chunk of the songs actually having a beat and tempo that makes me excited to listen to rather than bored to tears, and the normal length run time is much more tolerable than whatever Achtung Baby thought it was getting away with. Maybe the other two do have those "blood-pumping" songs, but I certainly don't remember them, and I think that just helps this album's case more.

I much prefer the more somber sounding Presley songs, because his voice benefits a lot more from those than him trying to do a bad impression of black artists from the era. Luckily, there are a few of said somber songs on this album, and it makes it so those songs are really quite enjoyable, even if they still aren't his own works, then again is anything by him really? You can also hear some Lennon-like vocals in I'll Never Let You Go, but I have no clue if John Lennon actually took any inspiration from Presley at all. Overall, some good, and some pretty whatever for a decent album all together.

I already knew going in that I was going to like this (A Passage to Bangkok slaps) but I didn't realize I was going to like it THIS MUCH. I've listened to 2112 before (albeit in pieces), but I apparently wasn't listening, because I was jamming the whole time, and even once we got past that behemoth of a song, each song afterwards was just as good, and varied, making this album never feel bloated, even with such a long song, and the instruments only add to the majesty of the whole thing. I also really love Geddy Lee's voice here. I mean, I enjoy it on other Rush albums too, but as this is pretty early in their discography, his voice is still at peak performance, and he nails every note with such perfection. Just an amazing album, I'm truly blown away. Gonna be honest with y'all, the Ayn Rand references completely went over my head until I read others reviews, and while I definitely see issues there, I still think the music is damn good, and Neil Peart, before passing, did rescind those ideas for the most part, so I look at it less as endorsement and more as seeing the beliefs of a songwriter that didn't know better. However, I could totally be making excuses so that my mind enjoys the album more free of guilt. Just thought I should specify that my five star is not in support of Rand's believes, just in support of music I like the sound of.

I really like the synths on this, and I love how personal this is, even more than The Boatman Calls, but it is definitely too long, and very repetitive. It has me feeling conflicted, because one moment I'll be getting into it, and the next I'll be dying for it to be over. Still, it is not all bad.

I listened to my own Frankenstein's Monster version of this album, as the album on my streaming service of choice was all mangled and missing songs, so if that affected my experience with the album in one way or another, I apologize. As for the album, this was perfectly alright, in fact, I liked it more than most electronica albums from the era, so I really REALLY don't understand how this has such a low average rating. Like, it's weird this is where people drew the line, and not with a multitude of other albums that are just as bad if not worse. I liked it overall, it reminded me of the music in Sonic R, and that can be a good thing in the right mood, I think.

This feels a bit more like Elvis' own style, rather than the pale imitation of black rock 'n' roll present in his first album, but instead you get an album that you can tell they were just throwing money at in the production phase, as it often feels that rather than having this really intimate collection of songs with just Elvis and his guitar, you get chamber voices and strings that really do too much for the whole album, and make it so songs feel like too much. I mean, it is certainly still alright, there are some pretty enjoyable songs here, but there's also a lot that just feels like music that is, frankly, behind on the times. I mean, 1969 was one of the best years for music period, so comparing this to all of that makes this feel still stuck in the early parts of the decade. Again, not terrible, but hard to praise, and I'd say in some ways worse than that intial outing.

Goddammit Britpop, decide if you're gonna be ass and one of the worst genres I've heard or producing some of the best albums I've ever had the pleasure of listening to, like this album is. Every song on here is a masterpiece in music, I'm not joking. The singer's voice is a perfect blend of the Bowie voice so many Britpop singers try to emulate and someone like Neil Hannon of the Divine Comedy, and the understanding of making a good chord progression is unmatched as an album, with nearly every movement here so satisfying and enjoyable. It may be a little long, but I was never waiting for it to end like most albums, and stuff I actually knew before like Common People are suddenly extremely good even though I didn't think too much beforehand. I'm just utterly impressed by this gorgeous, whitty and frankly awe inspiring album.

I'm not really sure how I feel about this, as I think lyrically I understand the album in concept, but a lot of it comes off as artificial more than anything, and it is hard to tell what I'm supposed to be like "oh, good point" and what is a played-too-serious joke. As far as it goes musically, I think the backing tracks are okay, but they all sound like something I heard somewhere else before, and not really their own thing. This just doesn't feel like anything all that notable, and considering I'd never heard of this album before the generator, despite trying to relatively keep up with modern music tells me it'll be probably removed to make room for another album on the next version of the list.

Perhaps the album I have the least amount of thoughts and opinions so far. The final song nearly dragged it down to a one star, but I like the synths in the first just enough for it to die in the "forgettable" pile.

The guitar playing is immaculate and Sultans of Swing lives up to the hype (and then some) but the rest of the album leaves a bit to be desired, often being too country-rock-like for my liking, and nothing even matching the height of the album, which I already mentioned, even if there are good parts. It is more of a disappointment than anything, but it is still decent overall.

This album has its pretty high-highs and its pretty low-lows (looking at you Same Old Show) but is overall a pretty alright project with some really good songs on there. You just kind of have to sift through something nothingness at times to get there.

I swear I'm not just rating these more controversial albums high scores to be different, I just really like some of these albums, and I suppose that differs from others. It just has this groove to it at points that I get really into, and I like the singer (singers?) voice. It does start to fall apart a bit with some of the last couple songs, but otherwise an album I enjoyed my time with quite a bit.

Starts extremely strong with a pop song that definitely deserved its place on the charts at the time, but the album peters out pretty quickly and only has moments here and there reaching close to the same heights. The singles are singles for a reason for sure with this record, and I think the only new info I'm taking away from this album is that there is an Adele cover of Lovesong by the Cure. Of course her voice is fantastic, but you knew that, and I didn't have to hear either of the albums on this list to know that. Good album, just feel like Adele is always so close to being more than the "middle-aged mom pop artist".

I don't know, man. I feel bad giving this such a low score, but everything sounds the exact same, and when it doesn't it's because it was a boring instrumental. I usually like this sort of stuff, but the best song here was outdone by a far superior cover years later, and the rest of the album is rest than that, so... meh.

While I think I may enjoy Mike Patton's other project(s), such as Mr. Bungle for their more showbiz-esque nature, this is still very enjoyable, albeit kind of long winded. I have to give credit to Patton, though, not only for his voice and range, but also for being one of the musicians out there that respects and has even worked with Sparks, always bonus points for that, as I am a Mael brothers shill, just the way I like it. Anyway, good album.

Listening to this is smooth, it really is super groovy and funky in the perfect way for a hip-hop album. Once again the issues come down to the length of it all, where it starts to become very long winded and hard to focus on what you're listening too, and the relatively relaxing samples and beats don't help to not keep you from getting too comfy with it and letting it all slip past you. Otherwise, very good, I'm glad I finally came around to actually giving ATCQ a proper listen.

When the album started, I wasn't quite expecting the guitar to be such a major focus, but nearly every riff here is super catchy, and the samba style really lends itself to this blend of music that is familiar yet all its own. That final song being so aggressive comparatively puts a nice bow on this extremely well made package. Perhaps the language barrier makes this a tad repetitive, but it is a repeat of only banger after banger, so that is hardly a knock against it. Rod Stewart can eat his heart out when it comes to Taj Mahal, quite frankly. Sick of artists "sampling" (or in this case straight up stealing) amazing music and making it obviously worse. I believe George Harrison when he says he unconsciously lifts a melody from a song, not the "Da Ya Think I'm Sexy?" guy.

This album has everything going for it that should make it something I quite like; it's groovy, funky, the riffs are satisfying, and all the music is technically well crafted. Yet, I cannot seem to care or get into this much at all. There is absolutely nothing wrong with this, but it is hard time to see this as more than something you know would've played at the roller rink, and I think even Chic knows that. There is definitely a place in music for that, but perhaps that "place" was torn down twenty or thirty years ago for a reason.

Dolly Parton is an excellent individual, surely being one of the most likeable still-living celebrities, but at the end of the day her music is still my least favorite major genre of country. There are some things here that are interesting to listen to, from her mom stealing her boyfriend from under her nose to a good ol' cucking (who the fuck makes a song about cucking?), but the music is so repetitive and boring that I hardly want to listen to it. It isn't offensive musically as a lot of country tunes are nowadays, but it still isn't that great or anything.

I listened to the first song on this album, "Night Life", whilst actually driving in the middle of the night, and it absolutely fits the mood of the night, as does the rest of the album I'd say. However, issues arise when you sit down and actually focus on the music, as it becomes very same-y, and the longer-than-average country album (for the time) makes the repetitiveness all the more present. I enjoy the fact that his voice isn't that exaggerated warble that many country artists do, it makes it not excruciating to listen to, but otherwise a very safe album just a couple years before popular music as a genre really started expanding as an artform.

Wow, what a crazy step up from "Everybody Knows This Is Nowhere", and I know that's unfair, as there are albums between the two projects, but the generator gave me this next, and it wanted me to listen to it, goddammit! Anyway, I actually adore this. It has that melancholic vibe a lot of America albums have, but with this grit that make them feel really weighted and like it all means something, and the intimate style of the album, feeling very personal between Young and the listener, all culminates into an album that is extremely enjoyable and that I like a lot. My only nit-pick is the amount of songs labelled "blues" that are hardly such, but that isn't an actual complaint, and would not drag this down to a four alone. This is a lighter five-star, as I'm not head over heels or anything, but I still enjoy this enough for me to finally "get" Neil Young.

Man, this has a lot of hits and singles on it, doesn't it? May as well be a best of album, save for one or two missing tunes. I do think it earns its popularity, however, being a very solid album throughout, with only one or two tracks that reek slightly too much of 80s cheese to stand out. Of course, I may not go out of my way to listen to most of this again, because I can hear half of it by just going grocery shopping anyway, but still very good. I particularly enjoy the punch of the final song, "Yeah, Yeah," as it's one of the few I'd not heard before, and it definitely sends the album out right.

I knew of this album prior to getting it from not only my partner getting it and loving it, but also seeing it on multiple "best concept album" lists, and I definitely agree that it is amazing. The range of genres and making it all sound so good is fantastic, and the length isn't even noticeable, which is quite a feat with me. Amazing album.

It is getting hard to remember if an album has baffled me as to why it is on this list yet, but this one certainly makes me feel that way. I mean, it has a pretty decent average global rating, and musically it is inoffensive at worst, but why is this here? Like, this genuinely makes me upset listening to it, because it is either the type of music I'd hear at a nice-ish restaurant trying to sound intellectual, or the background music of a baseball documentary, depending on which instrument has the focus, and even though it is only four songs, it gets old FAST. I mean, wouldn't have one song sealed the deal as to what my thoughts would be? Again, this is extremely technically competent, but I can't seriously be in the minority for thinking that it is insane that this made the cut over so many other iconic albums? Just upsetting, and drags it way down. I'm sure the dog on the front had nothing to do with it, though. He's a good boy.

God dammit, Morrissey is such a fucking nonce. The whole time I was listening to this I was reading quotes of his that just displayed what an asshole he was. And yet... this was good. The nonce makes good music, because of course he does, its like a requirement of a musician. Usually hear I'd praise the singer for liking Sparks, because I am the your local friendly Sparks shill, but nah, fuck this. Bad fan to have, thank God Sparks have never joined in on his comments. Hell, they told him "lighten up" in a newer song. Anyway, he doesn't get praise. Just enjoy your four star and get out of here. Oh, and that album font on the cover is ugly.

God, what a gorgeous send-off to a brilliant artist. It is amazing to me that an album can sound so reassured yet so scared, so at peace yet not ready to go, and so relaxed yet so on edge. The use of avant-garde jazz is used to the benefit rather than just as meaningless noise, and the short but sweet album knows when to bring in something to changed it up. It is also completely admirable that nothing here sounds derivative of anything else Bowie-like, going out with a bang rather than a "best of" situation. Just fantastic from beginning to end. Bowie really nails those short track listing albums to a tee. Seems like a ten minute opener is a guaranteed fantastic choice. Also wild to see Kendrick Lamar and Death Grips as inspirations for this, but I can hear it. I also really liked the allusion to A New Career In A New Town in the final track with the harmonica, whether intentional or not.

How can an album that has pretty impressive technical feats present be so tone deaf in the actual musical department? Every song isn't just flawed because of how it sounds, because that, at the end of the day, is preference, but every song sounds the exact same, and the short song lengths only highlights this, rather than makes it stand out. Yeah, I can't deny there were times where I liked where it was going, but then the dog-like singer barked into the microphone for twenty seconds and they just repeated that at different paces into the mix for a excruciating thirty minutes. I thought maybe I was going to give this a two about a quarter of the way through, because it was more funny than anything, but by the halfway point I was exhausted and tired. It wasn't funny, or impressive, or even interesting, it was just soul sucking. Perhaps that's what they wanted, but it sure as hell doesn't make it anything more than being edgy on the surface level while far more interesting musicians actually get famous off their metal. This is just noise. Awful, awful noise.

Pretty alright musically, but I don't understand really what the point of each of these songs are, as they pretty much go over variations of the same topic in a loop that feels especially more apparent here than any other album with love songs, and just like "Papa Was a Rollin' Stone", there is a ten minute song here that could very easily be three or so minutes and get the same point across. Just a very forgettable album, but I liked what I heard enough.

One of, if not my favorite, thing about Love's other album, Forever Changes, was the strings present that made it stand out from most other psychedelic rock that was around at the time. However, this earlier album seemed to be going for a more forward thinking stance on the genre. That is not a bad thing, as there are some songs here I like just as much if not more so than Forever Changes, but it also blends in more with artists like the Rolling Stones and other hits from the time. None of that is more evident than with the needlessly long final tune on the album that feels like a jam session that really didn't need to be on the album and got quite annoying after a while. Is it interesting for 1966? Perhaps, but it really brings down the rest of the albums pretty rock solid line up into something that feels more "holier-than-thou" in its production, and I lose interest in the four star I was thinking for the album. Had it been the beginning or even the middle of the album then perhaps I could forget about it and still warrant the four, but putting it at the end leaves a sour taste in my mouth that really middles the album out. Hearing people having sex (or pretending to) has never been one of my favorite genres of music, and someone yelling in my ear about it for nineteen minutes is, I imagine, no one's cup of tea. This is a cool album, in theory, but at the end of the day hating half the album really doesn't seem fair to my other four stars.

This album reminds me of U2 if they were a bit more dance focused with the music they produced. That is not really a good thing in my eyes, and the lead singer sounds like the guest singer in Gorillaz's "DARE" when he was drunk at that one live performance. Could be worse, but did definitely got on my nerves at points.

Certainly alternative rock from the early 2000s, there's this sound you can pick up from it, but I like the addition of a sort of soul sound to it all, like if Lenny Kravitz started making music in this era instead. That being said, it is very repetitive, and almost none of the songs have a climax, it's usually the same song it was five minutes before with an extra voice and instrument or two. That isn't always true, but it certainly felt like it. Otherwise pretty alright, just feels like it should've done more.

I'm a sucker for fuzz guitar, and this album has plenty of that. That and big, crunchy bass, which also gets me. This album reminds me of a modern take on one of the earlier Black Sabbath albums, and that isn't a bad thing, despite my pretty mixed views of Black Sabbath. My partner was not a fan of this album despite both of us being big fans of Them Crooked Vultures' (currently) sole album, which surprises me, because listening to this, I don't see what this doesn't have that that album does. Just really enjoyable. I'm actually pretty close to giving this a five, but there's just some small things holding it back such as the goofier sounding instrimental track, the straight up creepy sounding ending, and the realitive repetitiveness of it all, it could stand to be shorter. Otherwise, really enjoyed this, and if this is a weak QotSA record according to some fans, then I really need to give their discography a listen.

OutKast have been one of those duos that I've always said "I've liked," but I've never actually listened to one of their albums, so this is my first full experience, and this was good. I really enjoy the more regular song structured pieces, I assume courtesy of André 3000, but that doesn't stop the raps from being good too. I think if the album were just shorter (I don't know if I remember a single skit) and more tight in general, as some of the more jokey songs weren't what I would call good, then this could have made more of an impact towards me. All the big songs here, though, are great though, and even stuff like Toilet Tisha really caught me off guard with how good they were. I'm excited for The Love Below, and maybe Speakerboxxx will be good too, and that's what this album has basically made me think. Is that how people usually see OutKast? I've really got no clue. Still, solid album. Starts really strong then peppers good bits throughout.

Fuck, I really like this, and I was not expecting that AT ALL. I mean, five songs all longer than what I consider casually listenable? Seems like something I'm destined to be annoyed or at least bored with, but I really adored this. Firstly, it's gorgeous both musically and lyrically, with the strings really meshing well with the weirder choices such as a mouth harp and banjo. In that way it reminds me of a Leonard Cohen album, but I'd say the lyrics are far more abstract than Cohen's works, but it still really works. I like that there s no regular song structure yet it returns to the same line every few minutes to bring the song into its own orbit and not let it stray too far outwards and become a mess. I don't know if I'll go out of my way to listen to most of these songs separately due to their length, but as a whole album this is certainly up there as something great. I will admit her vocals remind me a little bit of whoever sings "Dance Monkey", but not really annoyed at it here. Then again, I never found the vocals on that track too annoying either, so perhaps I'm the one broken. Any way, amazing album, truly unexpected.

I feel often that with this generator I'm getting nicer and more open towards the albums I get, which is probably good overall, but it's making my positive-to-negative ratio feel slowly more and more lopsided to the former of the two. Luckily, I can count on The Rolling Stones to put me straight and remind me that my tastes and opinions are still consistent with when I started. For instance, here is the third Rolling Stones album to get a three star. Is it bad? No, in fact I could totally understand why someone would like, nay, love this, but it just feels so generic in a modern lense where Rolling Stones was falling so behind on the revolutions happening around them in music that they decided to fall back and rest on what they knew, and there can be merit in that, but what makes this more special past an admittedly great opening track. If I wanted music that sounded like this I would either go earlier into the 60's or later into the next decade, not give the very personal genres of folk and country to the British boy band. I''ll never deny Rolling Stones their iconic status, as they've certainly earned it from various track to track, but I don't understand so far what any of their albums as a whole work of art has done for the music landscape but seem like music your great uncle swears is better than the Beatles.

There are beats and (I assume they're) samples that I like on this album, and sometimes the way Neneh Cherry raps reminds me of Chuck D's flow of all things, but the album feels like a bygone era that struggles to be interesting both in the realm of pop and hip-hop, so a mix of both just spoils moments after starting, and while this album isn't too long, each song feels like it drags. It's okay in short doses, but a whole album can be a bit much. Just a whatever album.

Since he doesn't have an album of his own, I'll mention here that Busta Rhymes has a really interesting flow that is super charming. As for the rest of the album, it's pretty alright. I like Missy Elliott's rapping, and some of the backbeats are great, but the bragging gets annoying, especially the praise of Timbaland that I assume he wrote himself. None of the features feel that present to me either, other than the before mentioned Busta Rhymes. An alright album that just feels very much like an album that you'd imagine if I just said "rap album".

A huge improvement over their debut album, with beats never feeling empty between lines, and the flow between the two is also much improved. My only issues is that sometimes you can tell they found a soundbite they lacked and spammed that shit, and the fact that some lines are still ridiculously cheesy and outdated, although that does add to the charm in a weird way. Anyway, very enjoyable, so many hits here that are all deserving of such, and it feels like a soundtrack to a skating game from the PlayStation 1. Although, it is incredibly funny to me that they didn't actually want to collab with Aerosmith, and it was kind of forced on them. See? Even people profitting off Aerosmith don't like them.

I have no clue why I find Black Sabbath to be so mediocre, as it seems like it'd be something I'd be far more into, but even the hits don't do anything for me anymore, and considering this album doesn't even have those, it's hard to understand the praise. However, it is still alright overall and easy listening (for metal) that doesn't have any ridiculously annoying parts. Although just making random noise for a minute-and-a-half is definitely pushing it. Again, this is okay, but I've gotten all three Black Sabbath albums on the list now, and none of which have switched me into thinking anything more of them. Definitely influential, but outdone by all their pupils.

I have so much to talk about relating to this album, so apologies to whoever reads this if you choose to do so, although I doubt anyone will. Firstly, I've been looking forward to listening to this album for years, with it always being something I wanted to get around to listening to, but always forgetting. This is because not only is Lovefool easily one of the best, if not the best, pop hit of the 1990s, but because The Cardigans have always been compared to and been put into this bubble along with some of my other favorite bands, with Cloudberry Jam (which sadly seems to have been mostly lost in the streaming age), Stereolab, and one of my favorite bands of all time, Komeda. Cloudberry Jam always had some jazzy sensibilities, Stereolab, who's pretty well known, was the electronic one, and Komeda has a bigger alt-rock focus. The Cardigans, however, were far more pop-y then those others, and it had me worried I might not care for this quite as much as those other bands, but this was just as excellent as those. I love the whispery singing of Nina Persson, and they completely understand what I am looking for with a song, with each movement of a piece being satisfying in its own way, and they know when to bring into horns and woodwinds and all sorts of really creative stuff that sets their music apart without being too out there. I'm happy to finally listened to this. If you disagree with me, then know I'm the type of person to give a Black Sabbath album a three, and enjoy this cover of Iron Man far more than the original. Amazing album. What can I say, the Swedes make good music. Also, just to make this review more niche than it already is, the bass riff in Lovefool is the same as Persona 4 Golden's intro theme, and that's knowledge I don't know what to do with. Also also, the first song sounds like a Katamari song, even more bonus points there. God, I love this feel good shit, pump it into my veins.

I like when he sounds like Nick Cave, but man is this album boring. Nothing here bad, but this came in one ear and out the other, and you can easily place what time this was made in the history of music, and in that case it is not a good thing. It's just so wishy washy, none of the "intense" moments feel like they earned it, and I'm just left questioning why this album has so much praise. Especially with such deep lyrics as "I'd eat your brains, 'cause I'm evil, 'cause I'm evil." Not bad I guess, but I never wanna hear this again. I'm thinking a light two at the moment, but it may be a one by the time I rate it. Nah, it doesn't annoy me enough for a one star.

This makes me feel like I should be playing Crazy Taxi. It also makes me realize I really only care about this music while playing Crazy Taxi.

Aren't people who do terrible things supposed to be really talented? This was boring. Sure, the piano playing is impressive, but it's just rock 'n' roll standards played slightly faster than usual. I can find more impressive piano-centered pieces from a century before this album. Thank god it's short, or I'm more than sure I'd hate this.

Maybe it's just the mood I'm in, but I did not care for this. Nothing here struck a chord with me, and it just felt boring. I really have nothing to say other than that this is a light two.

I've always had dueling thoughts when it came to Steely Dan, as my father would always say the music made by the group was awful, but my partner thought it was pretty alright. I'm gonna have to lean with my partner with this one, probably even more so, as I wnjoyed this one pretty consistently. I'd say each song has something I like about it, and the shorter length for each track makes it so nothing takes up too much time if you are disliking something about it. Perhaps had I not just listened to all of America's discography in the last year, which is very similar, then I wouldn't care about this, but I've got more of an ear for yacht rock now, and that definitely helps this album out.

I like the viba of this album, but the first song kind of satisfies that style with the rest of it being unnecessary fluff. I enjoyed what I heard, though.

An album very much from the era in which it was created, both in the indie-folk style that was becoming increasingly popular with the approach of the 2010s, and also in the means in which the band achieved fame, being one of many artists that benefited from the illegal sharing of music on the internet (eat your heart out, Metallica) before streaming took over in that aspect. Sadly, even being early pioneers of a sound that would be adopted by bands such as the Lumineers and Mumford and Sons, the style still struggles to snag my attention, save for a hit here or there. I enjoy the idea of this album a bit, as similar songs by artists such as Led Zeppelin have always been some of my favorites, but I think this stuff just sounds too lightweight in its execution. Yes, the vocals are the major grab, but there's never anything actually impactful or moving, just feels like something to ease into while relaxing. Nothing here is bad, in fact I'd say this is a pretty decently high three star, but it's gotta do more if it wants to leave an impact. Throw an angrier sounding song in there, or change your instrument of choice, otherwise it all comes in one ear, and out the other.

Literally none of this left an impact on me. Is it loud and abrasive? Yes, but none of it actually struck a chord with me, for better or worse. There's parts that sound like Tom Waits, but when this guy does it, it feels gross, not interesting. I don't hate this enough for a one star, but I wish stuff like the string samples were used more interestingly.

An overall much more consistent Radiohead album in its tone and quality compared to most of their albums, but it doesn't nearly reach the highs of any of their other albums on the list, including stuff like Hail to the Thief. Still a solid record for the consistency and high polish, but it does feel like it's riding off the high of Kid A. Great album, otherwise. Seem pretty negative here but I should specify that this is still great. Would have loved more of that jazz influence we see at the end.

The terriblness and disturbing-ness of this album has been greatly exaggerated by the reviews on here. If you have any experience with any sort of grit in your music, you should be just fine listening to this, and the fact that Nirvana's albums have such high scores compared to this, kind of tells you that I think a lot of Nirvana's fans miss exactly what made that so special. Anyway, speaking of grit, this album is so gripping audibly that it scratches every itch I would try and achieve with any music I would ever make. And the varying genres and styles basically making fun of various types of music keeps the album light hearted without sacrificing the musicality (most of the time), despite the downright evil sound of most of the music. Overall I think this pretty entertaining, and at a cool thirty-two minutes, what's not to like? Are most of the songs something I wouldn't put on casually? Absolutely, but I think as an album and an experience it's pretty great.

This felt extremely stereotypical and almost like a parody of oneself. That isn't to say it's bad, it's completely competent as an album, but everything just sounds like surface level 80s dark wave. Now, at the time I'm sure this was revolutionary as a darker sound in new wave, but now it feels like the bare minimum as to what someone would be playing if there was a soundtrack for the 80s. It just screams angst, but that angst is hard to take seriously with the cheesy synths and repetitive drum machine. Maybe if one of these songs alone was on a whole album that sounded different, then I'd be interested due to the darker tone, but instead I was just bored by the end. Maybe in the right mood, but I have no clue what that mood would be, and why I wouldn't pick something like Depeche Mode or Joy Division first.

Not counting their debut, as it's quite different from the rest of their discography it seems, this is my first experience with Pink Floyd through a whole album, and it certainly feels like a new experience. I like the thorough storytelling and how it is all one cohesive "thing" while still managing to get those singles in there that stand out. Also it looping over and over if you so choose is a really cool touch, no matter how simple. That being said this does feel like it thinks it's higher art than it really is. At the end of the day this still feels like a pretty normal rock album, and there's nothing truly here that makes me go "wow, this was super important to listen to." I loved the reoccurring motifs, something I feel a lot of concept albums lack, and this is a good package, but I see why this is usually seen as the weakest of the big three (four?). Still giving it a four, but it's a light one at that. Also, the best song from the Wall, What Shall We Do Now?, isn't even on the actual album, so that sucks.

Her voice and guitar playing is amazing, and her songs can range from the folky traditional tunes of Bob Dylan to the dark, introspective tracks of Leonard Cohen, a few years before either were apart of the mainstream concious. So, to all of that, hats off. I just think the album sometimes suffers feom being an older album, as those more country tracks feel like something put on their to appease the masses, rather than be something truly groundbreaking throughout, which Dylan took and and ran with a few years later. However, this is still a very good album, and I'm still at awe of that final track.

Holy shit, this is awesome. The singing, the influences, the gorgeous chord progressions, and how ahead of it's time it feels. This is a powerhouse of a double LP with both singers bringing their S+++ game. Perhaps it's a little long, but it's hard to notice when every song is a banger. The Beatles influences are clear, but Borges and especially Nascimento take those influences and run, making one of the best pop albums I've ever heard. You can hear influences that inspired pop and rock bands all the way up through the 90s, and the fact that there's some that won't like this because it's not in English is a crime against themselves. I don't understand a single word and it's already a five, so imagine what the lyrics bring to the table. I adore this, were it not for Kimono My House this would be my favorite album so far.

From this generator my partner and I have discovered two things, with each of us discovering one. On my side, I got Kimono My House, which pointed us towards discovering Sparks and now having a mutual favorite band of all time. And for them, they discovered the Buckley family. First it was Tim Buckley, in which they loved his voice and more eccentric musical pallette, but then they got Jeff Buckley. Now, it's safe to say this album would rank in their top ten favorites of all time, and that obviously means I got to hear this one before I got it on here too. As for the album itself for me? It's amazing. Buckley's voice is angelic and mesmerizing. The band performing with him knows the exact mood to go for to really know when to go all out and reel it back in, and the obvious inspirations this had on artists like Thom Yorke and Matt Bellamy is worn on their sleeves. To say that this album is amazing in every way is a very easy statement. I mean, I really don't know what to say that hasn't been said. The opening track is fantastic and keeps that solid energy all the way through to the very end of the album. If I had slight critiques it'd be the length of some of the tracks, but that really doesn't matter too much when you're in the mood for this sort of stuff. I may not love this as much as my partner, but this is still an easy five star (two in a row, woo-hoo!)

Aside from Dylan's sometimes grating voice, it feels as though on this album he knows exactly where I want the song to go next with its chord progressions. It makes it so a lot of songs hit right despite his voice, making it all work. I also feel there is a lot of times on the album where an instrument makes a little peep and it's a sort of noise you don't hear a lot in music, being a more analogue yet electronic noise, and I think that's cool, as it isn't too common to hear in a folkier album. I just think this album is neat really, stuff like the percussion on the final song is a nice addition, and you can feel that throughout the album. I would only say the downside to this album is a lot of the faster pace songs still feel too all folk no substance, and miss that magic that's on the slower tunes. All and all, really impressed with this album, I get why it's so praised, and I think after two light three stars I finally get the respect Dylan gets. Oh, and any album that can actually make me throughly engaged with the lyrics on a first go through definitely deserves praise, as I'm not a lyrical person when it comes to music, yet I found myself reading the lyrics as the songs went on for nearly every track here.

I kind of figured seeing the fourteen minute song awaiting me at the end of this album that it'd make or break the album for me, but it didn't really affect my view of this album from the rest of the songs at all. I mean, it got tedious a little past the halfway mark, but it wasn't so annoying it pushed the album over to the one star. This is just an album full of little things I like, such as the guitar playing, or some of the more interesting chord progressions, but none of it really comes together for me. This doesn't feel like a congruent album to me, which stuff where songs sound decades old to newer more "sophisticated" country tunes, and even a random live(?) song. Perhaps this is just supposed to be a love letter to a bunch of commonplace country musician moments, but none of it left an impact. Don't hate this, but I certainly don't get it.

It's kind of funny that I got this so close to a Bob Dylan album, but this left a lot to be desired. Felt boring the whole thing, and gave a vibe the same way CCR does for me where it feels close to being something I like but instead just feels like southern rock 'n' roll stereotypes all rolled into one album. I have nothing wrong with this, just disappointed really. Hope Music from Big Pink is better.

Eh, I prefer this over the sound of everyone tuning on top of each other for twenty minutes at a time, but Miles Davis continues to prove to me that I don't get jazz. I just don't understand what makes this so amazing. Often it is boring more than anything, and with how long winded each song can be, it can even be annoying. I could see enjoying this in the moment at a club or something, but just listening? Total bore. Nice piano playing, though.

Modt of the album was extremely nothing, even starting to get annoying and bad near the 75% mark, but the last four songs were all really nice and bleak yet beautiful. Nothing crazy good, but earns a three for its troubles.

Some notes to start is that this is one of the ugliest album covers on the whole list, and that man, do a lot of one hit wonder bands have albums on the list, for better and worse. In this case, it's worse. The album isn't bad, per se, as I like some of the ideas here, but nothing stands out as some crowning achievement in new wave, synth-pop, pop, or even electronic. Some of it is pretty okay, but nothing gravitates to me any more than anything else that blends together from the era. There could definitely be days where I could see this getting all the way up to a four, depending on how open I am to just stereotypical synth pop, but today is not it, and thinking of all the other much more deserving albums from the era that were probably axed for this makes it all the sadder.

It's super interesting to see parody and satire of music still happening at the time of the music being made at the same time as this album. It would be like if Weird Al made Eat It before Beat It was even released. It's even better because Frank Zappa and his bandmates don't sacrifice the quality of the music (most of the time) for making fun of various genres, topics, and lyrics. It all turns into an album where you can only think more and more "holy shit, this was made in 1966!" I think the end of the album pretty much going crazy is also a great choice to keep the album from getting stale. I will say, though, that the length is a bit much, and even with only fifteen tracks, there's definitely some filler in here, with some songs seemingly repeating paordies of things like Doo-Wap. Still, really blown away by this, and I feel this is a high four.

It's kind of hard to rate this album, as I've known most of these tracks for quite a few years now, into my single digits, so to critically rate them is hard to do as something fresh. I used to think that this album went too far off the deep end compared to Nevermind, but listening to this now, while I'll still say this is lesser to Nevermind, this is also fantastic. You can tell Cobain and crew were much more into the music they were making here, and the creative variety really shines here. I could see why some may see this as too much, but that's exactly what makes it so fantastic. It's that first Nirvana album mixed with the commercial success they tasted from Nevermind, making just hit after hit, turning out an album in which a song like "Rape Me" could become a relatively mainstream hit. No other band could even dream of doing that. Kurt's voice is fantastic, the drums are great, and it'd be hard to discredit anything here. It's like Endless, Nameless becoming a full album, and just like that song, it takes a few listens, but then it truly becomes something fantastic.

How is this supposed to be on here? I'm guessing because it's traditional country in an era of Reagan-infused-country, but that doesn't make this good. Were this an album from the 50s or early 60s I'd give it some wiggle room, but this is the same year as Teenage Riot, for God's sake, Havwe some edge, something interesting, ANYTHING. It's a two star album, but this gets a one on principle. I will say the instrumentals are nice.

An album that is definitely proto-punk from the mid-60s. Sadly, it doesn't nail either side of the coin, just leaving no impression. Some of the lyrics are kind of funny, and the instruments at times nail that intensity that punk has, but its pretty forgettable all things considered. I can see why I had to hear this, but it isn't going in my musical rotation any time soon.

Despite some of the songs on this album sounding like the soundtrack to a Ford truck commercial, this album does enough to stand out as its own thing and not the just be the rock band you hear on the "alternative" rock radio station. However, that difference is still rather boring, with songs blending together towards the halfway point of the album, and very little making it easy to tell the tracks apart. I wouldn't call this solely a rock album, but just like that genre, it's so vague what this album presents it's hard to have strong feelings about it. The film centered around this band from the same year seems interesting though, and I assume that may be why this album was on the list. Also weird that Julian Casablancas got it distributed over here in the United States. Small musical world.

This album is really cool sounding, it feels like nothing else I've ever heard. Sure, that does equate to a lot of it just coming off as harsh noise and not something I'd listen to casually all the time, but this does feel like a natural evolution of much of the music that was being made out of the UK in the 90s and early 00s. It's like some really heavy metal, but lightened up with some alternative dust and synths to make it more appealing, and it works. Could see myself liking this more on a future listen, so I'll get ahead of the curb and give this a solid score now.

I may just not be the mood for an album like this at the moment, but this album impressed me far less than their prior album. I feel a lot of songs almost hit the mark, but then either went on too long and made me lose interest, or felt more like I was being yelled at, in a weird, not yell-y way. Pros are there, such as the inclusion of pretty solid string sections, and a song like Been Caught Stealing is of course a banger, but this just feels like snippets of a better album, yet runs longer than that better album probably would. I sound overwhelmingly negative here, so I should specify that this is still an alright album, and will be getting a light three, but I am pretty disappointed. Again, though, could be that I'm just not in the mood for this style of music.

I thought this would be right up my alley, but it's just okay. I think it isn't funky enough for my taste, and I don't see this album doing anything that Talking Heads doesn't do better. It has got some pretty funny and non-serious lyrics, which I appreciate quite a bit.

I'm a fan of Johnny Cash when he's on and performing, but I've never gone outta my way to listen to his music, and this hasn't really changed my mind, but it was still a nice enough live performance. Pretty crazy to think the room is full of criminals and he's just cracking jokes about the wardens with them, really makes him seem like a cool dude, but the music itself was just okay. Got a bit repetitive near the end.

We did it everyone, a rap album has received a five! It took over a year, but I kind of figured this would be the first, and I hadn't even heard it before. Kendrick Lamar has certainly become someone I highly respect since I got Good Kid a while ago, being such an excellent artist that I will happily praise in my free time, and this artist was my white whale that I was waiting for the right time to listen to, and after finally getting to, I understand all of the hype. Not only is the story and lyrical content interest enough that I'm invested throughout, something that a lot of hip-hop albums struggle to get me attached to, but the jazz influences throughout make the album something so wildly different from everything else in the genre that there is nothing to match it. Each song fits with the ones before and after it while still feeling wildly unique. Even the songs I would consider "lesser" on the album had me getting into them pretty closely, and despite the length of the album, I never once was dreading the next song. Features were well thought out and used incredibly well, and again I just have to praise the instrumentation. I can totally see why Bowie was influenced so much by this on Blackstar, and that just earns the album more praise from me. A true masterpiece.

I have to agree with the top review, this is the best Elvis Costello I've heard, but I don't mean that in quite as negative of a light! There is quite a bit here to enjoy, with Costello feeling liking he is putting the most effort into the music he's making more than anything else that I've heard, and it doesn't fall into that problem a lot of his music has where he never hooks me with the songs, as there are quite a few songs here that catch my attention. The issue is that even with most of the songs being pretty short they still feel too long and never do anything particularly interesting, at least, most of the time. Good album, I'd say, but still doesn't quite hit that four star mark, and I'm worried if this one doesn't, none of them will.

I wanted to like this, I felt like a lot of the songs hooked me at first, but then it just collapsed into what every live album from this era seems to sound like. Everyone is having a blast, sure, but I'm not there, and so each song sounding the same is a lot more noticeable, and the album feels nearly there with each new song that appears, but it seems to always to devolve to something about swinging. I understand why people would like this, but I feel not invited to the party everyone on this album is having, but I wanted to stay home that night anyway.

I'm a big fan of the shared riffs between the bass and guitar throughout the album, it not only feels very vindicating to get an album with the bass playing at the forefront, but it makes it so they're all catchy too. I'll admit every song here starts to sound the same, I wouldn't be surprised if they were all born from the same general idea, but the slight changes they make to each one pushes some songs to being really pumping tunes, like the opening credits to a really fast paced film. I just wish the singing on it fit the oomph of the rest of the instruments a bit more, as his voice can feel a little wimpy, like Ray Davies trying to sing how he sings on Village Green whilst performing You Really Got Me. Then again, someone else sang on this album at a point, and that voice sounded much worse, so maybe it's for the best? Album could've stood to be shorter, even at it's short runtime already (again, lots of repeats), but if you're in the right mood, the blood-pumping is good.

Can I stop listening to this? This is boring at best and disgusting at worst. Nothing here earns that musical quality seal to excuse some of the things said on here, and while I know that's the point, that doesn't mean I want to listen to it. Yes, the scratching and some of the beats are rarely good, but any album that thinks using Canon in D as a back beat is clever is no musical genius in my eyes. I'm only halfway through this and already want to stop, and that's rare for an album, even my one stars. After finishing it (although I did skip a good chunk of the songs once I figured out he was just gonna be rapping about rectums once again) I can confirm this is the lowest of the low. This may be my least favorite album so far, and if not, it's still terrible.

I've actually heard this album before via my partner getting it probably nearly a year ago now. I do remember liking it more then, as a lot of songs here do blend into each other for me into one homogenised "album", never feeling a drive to listen to a single song, but that isn't a bad thing, right? That's sort of the point of an album, at least in 1968 it was. I still like this quite a bit, with her voice being a standout point of the album for me, and musically it is very pretty too. It's a lighter four than expected, but it has that same melancholic enjoyment as something like a Simon and Garfunkel album.

This definitely peaks with the first song, as the rest of the album is very bland proto-rock 'n' roll with no substance save for some nice instrumentals and surprises peppered throughout (the instrumental, the guitar in the final track, etc.). It certainly isn't a bad album, but considering this album is already confusing enough to track down what to listen to, it isn't really worth the end result.

MGMT understands the enjoyment of being enveloped in a wave of sound like a shoegaze album whilst keeping the catchy hooks like your favorite pop song. This leads to an album that certainly has its fantastic hits and moments on it, and the whole album otherwise is still incredibly solid. My only worry, and the reason it stays from the five range, is I question how much this will stick with me past the singles. Some of the sounds of songs already allude me just after the album ends, and it does sort of give off the vibe of the music the alternative kid listens to just to stand out, albeit far better than most other groups that fall into that genre. I certainly don't dislike it, far from it, I just could use some more form in my pop and some more overwhelming noises in my wall of sound.

I was worried at first, as the first few tracks were certainly not grabbing my attention, despite being the singles for the album so I was worried that despite my (controversial) love for A Short Album About Love that this album would not reach even close to the same level of quality. However, after those first tracks, this album just starts rocketing off with quality song after quality song. Hannon's voice starts shining through again, and the strings are just as excellent as always. I've also come to really appreciate the goofy lyrics, as so much Britpop takes itself too seriously, and this feels like this guy was certainly in on the joke. I do wish the album grabbed me quicker and was shorter, but I really like quite a few tracks here, and look forward to getting to know them better. This dude really likes horses, huh? You know what, fuck it, this album is also amazing. I re-listened, and while some of the early tracks are still lacking, all the tracks after are so amazing, like Franz Ferdinand's lead singer singing parody James Bond themes, its the perfect schlocky album but in the best of ways. Plus, it could use the extra help on the average rating, it seems. I suppose I can officially say I'm a fan of the Divine Comedy.

Of course I know Rage Against the Machine, but I've never really listened to any of their deep cuts, save for one or two, so listening to a whole albums of theirs is new for me. I do quite enjoy this, super bumping with each song, just probably a bit repetitive, with each song following the same general format. Still good, and goes hard.

I've been interested in this one, considering it's believed to be up there as one of the hip-hop greats, and it was certainly good, but I did expect a bit more. For instance, this is labeled Jazz-Rap, but I feel the jazz influences are very light, due to the simplified production. You won't be finding any interesting jazz riffs save for one or two. Q-Tip's voice and flow is still super tight though, and I really recommend you walk with earbuds whilst listening, and you'll get pretty into it. This one may grow on me in future listens, but for now, while I get the praise, I don't think I can put it way up there.

Not at quite the same quality as Supa Dupa Fly, but the features are still used very well, and some of the beats are nice. I like the emphasised use of R&B stylings, because Missy Elliott can certainly sing, makes me surprised she didn't do one that's just that. Unless, of course, it's not her singing on some of these? I suppose that's possible. Anyway, still decent.

I have to be missing something, right? Like, there's no way I like their debut MORE than this? Well, I guess I do, but I reslly don't know why. I mean, this one is decent, but even the good songs I can't remember after finishing them, and his voice feels really grating when not doing proper punk tunes. There is enough here to be enjoyable, but that's probably because it's a double album that goes much longer than it needed to. Really mixed on this way, but I for sure don't see the hype.

I quite enjoyed the more somber and stripped down tone of track three and four, more than most jazz tunes, and the man can certainly play the piano. I just think every other track suffered from the usual jazz problems, such as being too long and disorganized for the average listener to take anything too great away. Sure, the piano and bass solos are cool, but I play those instruments. The drum solo? Did nothing for me. Still, better than most jazz, and I can at least understand the praise with something like this one.

This album is boring, and the main singer sucks at his job. His voice isn't bad in an interesting way, it's just straight up bad, and it doesn't help that his voice is so bad it distracts from pretty decent guitar playing, with a few good riffs, and when the album featured an actually good singer for one song, I could see an alternate reality where I liked this a lot more. The last song having no words was a godsend that saved my my mental state and this album from getting the lowest of low scores. Still not good.

The other reviews were not kidding, this guy really wants to be Stevie Wonder, but I think he wanted to do so out of inspiration, not to make money off his style. I was hopeful for this album because of this common comparison as well as "acid jazz" being listed within the subgenres, but I sadly found a lot of this album just okay. None of it really had that punch I find Wonder's music to contain, and no real slow tracks had the album start to feel monotonous more than something to get up and dance to. Everything here is solid enough, but I can live with one or two tracks from this guy and don't need a whole album. Also, say it with me everyone! TOO. LONG. Normalize thirty-five minute albums again.

The first couple tracks didn't do much for me, but the more the album went on the more I really liked the somber and string-filled tracks. He's got a great voice, and the choir enhances the songs rather than feeling unnecessary, something that happens too often in this era of music. Piano is great too, jazzy without being overwhelmingly nonsensical. Sure, it's mostly dinner party music, but it's pretty, I could see myself liking this a lot more as time passes, but I already like this quite a bit.

This was way better than expecting. I was figuring it would be a Alanis Morissette situation, but this is a bit more personal feeling than that! It's got an alt-rock vibe from the 90s that feels right on the edge of being mainstream and more lo-fi, and it makes it so while not every song song here is notable, a lot of it is at least interesting, and usually pretty good at that. It's at the very least way better than the Rolling Stones album this is riffing on.

Hey, I've listened to this album before! I was so inspired to listen to it one week that despite my knowledge that it was on the generator, I knew I had to sit down and listen to it. I was blown away then (but somehow God Only Knows didn't grab me) but it's even better now. The harmonies on here are gorgeous, and the small orchestra Brian Wilson was controlling on this album is some of the most gorgeous displays of instrumentals on any modern pop record. No wonder there's two different instrumental tracks on this. Brian Wilson really did make a masterpiece here, and it's a shame the other band members saw that and still shut him down with "Smile" eventually. I've seen the average score the realization of that album has on here, and I'm hoping it's just a case of people totally misunderstanding the story behind that album after years of mental issues from Brian, because the man at least displays his genius here. 1966 to 1969 really was a magical era for music, huh?

I've not listened to all of Rolling Stones' blues rock-style albums from this same era, but I think I prefer this over those, as this is far more consistent throughout the album, rather than just having one or two great tracks and the rest being forgettable. A lot of this album does feel generic, yes, but I never found myself especially disliking any track, and in fact, I'd say there's enough here I actually like quite a bit, varying from the strict blues sound to actually feel like it's from the early 70s, rather than just relying on nostalgic stylings. Just decent music you'd here on your local classic rock radio.

This one really has me confused as to what exactly makes R.E.M. such an important band to so many, as while I usually get the appeal of most of their hits as I hear them, the biggest song here, "Everybody Hurts," is a slog of a song that comes off more dreary and dull than something worth spending time on, and most of the other songs presented on this album are very similar tonally. The singer seems to think his voice is something much more dramatic sounding that it really is, as his voice does not lend itself well to these ballad-type songs, and while musically it is very solid, it needed far more times where the music picked up, such as on "Ignoreland," to not be a repetitive drag. So, you may be confused, why am I giving this a three? Well, it's more of a 2.5, and I'm just rounding up, because that's math for ya. There are moments I like, even whole songs I'd say I enjoyed, it just struggles to be anything I'll remember in a days time. I think I said something similar for Murmur, but in retrospect, that album is a very solid three, while this one is hanging on by a mere thread. Hope other R.E.M. albums on here pick up, because this was meh.

Eh, just feels like generic proto-punk. I enjoyed some of the rock focused stuff, as it felt a tad bit on the glam rock side of things, but it still didn't grab me. Also, some of the song topics are questionable, to say the least, but considering it's punk I imagine it's at least somewhat ironically. Hopefully, any way.

It kind of reminds me of a Celtic Electric Light Orchestra, but that is not a bad thing. Actually, it reminds me of all sort of influences, as you can hear artists like Talking Heads, David Bowie, and the entirety of punk having huge marks on the music at play here. Yet, it is all entirely its own thing here, with each song having this unique charm that feels just new wave enough to be catchy enough without coming off as just jumping in on the times. The change of music from ballads to bopping pop tunes is great and balanced well, and that fiddle is a fantastic addition to make it all its own musically. Not every slow ballad grabs me, and the hit here, Come On Eileen, I've heard far too much to give it a proper time of day, but otherwise this album is great, and I hope the somehow other two inclusions by the band on the list live up to being as good as this one.

I've now heard three different albums in full by this group, which I imagine is more than most people who consider themselves CCR "fans". This one is better than Bayou Country, or least feels like it. There's a tad more variation, and you fan kind of see the direction the band continues to go in, but I still don't see what makes this so special. It's just swamp rock, right? I'm not missing something special, right? Because I really feel like I'm missing something with these. I hope Cosmo's Factory opens my eyes in some way.

Is this really the same band as Screamadelica? I mean, I wasn't crazy about that album or anything, but I actually liked a decent chunk of that one, where this one other than one more actual rock heavy tune in the middle I could not get into this, and at some point was actively disliking this, like whenever the songer decided to put on that cringey voice changer. THAT got hard to listen to. I could see a band like Radiohead being influenced by the electronics on this album, but I find it much more likely that they found that on their own merits as a good sound, and not on this record. Not bad enough for a one, but it's close.

I'll start by saying that this album, musically, is not very good, and at over an hour-and-a-half long, that is not a good thing. Sometimes you'll get a guitar lick or a hook that is pleasing to the ears, but otherwise you're either getting stereotypical country rock, or Lemmy doing stereotypical country rock. It gets old fast, and whenever the lyrics are just like "I got drunk to Lynyrd Skynyrd hyuck-hyuck" the worst of the album shows. I understand that it may be relatable to some guy in Alabama who grew up in the 70s and 80s, but for most of the world, it verges on parody. However, I must admit, despite not wanting to, that I don't hate this album. Especially not enough for a one star. There are lyrical nuisances here that show more deptch and humanizing of the American South than their "culture" has ever shown, and the looking inside the album tries to display at times is endearing at worst, but genuinely interesting at times. Not every song does this, mind you, but after years of Alabama being the butt of every joke you've ever heard, to see someone actually from the state talk about their thoughts and opinions on various topics can be genuinely thought provoking, and they can definitely tell jokes that are more clever than just "Alabama lol". Needing all twenty fingers and toes to "hold the closet door closed" is one that is especially clever as a comment of the stereotypes of the state. Most of this is not good, and I'd rather not hear this again, but I have to give credit somewhere. This is too long, though, were half of these songs necessary? Still, expected worse. Looking into this album a bit more, I'd say just listen to disc one, as disc two is the part of the storyline where the fictional band of the story "Let there be rock" and while most of the decent parts musically come from this section, nothing on this back half will stick with me.

Man, why is this here? Like, I get this is an important part of nu-metal or whatever, but isn't that why Kid Rock is here? Or Korn? Like, I see no reason this is here if not for the author trolling everyone. The instruments suck, the lyrics are AWFUL, and the same song is on here twice, just to really say "fuck you" to your audience. Is that the point? Why would you want to listen to this if the artist hates you as the listener actively on the album? Jesus, just terrible.

This is a weird case where as a pop album, it has the issue a lot of punk albums have of being too repetitive, and a lot of songs blend together. It's like punk-lite, though, as it still feels like you could hear each of these songs on the radio and think "yeah, this belongs here" and not think anything of it for a moment. I could see myself liking this a lot more in a different mood, as each song is catchy and had me tapping my foot, but I'd forget the song as soon as it ended nearly every time, and that makes the whole album feel forgettable. Like, I completely get why this is here, and I think if I were to dig into this album deeper I'd really like it, but as far as impressions go, this just doesn't grab me enough to earn repeats in my own free time.

I think this album is alright, and not too much more than that. Just has that general quick fix rock that makes it so no one song is bad, but no song especially sticks out too hard either. I do get why this is here, though. It starts really strong with the first song and has parts here and there that grabs you again for moments at a time, but overall it's just decent.

I'm unsure how I dislike this album more then Pretzel Logic, when this one has a bit of a higher average score, but I thinj my issue here was it felt like every track went on too long for its own good. None of the songs are bad, but I cannot deny I wasn't getting annoyed at points when songs felt like they were just repeating stylistic beats. However, none of this is to say that I disliked this album completely, as I think it does well what it is aiming to do, which is soft rock that you put on for background music. This album does feel a step elevated above that, almost being yacht-prog more than anything, and so increased attention is recommended, but definitely not required. A decent first outing, but this band still has yet to truly prove to me why it is something more than other soft rock bands from the era.

It certainly is funky, and a good amount of the time that is a good thing on this record, as I felt myself slowly getting into it with each song, but if I take a step back and truly look at this album as a whole, it's very repetitive and lacks a whole lot of substance, to the point where a good amount of the tracks lack lyrics for a portion of the song. I understand I'm supposed to be getting down with it and not caring, but it's a little hard to when you're just sitting at a desk, doing work. Perhaps that's unfair to the album, but I mean, if I'm still getting into it while doing menial tasks, then it must be pretty good funk.

This is far better than Neon Bible, because at the very least it isn't boring, at least not most of the time. There are some songs I would even dare say I enjoyed here. Nothing I'd add to my personal library, but it works as an album. What irks me the most here is the singer's voice, as its not only very whiney, despite none of the songs expelling specifically sadness, but also that it just sounds like Isaac Brock of Modest Mouse but less interesting and singing songs that lend themselves far less to the voice. It makes some songs that feel like great indie rock tunes conceptually turn into songs that sound like stomp and holler shit you'd hear out of the Lumineers or some other early 2010s indie folk band no one likes. Another issue I find is a lot of songs tend to pick up and start to do something interesting like a minute too late, and the song ends up ending before the payoff really does its job. I just feel like this is almost there, and who knows, maybe if I gave this a couple more tries I'd start to like it quite a bit, but for now, I can only claim that this is ten times better than the slog that is Neon Bible. Okay, this actually got REALLY boring with the last few tracks, so it's still a two, but it slipped down a bit from that. No matter what I do not get the praise here. While we're comparing them to Modest Mouse, how does this band have three on here and Modest Mouse has zero? So weird.