My favorite part about this project is discovering artists and records like this. PJ Harvey has been a familiar name for a long time now, but I had no idea she sounded LIKE THIS? It's raw and gritty yet still polished, it's quintessentially angsty, and it's all around awesome. It reminded me that no matter how old I get or what I go through in life, I will always be that angsty, emo teenager who loves listening to angry music. It really never just was a phase mom, this is who I really am!!!!

Radiohead's current description on Spotify starts with "At some point in the early 21st century, Radiohead became something more than a band." Ugh. What in the self-righteous pretentiousness. These guys really came together to make yet another self-indulgent piece of work. Sure, there were moments where the music was actually a bit catchy. But then it would by drowned out by another stretch of random nonsense, or Thom Yorke's whining. Enough with the Radiohead records please 😩

Wow. So hauntingly beautiful. For an album of covers, this feels incredibly intimate - to the point that it sometimes feels too personal to listen to. The way Johnny Cash delivers these songs and makes them his own is something else. His voice is calm but deeply emotional, and it demands your attention. He's contemplative and retrospective too, as if he's looking back at every facet of his life while saying goodbye through his music. Being my first full-length Cash album, this makes me thankful for this project. What a pleasure listening to this record. I'm only saddened by the fact that I might not be able to play it front to back as much as I want to, because it starts feeling very heavy and emotional at some point. But that's only a testament to how good it is. Standout tracks would have to be Hurt, In My Life, Desperado, & We'll Meet Again, but the whole album is breathtaking.

Okay I guess, but this is the kind of album that you listen to and immediately forget about afterwards.

At some point, it becomes hard to judge these early, folksy-sounding white guy rock albums because there's just so many of them. They all start to sound the same at some point so it begs the question - was this sound so instrumental to the formation of music that they have to appear on this list more than almost any other genre? Also, I guess I've had a different impression of The Kinks all these years because I thought more of their music would sound like You Really Got Me & Lola. Anyway, the record is fine. There are some good songs, like Australia and Some Mother's Son. But there's far too many albums like this on the list.

Interestingly, not as heavy as I expected! It has 90s hip hop tones which I liked - they're not two genres that I would immediately put together so hearing how well it worked was a pleasant surprise. P.S. I failed to take note of standout tracks, and will do so for the succeeding albums.

It's always a treat to be exposed to the albums that helped form the roots of rock music as we know it today. This record has a very "back to basics" feel obviously, and it's evident that it served as a foundation for much of the music that came after it. Apparently, it was done alongside David Bowie so no wonder it's also very Bowie-esque. I'll keep a few of these tracks on regular rotation from now on, particularly China Girl, Dum Dum Boys & Tiny Girls.

Context matters a lot here. This is the first heavy metal album, so imagine hearing something like The Wicked for the first time. It's a little too heavy on riffs and instrumentals for my liking, but still cool. Someone else on here said that it veers into background music - which is true, but it's damn cool background music I gotta say. Standout tracks are The Wizard and Evil Woman.

I should be listening to this album being played by a big band, not through bluetooth speakers. This is not my genre, but I have to appreciate how Machito makes me feel like I'm on the set of a 1950s film noir, with Humphrey Bogart handing me an old fashioned before we go solve a murder. As a whole, the album can be a bit samey but with the right mood and venue, this record is - in modern terms, a banger. Standout tracks are Congo Mulence & the titular Kenya.

The amount of irritating headlines I've read about Morrissey is higher than the number of The Smiths songs I have heard. It's a shame because some of this is quite good, particularly the sad songs for sad boys and girls. The rest are okay, bordering on mediocre though. Such is life when an artist is hyped up as much as these guys. Maybe I'll listen to the title track and Cemetry Gates to help drown out all the insane things Morrissey says

I already listen to these guys a fair bit, but still made some discoveries here. This is essential listening for rock fans, just a steady and consistent rock record that doesn't feel like it's nearly 30 years old. Also a great album to listen to on a late-night drive out of town with your best friends who, thankfully have the same taste in music as you do. Standard tracks are Cherub Rock, Hummer, Mayonaise, and Spaceboy.

It's one thing to hear an album where all the songs are completely new to you, but another to be immersed in a whole new sound entirely. This is steady, chill, and cool; it could be a soundtrack to an indie game or a record you play while you're high. It's very obviously a product of its time but that's not necessarily a bad thing, instead it brings back memories of the decade or reminds you of some of your favorite 90s songs that you've since forgotten. I'm particularly drawn to the instrumental tracks, it's like if the lofi beats to study to music was actually good. The rest of the album is good too, though. Overall, standout tracks are Protection, Weather Storm, Euro Girl and Heat Miser.

Too folksy for me, I'm sorry. Hell of a voice though, he sounds great in both the quiet parts and the loud parts. Very emotive too. Turns out that he's the dad of one Jeff Buckley, so talent runs in the family it seems! I thought Once I Was & Phantasmagoria in Two were pretty good, though not enough to add them to regular rotation.

I've always said that if I had to choose a single decade's worth of music to listen to, I'd go with the '90s. This record is just one example of why. Is it much different from a lot of other albums during that time? No, but so what! The more the merrier, I say! My only qualm is that most songs are too short, barely two minutes long so by the time you fully get into the track, it's already over. Weird choice but okay Lemonheads. You're still good in my book. In fact, better inject the title track, Rudderless, My Drug Buddy & The Turnpike Down directly into my veins!

You know that meme with the football coach removing his headphones while looking visibly repulsed? That was me towards the end of this record. Not to say it was bad but man did this take me on a journey! I would go from feeling like I took five espresso shots to feeling like I was the main character of a romantic film in two seconds. There are parts that sound GREAT, there are parts that sound messy and overwhelming. But what do I know? I'm a terrible judge of jazz

This is like if the Pet Shop Boys gathered a bunch of royalty-free synth music, layered on a few instruments here & there, and wrote cheesy (but sometimes, cute) lyrics to match. It's generic, commercial, and very forgettable. There is a lot of good synth pop and new wave, but this is not part of that list.

Wow. So hauntingly beautiful. For an album of covers, this feels incredibly intimate - to the point that it sometimes feels too personal to listen to. The way Johnny Cash delivers these songs and makes them his own is something else. His voice is calm but deeply emotional, and it demands your attention. He's contemplative and retrospective too, as if he's looking back at every facet of his life while saying goodbye through his music. Being my first full-length Cash album, this makes me thankful for this project. What a pleasure listening to this record. I'm only saddened by the fact that I might not be able to play it front to back as much as I want to, because it starts feeling very heavy and emotional at some point. But that's only a testament to how good it is. Standout tracks would have to be Hurt, In My Life, Desperado, & We'll Meet Again, but the whole album is breathtaking.

Gotta love an album that's here to remind us that rock music will always be around in some way, shape or form. Love the bluesy guitars, the catchiness, and the overall simplicity and effortlessness of the record. Opening with Seven Nation Army certainly ups expectations for the rest of the album, but Jack and Meg hit the mark especially in the first half. It falters a bit after Ball and Biscuit, so that back half could be trimmed down somewhat. Besides the two I mentioned above, standout tracks are In the Cold, Cold Night & I Just Don't Know What to Do with Myself.

I appreciated the music. I understood how influential this record was. I liked seeing or hearing some of today's icons in their earlier days. I found it sad that some of the realities he talks about are still true to this day. I thought Big Poppa, Respect and Everyday Struggle were strong tracks. All that said, couldn't really get into this album as a whole. And the skits went on for way too long.

Todd invited me to his house tonight. He played me this record and before I knew it, we were on a rocket ship to space! I asked him where we were going but before he could answer, we were being chased by Alice in Wonderland across a mushroom forest with a pogo stick. She had Cheshire Cat's weird face instead of her own, which was CONFUSING. We escaped into the first door we saw and found ourselves onstage in a circus. An elephant tossed me a unicycle and told me to get on. What? I don't know how to use a unicycle! Needless to say, I fell off and hit my head. When I came to, I was in the audience and Todd was singing & playing music. Oh shit, he's talented! After the show, I went backstage and suddenly we were slow dancing to Ooh Baby Baby. I yelled at him, "Ohmygod, I know this song!" He then went on a medley while dancing and crying at the same time, before pulling out his guitar and levitating, carried by his confidence. After his last song, he hit me in the head with his guitar. I opened my eyes and was back in his bedroom with the speakers on. What the hell, have we been here the entire time?! Ah yes, the '70s!

This is my kinda jazz! It's funky, somewhat muted but still groovy. I felt so cool while listening to this, especially the title track. Where is this chicken shack? I would like to pay a visit.

All classic albums from unique or underrepresented genres should be presented this way! Such a treat to get a musical history lesson from Ravi Shankar, even though some of what he said was pretty technical and didn't resonate with me. What I do know now is that the sitar is a beast of an instrument, and Shankar is a god. It's amazing how dynamic and vibrant the notes sound, now I know why the sitar has as many strings and pegs as it does. Ultimately, I don't see myself listening to this record on a regular basis but I am encouraged to look deeper into the entire genre now!

Some of these songs are legitimately great, but it's not hard for whatever feelings you have about Kanye to cloud your judgment of his music. That said, production value slaps but I honestly found myself enjoying the featured artists' contributions more than I did Kanye's. Standout tracks are Runaway & All of the Lights.

Listening to this record was a confusing ride. Everything I've known about Rod Stewart since being a kid in the late '90s has led me to believe that he's made all this incredible music throughout his career. I think that illusion was just shattered today? Don't get me wrong, he's talented and I enjoyed the raspiness of his voice but... this album is surprisingly just okay. I may have expected The Rolling Stones, only to receive a pebble making a single splash in a small puddle. I did enjoy Maggie May, Mandolin Wind, and (I Know) I'm Losing You. Otherwise, I'm shockingly whelmed? Oh well, I'm still happy to add this to my Rod Stewart memory bank, along with his many American Idol appearances and the 10,000 versions of Maggie May that contestants on that show have performed during the 2000s.

I enjoyed the dark, moody, and immersive sound, so this to me is a record that's better listened to in it's entirety during a single sitting. I don't know if some songs stand strong on their own, a couple tracks only get pulled up by the standouts surrounding them - like A Strange Day and Cold. As a very casual, singles-only listener of The Cure, I can't help but think that they have material that's much better than this. Still giving it four stars though, if only for that atmosphere it provides.

Well, the title is certainly fitting. Listening to this truly feels like being in rock bottom.

I find that jazz is best served to me in small doses. Although this was interesting and I can't deny the skill that went into creating it, having most songs hit or come close to ten minutes was a bit too much. Some sections felt pretty long-winded and I would start zoning out around 6 minutes in. You know listening to an album becomes a chore when you constantly check how many minutes are left in a certain song, and I, unfortunately, found myself doing that for every track in this album.

One word - Yes! This started off a bit weird, not to mention overwhelming. I mean, kicking off your album with an 18-minute song isn't exactly the standard, is it? But before I knew it, I was jamming along. Being very long songs, there were moments where I felt like the music took a dip, but it always recovered. I don't know much about progressive rock but this album is a great introduction. Highlights are And You & I, and America from the deluxe edition. I will be revisiting this. In fact, I've just finished it and already I'm compelled to go back and listen again - the first album so far to have that effect!

Johnny Cash is a badass. What else is there to say? Two Cash albums in (American IV being the first) and I am now a fan. Please excuse me as I look up where to watch his biopic, check YouTube for interviews & concert footage, and blast his greatest hits on Spotify. Standout tracks: At Folsom Prison, Cocaine Blues, 25 Minutes to Go (and a lot more, to be honest).

Makes me want to put on a bright red summer dress, book a flight to Brazil and blast this album while sitting by the beach with a cocktail in hand, dancing my cares away to its refreshing tunes and Elis Regina's smooth voice. In the wise words of Trinity the Tuck, I don't know what the fuck she's saying but girl, I am living!

Sounds like this record got very heavily scratched, broke, and just repeated the same grating noises over and over and again. The last two tracks, Sometimes and Damaged People, were at least somewhat decent but for the most part, this whole thing was just annoying to listen to.

Leave it to Led Zeppelin to already sound like veterans on their debut album, They got their sound down really early on, and everything comes together to form something really special - from the catchy, bluesy guitars, to Bonham's insane drumming, and Robert Plant's unmistakable voice. Lots of standouts here, but I particularly loved You Shook Me, Communication Breakdown, and How Many More Times. The only reason this isn't a five-star album is because I know that their latter work gets even better. But for a first record, it's already oh, so close!

Can't believe this group somehow slipped past my radar all these years! This is a great discovery and a nice throwback to '90s angst, in the form of a record that sounds like it came from a jam session between friends. I enjoyed a lot of it - especially Line Up, Connection, Car Song, and Waking Up. But, I can't help but feel like this sound has been done better by bands that came before and after Elastica. Still cool, though!

Started out strong enough with Bonny, Appetite, and When Love Breaks Down, but it feels like they got lazy halfway through the record and only regained their energy in time for When the Angels. This is a 1980s prom album, the only problem is that the students would have started heading home after track 6 because the music suddenly became boring. At its best, it's bright, ✨ shimmering ✨, and very 80s. All in all though, very middle of the road.

I'm afraid I don't really get this album. It sounds cool, there are great songs like The Gash and Feeling Yourself Disintegrate, and I can see its influence on the indie rock of the '00s to early '10s, but it's not necessarily mind-blowing. I've heard a lot of amazing things about this band over the years, too bad we didn't really click but I at least have one or two nice memories about them now!

My favorite part about this project is discovering artists and records like this. PJ Harvey has been a familiar name for a long time now, but I had no idea she sounded LIKE THIS? It's raw and gritty yet still polished, it's quintessentially angsty, and it's all around awesome. It reminded me that no matter how old I get or what I go through in life, I will always be that angsty, emo teenager who loves listening to angry music. It really never just was a phase mom, this is who I really am!!!!

As far as live albums go, there's really nothing significant about this. It's certainly no At Folsom Prison, you know? It even sounds like much of what makes Cheap Trick's music fun was stripped away from this record. The songs are still good, but I spent much of my time wishing I was listening to the studio versions instead. Then again, I was never huge on live albums unless they were groundbreaking.

This was pretty boring. It had a Massive Attack feel to it, only blander and more forgettable. By the time Song B would start, I'd have already forgotten about Song A. There's a song on here called Stoned to Say the Least, which makes me think that this album is probably only good to zone out to when you're zonked out. On any other occasion, it's painfully uninteresting!

This album should be right up my alley - angsty, guitar-heavy, '90s music. I feel conflicted about this though. Some songs do sound cool like Friendship Station, Let's Run and Hot Topic, but a lot of this sounds like teenagers yelling and making noise. I feel like an old woman looking out my window with my fingers in my ears, wondering where that loud music is coming from. Get off my lawn, kids!!!

So very wonderfully chaotic. This record is not cohesive at all, but boy does it sound good! Even with the mish-mash of genres and the overall messiness of the album, it's such a fun listen - just a show of Fishbone's sheer talent and musical skill. Sometimes you just gotta let those creative juices burst, and that's what these guys did with this record. Although, sometimes the burst was a wee bit too much. Favorite tracks are Freddie's Dead, Ma and Pa, and One Day.

A bit of an awkward band name (not to worry, it means fast and dark), but an alright album. I did expect something more different, maybe a twist on rock music or some unusual touches by way of sound effects or unique instruments. Instead, it just sounded like generic, radio-friendly rock music with some not-radio-friendly lyrics. There WERE good songs, like Prince of the Rodeo, Humiliation Street, and their Suffragette City cover. The rest though, sadly pretty forgettable!

I reckon a lot of things sound better if you make it dark, moody, and punk rock, and this is no exception. The thing that strikes me the most about this album is the fact that it sounds insanely fresh, while also sounding exactly like the building blocks for alternative, synth-pop, new wave, punk, rock, - you name it. Also the bass guitar sounds delicious! Favorite tracks are Day of the Lords, Candidate, and New Dawn Fades.

Feels like Kate Bush is putting me to sleep - but that's not a bad thing. This is not so much an album but an experience, and there's nothing quite like it. It sings you a lullaby, it wakes you up and takes you to a dream world, it evokes some religious imagery, it sounds like witchcraft, it all just sounds extremely unique. That said I don't think I would go back to this album very often, but I do appreciate how it sounds, and I have to give props to some of the standout tracks like Running up that Hill, The Big Sky, & And Dream of Sheep.

Undoubtedly influential, but not necessarily an incredible album. I enjoyed the somewhat minimalist, psychedelic rock sound, and the peaks when they would go harder than usual. Those moments were few and far in between though, since most of this record was unfortunately so-so and to be honest, a bit lazy sounding. That said, the peaks are real peaks and you can't deny the influence. Loved tracks like Sunshine of your Love (obviously) World of Pain, SWLABR, and Outside Woman Blues. On a slightly related note, shame that the last surviving member of this trio went on to become an anti-vaxxer while playing cat and mouse with COVID-19. Eew.

It's the Red Hot Chili Peppers for those who would've eventually become Linkin Park fans in the 2000s. Don't really have much to say other than it's a good album with some very cool songs like Edge of the World, The Morning After, Zombie Eaters and Falling to Pieces.

Listening to this record made me sad, because I thought it was going to be a lot better than it actually was. Maybe I was expecting an album full of Lovefools? I feel like this could be a grower if I listen to it more, but for a first impression it doesn't really make a strong one - at least besides Been It, Step On Me & Lovefool. Nina has a strong but soothing voice, which the rest of the music doesn't really give justice to. Well, at least they know how to pick singles. Even Erase/Rewind and My Favorite Game from their next album are solid tracks.

What was the point of this record? For something that's over 40 songs and over an hour long, you'd think it would have something more to it. But it didn't! Most tracks were barely 2 minutes long, and they all seemed to indistinguishably blend into one another. Minutemen apparently touched on some important subjects in this album, but the music didn't interest me enough to pay attention. Thanks for the one hour and fifteen minutes of background noise, I guess.

This does a good job of encapsulating the experience of sitting inside a classroom as a fifth grader, listening to your professor lecture you and your classmates. He sees you as an unruly class who pays no mind to his many life lessons, and he threatens you to mature if you want to succeed and see the world beyond your classroom. Your professor probably means well and is just laying down the reality of the situation. But he does it with zero subtlety, as if he's hitting you on the head like a whack-a-mole game in an arcade. This record has a lot of important things to say, but they do it in a way that is so on the nose. It really felt like I was being given a talking to by my teacher or my parents. The beats and the production are fine enough, but the lyrics don't have a sense of creativity or style whatsoever. Which would be fine if this was a TED Talk, but it's an album so you'd at least expect some form of artistry.

Ah - Ol' Sourpuss, Brian Eno! This was fun. It sounded like Billy Joel, but with the progressiveness of David Bowie and then some. I'm writing this while listening to the last song, which sounds like bees buzzing into my headphones. Interestingly, that's what most of the record feels like. There's nothing too loud or out there, even with its uniqueness it still sounds quite muted, as if Eno was just trying things out before fully committing to a sound. You can hear alt, glam, pop, rock, and more that I probably missed on a first listen. I liked it! Favorite tracks are Needles in the Camel's Eye, Cindy Tells Me, On Some Faraway Beach and Dead Finks Don't Talk.

This album is FINE!! You all scoff at The Eagles but this is quintessential dad rock, and I love it! Favorite tracks are New Kid In Town, Victim of Love, Try and Love Again and obviously, the title track. And although many of these songs I've only heard for the first time today, it still evoked memories of sitting in the back of a car at 6 years old while my parents drove us to a long weekend roadtrip out of town. Fast forward two decades later, I am now a girl in my late-20s but I still strongly believe in the power of dad rock!! 🤘

It's your standard psychedelic rock, Woodstock album. This was probably influential at the time it came out, but 55 years later it's a lot less to write home about. There are some good tracks still, like Love and Bass Strings, but the bands that came after these guys did a better job of perfecting the genre.

I first heard of Siouxsie and the Banshees back when Gerard Way would cite them as one of the many influences to My Chemical Romance. Makes total sense now that I listen to them. This is dark, apocalyptic, and pretty demented. I don't have much of the vocabulary to describe an album like this, so I'll leave it on the opinion that this sounds good and I liked it quite a bit. Undoubtedly influential to a whole bunch of other artists, too. Favorites are Overground, Carcass, Mirage and The Staircase. It could be a five star record, but (to me, at least) that cover of Helter Skelter is unfortunately bad.

It's one of the first (or maybe THE first) concept albums so that in itself is notable. I enjoyed the storytelling here, I did have to look up a synopsis of the record but I thought it was told as well as it could've been given the medium. The tragic beginning of the story drew me in, but it admittedly lost me a bit when Tommy gained pinball powers and became a cult leader. That said, it was also at that point that the music became a lot more interesting so I'm not too mad. Overall, it's just a sight (or a sound?) to behold that The Who created awesome music that followed a concept this well. You have to give props to that. I certainly do, more so when you have amazing songs like Pinball Wizard, Go To the Mirror, Tommy Can You Hear Me, and Smash the Mirror.

It's like if The Beatles and Queen went on a very, very successful date to see a scifi flick. As it turns out, putting classic 70s rock together with catchy hooks and futuristic beep boop elements before enhancing it for an orchestral or stadium setting results in something huge. There's not a bad song on here. Each track is a grand affair that stands out on its own already, but they all become even better when you blast the whole record front to back. Take me out to space, ELO! Standout tracks: Sweet Talkin' Woman, Summer and Lightning, and The Whale.

This list has a lot more of these records than necessary. I just got one of these psychedelic folk albums two days ago, and here it's the same quiet jangly sound, the same shaky vocals, and the same ’60s Woodstock vibe. There's nothing special about it, and it didn't age well either. The only song that I enjoyed at least a little bit was The Wolf of Velvet Fortune, which had a nice dark, haunting atmosphere. Too bad the rest of the album didn't match up.

When this album came up I fully expected to hate it - as I do with most electronica. But it is.... not bad? It was pretty catchy, and there were a couple of songs that I knew very well (Porcelain & Natural Blues) without knowing that they were actually Moby songs. For all its fun hooks, still repetitive though. The first 10 seconds usually start out well, but then Moby puts that single segment on loop for the rest of the 3-4 minute track. I get it Moby, it's catchy. But not THAT catchy. At some point the music hits a point of diminishing returns but before that happens, it's frankly pretty enjoyable!

Was not expecting this album to be here, but alright. It's a nice little nostalgia trip to the 2000s, when hip hop artists ruled the airwaves alongside their collaborations with R&B ladies of the era. The singles - particularly P.I.M.P. and 21 Questions - are the strongest tracks on this album, but some of the deep cuts made for fun throwback listens too. As with most hip hop records this was a few tracks too long, but not bad at all for a 74 minute flashback.

It's only right that this list represents as many genres as possible, and that includes beerhouse classics. These are the songs that dudes love to sing after they've had one too many beers, thinking that they're such talented and charismatic rockstars. Spoiler alert: they're not. Five stars for the confidence that Bon Jovi offers people, but no five stars for the music I'm afraid. Listening to this confirmed my belief that this music is full of clichés. The lyrics scream about the power of rock & roll, brotherhood, or PROUDLY declaring your love to your girl. The vocals are heavy and raspy, plus guitar solos and drum parts are abundant. If you asked younger folks to describe what they thought music was like in the '80s, this is exactly the album they would imagine. All of that makes it big, bold, and fun - for sure. But this record is nothing mindblowing really, it's another case of "If you've heard the singles, you've heard the whole album." The deep cuts are just lesser versions of the big hits. Give me a greatest hits album and I'll 5-star that baby easily, but can't do that here.

Even before turning this album on, I'm already inclined to give it five stars solely for Bennie & the Jets. After listening, I'm reminded of just how great of a song Goodbye Yellow Brick Road is, which makes me even more inclined to give this record five stars. And then you have tracks like Sweet Painted Lady, I've Seen that Movie Too, Dirty Little Girl, Roy Rogers, Social Disease, and yes, even Jamaica Jerk-off. Has it become obvious that I'm just gushing over every song on this album? Because that's exactly what I'm doing. Elton John can sure turn a piano ballad and a piano rock song into gold.

It's fascinating how this album released so close to the '50s and '60s, because it feels much newer than that. You can hear the influences it takes from rockabilly and old school soul, but it's then infused with modern glam, pop, a little bit of art and progressive rock, and some country. At the end of it, you get a record that sounds both like T. Rex's contemporaries like David Bowie, and newer bands like INXS. Achiveing timelessness like that is always a feat in my book so I enjoyed this a lot. Makes sense that a dinosaur would come up with a classic like this, amazing job Mr. Rex! Favorite tracks: Planet Queen and the surprisingly familiar Get It On

This is a classic, what more needs to be said? Besides the fact that this record reignited a fire in a new generation of people and brought grunge into the mainstream, it's also legitimately good music. You have three musical masterminds creating a raw, unapologetic, and loud album, which can only be described as fuckin' awesome. It's honestly impossible for me to give this anything less than a 5 - Nirvana was a seminal band in forming my toddler-brain's taste in music, and for that I am incredibly grateful (and relieved).

I guess Sebadoh was to grunge and 90s indie what bands like Country Joe and the Fish were to psychedelic rock? Which means to say that they were one of the first influential names to come up in the scene, but ultimately became overshadowed by the artists that came after them. Bubble and Scrape is essentially a record of demos, or at least that's what it sounds like. The lo-fi, somewhat minimally produced sound adds character to the music, but the end result pales in comparison to the rest of the genre. Like a beta version of something soon to be perfected. Well, at least they helped kickstart something new. Standout tracks were Homemade, Cliché, and Happily Divided.

Really enjoyable album, especially the first half with hit after hit. It reminded me of my grandparents. This may be a completely inaccurate comparison, but this is pretty much the Citizen Kane of modern music, isn't it? Listening to it several decades later, the music loses some of its shine and feels much less innovative & groundbreaking than it used to. But you can't deny how good it still sounds - Little Richard's distinct, soulful screams, the joyful and catchy melodies, the technique and musicality that went into every instrument and every piece of music. Even forgetting all that, the best thing about this record is how it makes you feel. In the same way that Citizen Kane grips you with its compelling narrative and intriguing character studies, Here's Little Richard hooks you in with its sheer passion, joy, and love for music. No wonder it influenced music as much as it did.

Sorry, but no. These are the songs that play when people get murdered on American Horror Story. Each song depicts a different cause of death, from a creepy stalking incident in some abandoned house that ends in you getting your throat slit, to an intense meat grinder accident where you stand absolutely no chance. Speaking from a more musical perspective (as much as I can with an album like this), how can this record sound so annoying yet so bland at the same time? It is a mystery.

I was never a fan of this genre, or any of its siblings. The pure indie choir boy, hey-ho sound can only stay interesting for so long. Personally, I like my music to have a touch more grit - which this album had none of. It is well-produced and it's good music for fans of the style so I certainly see the appeal, it's just too clean and pristine to be my thing. Back when this music was big I was still all aboard the emo bandwagon, so we never really clicked. I did enjoy Tiger Mountain Peasant Song & Your Protector though, mainly because they were a bit darker than the rest of the record.

Surprisingly mediocre. It seems that old Johnny-boy sounds best when he's working alongside the rest of the Beatles, when he does songs that refer to them like How Do You Sleep?, or when he sings tracks like Jealous Guy - which sounds a lot like A Day in the Life. Otherwise, the record isn't very hard-hitting (heh).

Has a rockier feel versus the first The Cure album I pulled on this challenge, which was Pornography. The gothic, moody, new wave feel is complemented well by more guitar. It makes me feel like I'm lost in a dark forest - although not really lost, because the forest has become home and it's lulling me to sleep. Favorite tracks are Play for Today and In Your House.

What a pleasant surprise! Judging by the band name and the track titles, I thought these would be gag songs. Not adult, contemporary pop rock with a twinge of country, a bit of R&B and some moody atmospheres - à la Matchbox 20 or Vertical Horizon in their senior years and in a parallel universe. Makes for superb easy listening on a Sunday morning, although it gets a bit weird at the end. Favorite tracks are Grumpus & You Masculine You.

What a shame that, at least where I'm from, k.d. lang didn't get the same amount of airplay that singers like Lisa Loeb, Jann Arden, or Jewel did. What we have here is high-caliber sad nineties girl material, but with the actual music being even better. k.d. lang is your classic singer-songwriter, but she takes her music to a more ethereal place - case in point, Season of Hollow Soul & Tears of Love's Recall. To me, the record sounds like a more subdued Kate Bush which I highly prefer. This might be the first album to make me want half-star ratings, because this is a solid 4.5.

It's Alanis, she paved the way for a whole bunch of others so that alone warrants a high rating. Listening to it now doesn't give the same impact anymore - maybe because some of these songs I've heard hundreds of times. But it's a great time capsule for what music was like in the mid-90s and what eventually became a precursor to all the other cool stuff from the same decade and beyond. Besides the singles which are frankly pretty overplayed at this point, the standout tracks here are Forgiven, Mary Jane, Not the Doctor, and Wake Up.

Makes me feel like I'm being held against my will in a dark empty room, with nothing but this playing in the background. Like I'm a 10 year old girl, bored out of my mind while waiting for my mom to withdraw money in the bank or something. Like I'm being forced to sit through a 10-hour meeting at work. Or like I'm getting 2 root canals done at once. That's what this feels like.

I find that Radiohead is one of those bands that you have to get to really enjoy - and I don't get them all that well. The evidence being the fact that I thought Creep was better than a chunk of these songs. When the record veers more into regular alt rock with songs like Go to Sleep, There, There or Where I End and You Begin, it sounds great. When it teeters the line between that and more atmospheric elements like We Suck Young Blood & Sail to the Moon, it's still fun. But when the songs start sounding like the soundtrack to an alien abduction, that's when I tune out.

First things first, that is a horrible album cover. Is that Papyrus? Why does the design look like the cover of a Bible knockoff? Onto the music. It had a darker spin on new wave which I liked, but sadly most songs were pretty forgettable. The only two that are worth a relisten are Someone Somewhere (In Summertime) and Promised You a Miracle. Maybe this is why Simple Minds only ended up having one hit.

I don't know if I've run out of ways to describe my daily album a mere 70 days into this project, or if I just don't have much to say about Violator at all. Some songs like Sweetest Perfection, Halo, Enjoy the Silence (of course) and Policy of Truth were moody, atmospheric, and enjoyable enough to put you in a trance, but the other tracks were meh.

Is nobody safe from the '60s folksy, country, bluesy sound? I get that this was a popular sound at the time, but I’m surprised that The Rolling Stones went from a song like Paint It, Black to this record in just two years. Don’t get me wrong, it sounds significantly better than some of the albums that came out around this time, but I can only take so much of this music on this list. Obviously, Sympathy for the Devil was great but that’s about it. After the record finished, Spotify decided to play Under My Thumb from one of their previous albums, Aftermath. The 10-second, Crash Bandicoot-esque marimba in the intro was already more interesting than anything on Beggars Banquet.

Profound lyrics delivered with anger and emotion, hidden behind some funky tracks - that's the coolest thing about this record. This might be one of the better hip-hop albums I've gotten on this list. Still not entirely my thing to be frank, but I can definitely appreciate.

This is just a lot of mumbling and whining that's drowned out by fuzzy guitar, making the record sound like it's being played from inside an empty tin can. when you sleep & i only said were both pretty good though, but man, I wish the entire album sounded more like the last track, soon. The guitars and drums on that song open up and sound a lot less hazy - while being nicely complemented by the bumbling, incoherent vocals. Maybe it's just a matter of preference, but as a whole this made me feel like the old woman from Spongebob, sitting in my wheelchair going "WHAT?!!?? WHAT ARE THEY SELLING?!?!?!?" as he and Patrick try to get me to buy some chocolate.

Radio friendly, movie soundtrack hip-hop that's classy and corny, with lyrics that range from cheesy to downright creepy and so very tone deaf. There were fun beats that would get you to sweaty dance in a club a la Nelly's Hot in Herre, but once again, like many albums of the genre this was longer than it should've been. Cut down some of the filler and just be sure to keep standout songs Mama Said Knock You Out & Around the Way Girl, and this would've been a wee bit better.

The Cure, but make it shoegaze and boring. This might as well be a list of 1001 Albums that Certainly Do Exist, because that's where this record belongs. Besides Kaleidoscope and Paralysed which both had a cool signature '90s sound, it's hard to see what makes this influential or worthy to stand against these other albums.

Was there a strange trend of English rock bands using Japanese tunes, lyrics and imagery in their music during the '70s to '80s, and did this record start the trend? Between this, Turning Japanese, and Mr. Roboto the similarities are weirdly uncanny. Anyway, this was fun & pretty danceable. There are hints of Queen or The Darkness in the album's campy, glam rock sound. Nothing spectacular, though. Standout tracks are Falling In Love with Myself Again, Thank God It's Not Christmas, and Hasta Manana, Monsieur.

You have to hand it to the pioneers for bringing us here. What would music have been if something else had been popular at the time? Similarly, what would music have been if Buddy Holly got to continue making it? These songs are short and simple, but the substance is there. Strong evidence of rock & roll of course, along with a lot of soul. It's a bit tamer than some of the other big names of the era - just look at our insurance salesman-dressed friends - but these are stone cold classics. Standout tracks are It's Too Late & That'll be the Day.

The longest 33 minutes of my life. Who enjoys listening to this form of "music"? Absolute shit. It's so bold to say that the two sides of this album have different sounds - hardcore punk and extreme metal or whatever. That's a huge no, my dudes. The whole thing sounds like the experience of being put through a meat grinder. What did I do to deserve having to listen to this album? Put me out of my misery, will you??!

A cute & chill album, which is not how I thought I'd describe something by The Kinks but here we are. For something that came out in the late '60s, this is far superior compared to the ubiquitous folksy, psychedelic rock that plagued the era. You can still hear some of that in the record, but its balanced out by light rock, pop, some R&B and surprisingly, bossa nova. Standout tracks are Death of a Clown, Tin Soldier Man, Funny Face, and Waterloo Sunset - which I was pleasantly surprised to recognize.

Janis Joplin's voice should not sound as good as it does. She sometimes sounds like she's out of breath and struggling to hit her notes, as if she's way past her prime & her voice has been strained by decades of singing and smoking. But all that just adds to the character. Couple that with the soulful blues sound & the slick guitar work, and you have a beautifully sultry album that exudes the word "cool." The only improvement to be made here is to have produced it better - the live album illusion was a nice attempt, but these songs need the clear and crisp quality that proper production could've offered. The record still stands strong though. Standouts are Summertime, Piece of My Heart, I Need a Man to Love, and Ball & Chain.

Hype! This is what should be played at all parties. Even for people who are unfamiliar with most songs (like myself), you can't not like at least a few songs from this record. Rock & hip hop blend so well together to create something that's just fun. It's not what you can call a mindblowing record with masterpieces or anything, but it's an absolute joy to listen to - and sometimes that's all an album needs to be. Standout tracks are Slow Ride, No Sleep Til Brooklyn, Fight for your Right (duh), and Brass Monkey.

I used to be so annoyed trying to download Baby, I Love Your Way from Limewire in the 2000s, because every version I would find was this live version and not a studio recording which I would've highly preferred. The story is the same here. Why is this the album that brought him to fame? Do other people enjoy live albums this much? How come Peter Frampton singing over a loud crowd with muffled instruments is their preferred way of listening to his music? I get that the live experience is different, but only when you're actually there in person. Or at the very least, watching a live video. Listening to a live album doesn't give the same satisfaction. Don't get me wrong. The songs are good. Frampton sounds great, the voice box is a nice touch and the rest of his band is strong too. Show Me The Way, All I Want To Be (Is By Your Side), Baby, I Love Your Way, and the 14-minute long Do You Feel Like We Do are really enjoyable. For the most part though, they feel like inferior versions of the music. But maybe it's just a taste thing.

To sum it up, this is pure, generic, radio friendly pop - which makes it a good album. It's unpretentious and doesn't try to be anything but catchy and inoffensive Top 40 music. You know how there are movies and TV shows that you put on just so you can sit back, turn your brain off, and relax? This is the album version of that. Not to mention, it's a much needed break from grindcore, '60s psychedelic folk rock, or electronica that this list has been giving. Standout tracks are One of God's Better People and the uber-catchy Let Me Entertain You.

There is jazz that I can genuinely enjoy & appreciate, and jazz that I just do not understand. I regret to say that this falls into the latter. There are some interesting melodies every so often, but most times I feel like I'm listening to someone tuning a guitar or randomly pressing keys on a piano.

Yo, wtf? All this time I thought Tom Waits was well-respected for his serious, somewhat brooding folk rock songs. Turns out he makes carnival music that sometimes sounds like it's being sung by Louis Armstrong? It's confusing and impressive at the same time. I don't think I can ever listen to this record again but man, mad respect for the audacity that this man displayed here.

Not another one of these guys! British pop rock is not that good to have so many of these albums on the list. Admittedly, this has more bite than the stuff I've heard from Prefab Sprout but it's jusssssttttt okkkayyyyy. Very forgettable. Until I Believe in My Soul was the only strong track on here.

As far as R&B and hip-hop goes this is right up my alley, and it's strange that I couldn’t get into it when it first came out. This is a natural evolution of ‘90s and ‘00s R&B, it sounds like a classic and a fresh record at the same time. The melodies are smooth, and Frank Ocean carries the music well with his emotion. Standout tracks are Super Rich Kids, Thinkin Bout You, and Lost. Only downside? Those transition tracks and some of those song introductions. Except for that PS1 start-up sound which gave me some delicious nostalgia, they added nothing to the album.

Here's proof that jazz is better with vocals. Billie Holiday's voice has this character where she sounds like she can't sing, but it fits perfectly for a genre like jazz. It especially works here, with the music being more structured. The only problem is that the album gets weaker as it goes along, because there's not much variety. They found a sound that worked, and just stuck to that the whole way through. When you start the first few songs they're very interesting, but towards the latter half it gets a bit tiresome. Standout track is understandably, the first song - I'm a Fool to Want You.

It's pretty remarkable how these intimate, and for the lack of a better word, simple songs had such a massive effect on music. I guess the earnestness of the lyrics, coupled with the heart and power that Carole King sings with, lifted these up to a level that not many other artists would have been able to reach. It's a wonderful album, and one worth going back to every so often. My favorite track is It's Too Late, and I loved her take on (You Make Me Feel Like) A Natural Woman.

What a weird album. Genres jump between each other so much that it feels like listening to someone's entire music selection on shuffle. The strange thing is that it actually works, since the musical whiplash at least keeps the record from being monotonous. However, that also makes it harder to take this album seriously as a piece of music. It sounds like a novelty album more than anything, something that you listen to once and then never think about again. Well, it was an interesting listen at least. Standout tracks are Buffalo Gals, Punk It Up, and World Famous.

This list was made for albums like A Night at the Opera, let's just say that. An absolute mammoth of an record, it starts out at 100 and never lets up the whole way through. The best thing about this is that every song varies in style and sound, but even with that it all still feels classically Queen. No one else is as effortless, as fun, as ambitious, and as talented as these guys were. To make songs like Love of My Life and I'm in Love with my Car work - let alone in the same album? Fantastic stuff. Standout tracks are Death on Two Legs, Lazing on a Sunday Afternoon, You're My Best Friend, and obviously, Bohemian Rhapsody.

As soon as I saw “1970 album by English rock band” come up, I prepared myself for yet another white boy, folk rock record with shaky vocals and too much acoustic guitar. What a relief that this isn’t the case here. Traffic has more grit and more edge, with heavier evidence of rock and blues, so this record certainly feels more ‘70s than it does late ’60s. It’s closer to a band like The Doobie Brothers than it is to The Beau Brummels or Country Joe & the Fish, which again is a relief. Not a bad album at all! Standout tracks are Freedom Rider & Empty Pages.

Getting a Johnny Cash album always makes me smile, because I know I’m in for a good time. This is no different. We already know that he makes great music, but the joy and humor with which he delivers these songs with makes it all the more remarkable. He’s in his element, cracking jokes, telling stories, and sharing music with just about everyone. I enjoyed At Folsom Prison a tad bit better which is the only reason why this isn’t getting five stars, but it’s classic Cash and that’s all you can ask for. Standout tracks are Wanted Man, San Quentin, A Boy Named Sue, and (There’ll Be) Peace in the Valley.

It's like a collection of various loading screens, but in musical form. There were some really pretty moments during In a Silent Way, where the music was strikingly quiet, poignant, and reserved, but those were rare. The rest of it felt like I was waiting for something more exciting to happen, which ulit never came.

I had this on repeat for a long time when it first came out. There's so much praise that you can give this record, and it deserves all of it. From the themes Kendrick touches on and the story it tells, to the insane variety of musical styles and influences, and the fact that there's really not much filler despite it being over an hour long. Out of all of that though, the thing that stands out the most is how good the record sounds with the amalgamation of hip-hop, jazz, and soul. It's a musical feat. Standout tracks are King Kunta & These Walls.

Some albums are just a joy to listen to. Every song here captures the essence of classic rock, made for big stadiums or played on road trips. This is what music is - it just makes you happy and makes you smile. Standout tracks are More than a Feeling, Peace of Mind, Something About You, and Let Me Take You Home Tonight.

Not sure what's worse - the fact that this is my second Miles Davis album in a week, or the fact that this is 1 hour and 45 minutes long. I really cannot do jazz. Listening to this feels like going to work at a horrible job. I keep checking the clock thinking that 2 hours have gone by, only to find out that it's just been 15 minutes and I'm still on the first song of the album. I'm desperately waiting for the day to end, and I know I can leave at any time (or in this case, turn the album off). But I'm no quitter so I stick with it, even if doing so evokes a horrible visceral reaction in me because I am so, so, so bored.

This genre of music is pretty much completely foreign to me, so any rating I give is relative to the other albums that this project has given out so far. Having said that, this might be the best one out of the folksy, moody, white guy guitar albums I've gotten over the last three months. Makes total sense, as it is Leonard Cohen after all. There's more character here. He sings his songs as if he's been weathered by life, and just telling stories on a front porch or by the campfire. It's sad but also serene. It's still not fully my style, but I can certainly appreciate what was done here. Standout tracks are Stories of the Street and One of Us Cannot Be Wrong.

It's as horrible as some of these reviews make the album out to be. There are songs that are decently listenable, especially if you want to feel like you're in a college party in the US during the mid-2000s. That's the vibe it gives me. Kind of a bad party if that's the music you need to deal with the entire night, but it's fine as background noise and a fuel of hype during a very loud event. Standout (the word 'standout' is questionable but okay) tracks are Bawitdaba, Devil Without a Cause & Wasting Time.

I may have misjudged country music all these years, because there are some real classics to be found within the genre. This is very pleasant listening, like listening to your grandmother tell stories about her younger years or when she fell in love. Musically, it's similar to ladies like Carole King or Dolly Parton - which should be enough to give an idea of how good the record is. Lots of standout tracks here too, like Boulder to Birmingham and Bottle Let Me Down.

Apparently, it doesn't really matter whether the album comes from some obscure, niche band I've never heard of, or from Bob Dylan. This genre of music is just insanely boring.

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This is how you make folk music interesting. On its own the genre is very bland, but with a bit of piano, strings, and elements of other sounds (in this case, Irish and Scottish influences), there's more added flavor and texture to the music. Like a beautifully seasoned dish that would otherwise be tasteless. Thank goodness there were artists like The Waterboys who were willing to iterate on folk rock. We appreciate you. Standout tracks are World Party & And a Bang on the Ear.

What a waste of time

There's no denying that Adele has an incredible voice that commands your attention, singing lyrics that you feel in your core - whether or not you've experienced it first hand. Her hits are worthy of being hits (both those from this album an those throughout her entire career), but the deep cuts here are just okay. They aren't particularly memorable or influential, and I feel like a voice as strong as Adele's deserves music that's more groundbreaking than this. 25 is catchy but a bit too regular for Adele. Still some good songs though, like When We Were Young, Hello, and River Lea.

Kate Bush's music seems to suffer from the "you've heard one, you've heard them all" syndrome. That's fine if you're a fan of the music she makes. If you're not a fan, it's easy to get bored and tune out. The dreamy, ethereal quality of her songs can be really compelling, but it also has great potential in putting you to sleep. That said, I did enjoy Heads We're Dancing.

Electronica for people who don't like electronica. I enjoyed hearing more rock and funk elements here, it added a certain edge to the "synthetic" sound of the electro-pop music. It's really catchy too, although I feel like the French version would be better for this list. Standout tracks were Girlfriend, Goya Soda, Damn (what must a woman do), and Feel so good.

What a refreshing album. It's always fun to experiment and iterate on different genres, but there's always something special about sticking to a sound and absolutely nailing it. This is a classic 2000s rock record. All the foundations of the genre are evident and Franz Ferdinand delivers it so stunningly. Makes me long for the days when music like this ruled the airwaves - we are sorely lacking electric guitars now and that is a tragedy. It's not quite a five-star record since there are some tracks that don't match up to the highs, but this debut is an easy 4.5. Standout tracks are Jacqueline, 40', This Fire, and obviously Take Me Out.

It seems that Morrissey makes better music on his own than when he's with The Smiths. Viva Hate has more life and groove, and is frankly pretty enjoyable despite still being brooding and sad. I mean, God knows we could use a lot less whining from guys like Morrissey so this livelier tone is very much welcome. I'll give him a 4 for this, but a -1 for everything else outside of music. Standout tracks are Everyday is Like Sunday and I Don't Mind if You Forget Me.

I played this on my stereo and couldn't hear anything, so I listened to it on my earphones instead. Sad to say but I would've had a better opinion of this album if I COULDN'T hear anything. Repetitive noises that drone on and on for 10 minutes does not make for good music, I'm afraid.

Nice to know that Miles Davis can actually create good music (It feels horrible to say something like this about a jazz legend, but here we are). Unlike his other albums, Kind Of Blue at least has more layers and is more dynamic. The horns and keys playing with one another sounds really pleasing on several sections. The two work well together and complement each other, with neither instrument overshadowing its partner. All that being said though, if this is the gold standard for jazz music, then for someone like me who generally doesn't enjoy the genre it doesn't really paint a good picture of its highs. It's still background music, at the end of the day. There are probably better examples of jazz for casual listeners, which are more structured and I don't know, more energetic? Because this still ain't it, chief.

This is proof that great music transcends languages and cultures. I didn't understand much of what Fela Kuti was singing about, but I could feel the passion and the sheer joy that went into playing his music. It made the songs all the more fun to listen to - and they're already good to start with. Makes you think about what other amazing music is out there, that we're just not adequately exposed to.

It's a treat hear music that I otherwise would never be exposed to, but I'm pretty sure there are better examples than this. There are moments that are nice to bob your head to, but generally this isn't very notable. It's certainly not an album that I NEEDED to hear, you know?

Did this album make it onto the list due to the irony of a convicted murderer helping create such a joyous Christmas album? The songs are good because they're Christmas classics, but I can't say I'm a fan of the production - even knowing that there was a deliberate attempt to make it sound the way it does. Also, maybe it's a culture thing & an age thing but I don't consider these to be the definitive versions of most of these songs. Darlene Love's Christmas (Baby Please Come Home) slaps, though.

This is not worse than the other electronica albums I've heard on this list so far, but it's still a whole bunch of nothing, really. I spent over an hour listening to it but absolutely nothing stuck out about it. It's like listening to a microwave humming for 74 minutes - after a while the sound just gets drowned out and forgotten.

This is an album that Harry Du Bois would love to perform at the Whirling-In-Rags in Martinaise. Driven by drunken stupor and just mumbling his way through the lyrics, he sings every word with feeling even though he has no idea what he's singing about at this point. I'm not really sure what to make of this album. Guess it's impressive that it sounds fully realized despite Skip Spence sounding absolutely hammered throughout most of it, and there are songs that are good - like War in Peace. That said, I also feel like this is too much of a personal breakdown and that I shouldn't be listening to it.

Would have been much better if this was condensed into one standard length album, with the rest of the tracks just being in a deluxe edition. Maybe it's because I'm not American (nor have I listened to Lynyrd Skynyrd much) and lack some of the context to fully enjoy this album, but it didn't make a strong impact. Some songs were good and the history lesson made me look up Governor Wallace, but it feels like much of what this record was trying to accomplish was just lost on me. Some of this southern rock is pretty cool, though. Standouts were 72, Women Without Whiskey, and Plastic Flowers on the Highway.

Exquisite! Aretha's voice is both powerful and calming, and these songs do her every favor possible. It's soulful and emotional, and it makes you feel things. That's how you know that the music has done its job. Although there are a couple of tracks that don't match up to this record's highlights, it's a high, high 4-star and I have absolute respect for the queen. More Aretha has to be on the way in this list, right? The standout tracks here are of course, Respect, as well as Drown in My Own Tears, Do Right Woman, Do Right Man, and that beautiful title track.

So much of world music is just pure fun. Talents making music, and sharing their sound and culture with the rest of the world. Jorge Ben Jor does all that here, with zero pretenses and a huge display of love and pride for the art he's making. Even if I walk away from this album thinking that it's not exactly my cup of tea, I can find many things to appreciate and love about it - and certainly a lot of songs to dance and groove to. Standout tracks are Meus Filhos, Meu Tesouro and Camisa 10 Da Gavea.

Punk, but with a little more soul. Surprisingly, the mix sounded better than I thought it would. It was a nice twist to have 80s punk music that didn't sound too abrasive, but still had the foundations of the genre. This specific sound didn't seem to become too popular which is a shame, because it could've been improved upon more with this record as a basis. Meaning to say that while this was a good effort, the end result isn't quite there yet. At least we got several iterations in the form of new bands who were influenced by the sound. Standout track was the titular track.

Very strange and unique - "explosion" seems like a fitting name for the band. There are some real gems here, with solid guitar work and catchy melodies, and then there are other songs that just sound like a group of drunk dudes making bad music out of their garage. More than anything this feels like a novelty album, with the few decent tracks being drowned out by everything else. Not sure why this is considered worthy of being on this list, but there's something for everyone I guess. Good tracks were Wail, Rocketship, and Can't Stop.

No one sings like Chris Cornell anymore. It's instantly recognizable, its range is insane, it's powerful, raw, and just leaves you in awe. So, so good. Besides that, the rest of the record is grunge music at its finest. There's no filler here, every song packs a punch - whether it's a straight up face punch like Spoonman or The Day I Tried to Live, or a more subtle jab like Limo Wreck or 4th of July. There's a range of sounds, but everything is peak grunge.

The album cover is very fitting, because this is a great record to dance to in your bedroom, right after you've taken a shower and while you're holding your hairbrush microphone. Straight up radio-friendly '80s pop that most people will either like, or pretend to like. Beauty and the Beat doesn't do anything particularly remarkably, but it doesn't pretend to do anything but be a fun pop record - and that's the best part about it. Standout tracks are We Got the Beat (unsurprisingly), Lust to Love, and Automatic.

There is a reason why Madonna has remained a music and cultural icon to this day. She's great at what she does. These songs are memorable, they stand the test of time, and they're just plain good. Classic pop songs that have Madonna's signature edge and boldness means that they're never going to get old. Standout tracks have to be the iconic singles of Express Yourself, Like a Prayer, and Cherish, but the record as a whole is enjoyable.

A very back to basics record. Sometimes you miss the simplicity of what music used to be, and the possibility of what else music could be. Because even if this doesn't necessarily blow minds in 2023, it's a great piece of musical history to go back to. Standout tracks are Brown Sugar (one of my favorite Rolling Stones tracks in general), Wild Horses, and I Got the Blues.

At some point, it becomes hard to judge these early, folksy-sounding white guy rock albums because there's just so many of them. They all start to sound the same at some point so it begs the question - was this sound so instrumental to the formation of music that they have to appear on this list more than almost any other genre? Also, I guess I've had a different impression of The Kinks all these years because I thought more of their music would sound like You Really Got Me & Lola. Anyway, the record is fine. There are some good songs, like Australia and Some Mother's Son. But there's far too many albums like this on the list.

Cheesy metal music, I enjoyed this one a lot. I have a soft spot for anything I can imagine myself playing on Guitar Hero as a teenager, while feeling like a rock star. Those guitar solos are heavy and a lot of fun to listen to, and everything else is just icing on the cake. Plus, Smoke on the Water is still an enjoyable listen even after hearing it 50,000 times. That, alongside Highway Star, is the standout track here.

I would have loved to be in the room for this performance! Just listening to him and already I think he's one hell of a performer. The record gets better with every song, carried by his infectious energy and a soulful voice that's guaranteed to make you smile. The passion seeps through the speakers. I'm not usually one for live albums, but when they sound THIS good I have to stand (or dance) in awe. That back half in particular is incredible. Standout tracks are his medley of It's All Right & For Sentimental Reasons, and those last three songs. So good!

Sounds pretty and is way better than the ho hey, stomp clap sound that became huge a few years after this, but still boring. Wish the entire album sounded more like Two Weeks.

Soul music is just good for the soul, and Otis Redding is a wonderful example of that. He breathes new life into these songs, and makes the record appear like it's full of originals even though the opposite is true. Although some of them aren't as good as the originals, they still have that soulful Redding touch that makes them worth listening to. Standouts are A Change is Gonna Come, Down in the Valley, I've Been Loving You Too Long, My Girl, and Wonderful World.

A mind-numbingly dragging album, with a band name as mundane as the music. There are some pretty good songs like King Harvest and Look Out Cleveland but, like jazz, I just cannot relate to or enjoy folk rock as a whole.

The definition of old school cool. Even in its early days, funk just got it right. All thanks to Sly Stone. Perhaps the coolest thing about this album (and there are a lot) is that it still sounds fresh and funky in 2023. Maybe it's because we have recent music that still has hints of this sound, and why not? When you have something this good why switch things up any further? There's no reason to, because this still stands up (heh) well to this day. Standout tracks are I Want to Take You Higher, Everyday People, Sing a Simple Song, and Sex Machine.

For every pro is a matching con to take this record down a level. First, I quite like the country rock sound - when done properly the two genres really mesh well together, moreso when you add a tinge of grunge. But, most of the songs go on for too long. Some of these songs did not have to be 8-10 minutes long. Second, Neil Young is a beast on the guitar and is rightfully up there with the rest of the greats. The contrast between the insane guitars and the simplicity of his melodies (and voice) makes so much sense too. But he can't really sing, can he? It's a perfectly average voice, like this is just some guy doing Neil Young covers as best as he can. I guess one man truly can't have it all. Overall, it's still a high-three star effort. Standout tracks are Mansion on the Hill, Days That Used to Be, and, despite the length, Love and Only Love.

It's dated, but it's undeniably a classic. You can't go wrong with these guitar riffs and these intense, screamy vocals. Wish more music today sounded this kickass! Standout tracks are Sharp Dressed Man, TV Dinners, Gimme All Your Lovin', and Bad Girl.

My thoughts on this album are tinged with high school nostalgia, but the singles here are top-tier hits. You couldn't go anywhere without hearing those songs, and for good reason. It was a refreshing contrast versus pop punk and alternative rock (which is still where my preference lies, but that's another story), and was one of the first to kick off the late '00s-early '10s indie takeover. It's reminiscent of simpler times with less worries, when we were young and the future was bright and unknown. Great example of music as an art form, in how it can evoke emotions and memories far beyond what a one to five star scale rating can properly communicate. However - this is the first time I'm listening to the full album and while the hits are easy five-star songs, the rest of it is highly overshadowed and somewhat tainted by the singles. I'm sure the record as a whole was probably fantastic in 2007, but as a newcomer listening in 2023, the deep cuts just sound like supporting acts to Kids, Time to Pretend, and Electric Feel. Thankfully, those three are so good that it's hard to give this anything below a mid to low-4.

After hearing so many great things about Kid A over the years but never getting around to actually listening to it in full, I was glad to finally get the chance to do so. Now that I've heard it, I can confidently say that I don't really get Radiohead. Some of this is fine, like The National Anthem, How to Disappear Completely, and Idioteque, but this mumbling through atmospheric music just does not do anything for me. Is it offensive to say that I like Radiohead way better when they do songs like Creep, Karma Police, and High & Dry? Probably. But you know what, Creep-haters, deal with it!

Despite being a fan of rock I never really went beyond and dove into metal music. It's harder to enjoy when the lyrics are barely comprehensible and the songs cross the line between music and noise. Thankfully, what Sepultura does here is they merely toe the line between the two. Although the lyrics were mostly still gibberish to my ears, I enjoyed how the music was harsh, intense, and heavy, but never migraine-inducing. Especially the longer instrumental bits, pretty sure those would be a real treat to hear live. Standouts were Attitude, Straighthate, and Lookaway.

What's worse than a boring, monotonous, '60s folk rock album made by yet another group of white dudes, and a saccharine, indie choirboy record with zero grit from the mid to late '00s? An album that simultaneously sounds like both of those genres. Blech.

Frankly, I don't think albums released in 2010 and beyond should be in consideration for this list yet, much less a record from 2020. But because this is here, might as well. I like it. It's a throwback to that angsty '90s vibe, but freshened up for a new decade, made with a more adult and mature sound. Fiona Apple is a name I've been familiar with for a very long time, but I haven't actually heard any of her music beyond Criminal. That might have to change now! Standout tracks are Shameika and Under the Table.

For a debut album to be made up of multiple monumental hits is impressive, and pretty much the definition of blowing up. The music sounds awesome and badass - pretty dated, but still enjoyable. However, I've never gotten into Axl Rose's voice. The screechy voice is fine for a song or two, but not for an entire album. It reaches a point where, even with all the gymnastics, it sounds one-note. Shame because let's face it, most of these songs are classics. Standout tracks are the three big singles and My Michelle.

Sounds like a pre-requisite to Queen. The layered vocals, strings and keys, and the overall psych rock vibe sounds ahead of its time. It's also short and sweet; a lot of records wear out their welcome but this one comes in, does its job in just over 30 minutes, and then leaves you wanting more. A really cool discovery! Standout tracks are A Rose for Emily, Beechwood Park, This Will Be Our Year, and Time of the Season.

With all the musical experimentation that happened around the '70s, I think that these straightforward, no-fuss albums are still among those that'll stand the test of time. It's classic, "classic rock" and Bad Company does it really well. There are no frills, no gimmicks, no real risks but that's exactly what makes it great. It's just a good old fashioned rock record that's a lot of fun to listen to. Standout tracks were Can't Get Enough, Don't Let Me Down, Bad Company, and Movin' On.

It's Bowie, so it's obviously high-quality music. However! The songs are strong individually but - as someone who knows a lot of Bowie songs but has yet to listen to a full album from front to back - it feels like this would've worked better as a record with a singular theme or a more consistent sound. It's a bit disjointed, but maybe his other albums are better in that regard. Either way, I'm looking forward to hearing more of his music here. Standout tracks are Oh! You Pretty Things and Life on Mars?

This is why this book (and this project) exists. What a standout record that I'm really glad to have discovered. Curtis Mayfield brings the funk in a way that's just as fresh in 2023 as it probably was at the time of release - while being thought-provoking and interestingly, still relevant to today. Musically, it reminds me of Childish Gambino's Awaken, My Love!, which is a sound that I'd always wish we had more of. Super glad I found what I'd been looking for. Standout tracks are Billy Jack, So In Love, and Jesus.

The only redeeming factor about this record is that it sometimes sounded like music from a video game. Then again, if I wanted to listen to video game music I would just.. you know, play video games?

Pop perfection. What I like about this record is that it's still sincere and genuine despite being a huge pop record from a huge pop icon. George Michael sings with emotion and the lyrics are thoughtful - albeit a bit cheesy, but that's fine. Not one bit seems manufactured. It's testament to his artistry, and to the sincerity that we seem to have lost somewhat in today's popular music. Standout tracks are Praying for Time, Freedom! '90, Soul Free, and Waiting.

It's always a toss-up with these '60s band albums, so I'm really glad this was closer to The Beatles than it was to late '60s The Kinks or any of those folk rock groups. Fun, energetic music that's nothing too special, but makes for a good way to spend 30 minutes. Standout tracks were Forget that Girl, Mr. Webster, and honestly? Zilch.

I can imagine Leonard Cohen being taken, against his will, to a meeting with a bunch of corporate executives from his record label. There, they force him to make an album that will guarantee commercial success. "Try to channel Depeche Mode." says one suit. "But also, put in some B52's and The Go-Go's in there!" says another. "And you know those emotional or sexy ballads like Straight from the Heart or Careless Whisper? Do one of those too!" adds a third. It's gonna be great, they think. A quintessential '80s album from a traditionally folk artist, no one will ever expect it. It'll take over the airwaves! Before Cohen leaves the meeting, they hand him a CD with the most basic backing instrumentals probably meant for a seventh grader's music class. Bravo! Another musical masterpiece! Three stars, if only for the amusement I got out of listening to this record. So so weird.

R&B peaked in the 2000s, and here's a great example of why. Her soul and swagger oozes out of every song, it's sexy and also funky as hell. And her voice complements the music really well, being sweet but with a lot of oomph. I'm using a lot of adjectives here but the bottom line is that this record is a real vibe. Standout tracks are Didn't Cha Know, Kiss Me on My Neck, Orange Moon, and In Love With You. Too bad I got so interested in Erykah Badu that I looked her up on Wikipedia, and found out that she "sees something good in Hitler," "loves Bill Cosby," and prays for R. Kelly. Big oof!

An album that I can certainly appreciate, but not necessarily enjoy as much as I'd like to. Music like this is meant to be listened to live, as a full experience. On it's own it veers closer towards background music - it sounds very interesting sure, but it's background music nonetheless.

Very refreshing. When country music is good like this is, you get something that has a lot of emotion and earnestness behind its simplicity. That said, I don't know if this is a 1001-albums-to-listen-to kind of good. Some tracks were standouts though, like More Than a Whisper and Lookin' For the Time (Workin' Girl).

'90s music was something else man. The way it weaves together angst and emotion with beautiful melodies never gets old. And listening to this just makes me regret what happened to Sinead for speaking out. She's still well-regarded as an artist but her SNL appearance had to have had an effect on her impact and influence as an artist, no? Well, we'll always have her music. This album, at its peak, is haunting but still lively and vivid. It's a tad long for 10 songs and some tracks feel like filler compared to the highlights, but I reckon they'll grow on me after repeated listens. For now, standout tracks are I Am Stretched On Your Grave, The Emperor's New Clothes, Nothing Compares 2 U (of course), and You Cause as Much Sorrow.

Behind the wholesomeness of We Are Family is sultriness and a whole lot of funk. It's your signature Nile Rodgers, amplified by a passionate but also groovy set of sisters. Love it! Standout tracks are He's the Greatest Dancer and Easier to Love.

Heavy metal is a tough genre for me to get into because even though I enjoy intense guitars and screaming instrumentals, I like a little melody in my vocals over just abrasive yelling. This record did the former well, but not so much the latter. It's certainly a vulgar display of power (and one out of place ballad), but not one that I was particularly excited about witnessing. Standout tracks were A New Level and Walk.

Sexy as fuck, but still classy. It's like Marvin Gaye meeting your parents looking all respectable, before tearing your brains out in the bedroom. What else would you expect from a soul god? In terms of tracks, I'm more of a Sexual Healing girl myself but this is solid all around.

Blister and the Sun, followed by nine lesser versions of Blister and the Sun. Okay, maybe except for Please Do Not Go because that's another banger. Otherwise, pretty samey. I get wanting to stick to a signature sound, but there's a very fine line that separates the thought that makes you go "Aww man, love the distinct sound that Violent Femmes never fails to deliver," and the thought that this band is a one-trick pony. A little more variety would've been nice, because the steak was nice but it just needed a little more seasoning.

Sure, it must've been awesome to see these guys jam live. But this is a record that's only impressive to people who are actually fans of The Allman Brothers Band (and maybe by extension, fans of blues & southern rock). For most other people, this would have zero resonance. Like, if I wanted to hear a band jam and have fun on stage I'd just go see an artist that I actually enjoy?

It started out strong enough with The Suburbs and Modern Man, but lost its way somewhere along the middle. There's a great indie sound here, but it feels like Arcade Fire couldn't quite find it. The record feels meandering and aimless by the seventh track, and as a whole it just lacks oomph. And for an album that's over an hour long you gotta have a lot of oomph.

What a great idea to put together some of the best genres of the '70s-'80s. These are mostly love songs but they're never mushy, instead they're filled with funk, soul, and a little bit of cheese for good measure. Now I always want to hear Bobby Womack on the radio, singing to me, "if you think you're lonely now..." - wait a minute this is too deep, but I like it!

I was recently made aware that Neil Young makes a whopping nine appearances on this list. Can one man really have that much influence and power in this book? That's a lot of amateur singing to get through. Anyway, this particular sound is better for Neil Young. The singer-songwriter vibe coupled with his, admittedly, mediocre voice makes the music sound more genuine and natural. There's also tinges of melancholy that adds another layer to the music. Some of it is quite nice, actually. Still not something I'd go back to but it was a nice listen. Standout tracks were Powderfinger and Sail Away.

Okay I guess, but this is the kind of album that you listen to and immediately forget about afterwards.

Would've been much better as a 4-track EP, only keeping the songs from Side 2. It offered a more varied and interesting presentation of thrash metal, versus Side 1 which all seemed to blend together. All in all though, I prefer what Metallica does with this genre. Standout tracks were Good Mourning/Black Friday, Bad Omen, and I Ain't Superstitious.

Look. As a late 20-something, you best believe I have a Spotify playlist dedicated to sad girl music like this. Melodrama is sad but also danceable, it's emotional but also has bite. I feel the music, regardless of whether or not I've experienced exactly what she sings about first-hand. And Lorde, although not necessarily the best singer, sounds great here. She shows off the different qualities and emotions of her voice, and despite sharing some similarities to the 𝓬𝓾𝓻𝓼𝓲𝓿𝓮 𝓼𝓲𝓷𝓰𝓮𝓻𝓼 of the indie genre, she doesn't drop into the pitfalls of oversinging, over-enunciating, and just generally sounding annoying. I liked this one a lot, and maybe I should look into her music (past the singles) more. Standout tracks were Green Light and Homemade Dynamite.

Maybe it's because it's already a familiar song but the cover of Who's Loving You was the best song here. The record is a fun, soulful dancing affair but I spent most of the time listening to it wishing I was listening to someone like Michael Jackson instead.

There are records that you just have to listen to in awe of the talent and artistry that was necessary to create it. In this case, the disbelief was accompanied by a lot of dancing in my seat and occasionally saying out loud "What the fuck, this is really good." So many Prince classics in one package, and even the deeper cuts are all deliciously funky. This album is magic. Standout tracks are When Doves Cry and Darling Nikki.

Unless one was listening to this album through the ears of nostalgia, I fail to see what makes it worthy of being on this list. Maybe it's here because of the blending between electronica and new wave, but to me that only makes this record worse. The poppy, shimmery, but edgy sound of new wave is present in glimpses, but it gets bogged down by the atmospheric and somewhat mechanical sound that the electronica adds. It probably would have been a bit better if they leaned into the "architectural," futuristic sound of the title track, but the combination of genres just didn't create anything special.

Beyond musical talent and skill, the best quality that music can have is its ability to make you feel something. Whether that's smile, cry, remember a memory, or evoke any sort of emotion in your cold heart. Dusty in Memphis makes me smile. It makes me strangely nostalgic for a period in which I have zero memories. It makes me think that this is probably some of what my musically-inclined grandparents listened to in their youth. It paints a picture of a simpler time - whether or not that is true is another conversation. It also impresses with its covert variety. There are sweeter tracks like So Much Love & Son of a Preacher Man, but also songs like The Windmills of Your Mind - much bolder that it can become a Bond song. Imagine all that being contained in a single, 30-or-so minute package.

Maybe this isn't the best entry-album for someone who has never heard a Beach Boys song outside of the really big hits. For records like this, the story and context plays just as big of a role as the actual music does - I bet Beach Boys & Brian Wilson fans always felt a heartwarming and probably bittersweet pang of nostalgia whenever they listened to this. As an "outsider," I can still appreciate it. The album title is very apt. I found myself smiling through its whimsical nature, imagining waltzing around Disneyland or sailing the ocean singing sea shanties. But that doesn't make it feel like an album. It's more like a musical act in audio form, which is to say that by themselves the songs aren't that strong and don't necessarily warrant independent listens. They're mostly carried by the fact that the album as a whole is bright and cheerful. That's not a bad thing, but it's not really a compelling reason to go back to this record anytime soon. I will say though, when Good Vibrations (which I had not heard in full until today) started, I immediately understood the appeal of the Beach Boys and what this album probably achieved for its fans. What a song. Looking forward to seeing Pet Sounds come up, as I can only assume that's on the list too.

That title track is a masterpiece. Funk, rock, and soul blending together in a beautiful package that doesn't at all feel like 10 minutes. The rest of the album did not match up which is the only reason this isn't getting five stars, but it's hard to beat that first song. Eddie Hazel probably levitated and heard the applause of God when he recorded that.

A marked improvement from their debut album. This feels more deliberate and constructed, as if they've honed in on their signature sound after some experimentation. I'll certainly be returning to this album soon! Standout tracks were Spellbound, Arabian Knights, and Monitor.

Not as strange as I would have expected for a Björk album. It's unusual, but listenable. Still not my cup of tea, though.

What is this amateur hour sounding shit? Why is everyone here talk-singing? Maybe if these guys were the singers of Cake this would be more enjoyable, but this is lame, obnoxious, and whiny. The "concept" he came up with was interesting as an idea, but in execution the concept came across as just pissing me off as much as possible. There's a track here called Such a Twat - super fitting, dude!

There have been albums to come up here that I called boring. Typically folk, singer-songwriter affairs. Well, this record is more boring than any of those previous entries. This probably has appeal to those who like bluegrass or Americana, but I neither enjoy or relate to this music. If I could sum my opinion into one word, it would be - zzzzzzzz.

There are people who listen to music and focus on the lyrics first, and those who focus on the tones and rhythms first. I almost always fall into the latter. Lyrics typically go over my head on a first listen. But not this time. Besides the beauty of Tracy Chapman's music paired with her unique and strong voice, the stories she tells are incredibly compelling that you just have to pay attention. There's no flowery language involved and sometimes her words are very straightforward to the point that it might lose its creativity, but it never does. It's a beautiful debut! Standouts are Fast Car, Behind the Wall, and Mountains O' Things.

If I could choose anyone in the world to have the same singing voice as, I would make sure that Shirley Manson is on the list. I've always loved her low, raspy voice that reeked of rebellion. This record is just that too. Rebellious, edgy, dark, and sexy. It's '90s alt rock with more teeth. Also - had no idea that Butch Vig was the drummer of Garbage this whole time. A powerhouse band, no wonder. Standouts are Stupid Girl, Only Happy When It Rains, A Stroke of Luck, Dog New Tricks, and Milk.

Adele was much better when she hadn't gone full dreary and sad yet. 21 is far more upbeat, and even though it's not short on ballads it still has a lot of life. Someone Like You is painful and longing, Set Fire to the Rain shows its anger, and Lovesong feels darker. And then you have the more fast-paced songs like Rumour Has It & Rolling in the Deep, which are still emotional but also vibrant. As as plus, how impressive is it that more than half of this record is composed of either massive hits or a really well-known cover? Feels like Adele hit her peak pretty early - at least from a casual observer's perspective.

The main takeaway from this record is that I wouldn't be able to survive in the year 3000 or whatever, because the music would be absolutely horrendous.

Oh, to have been a kid in the '70s, listening to this album for the first time. Pioneering an entire genre is no easy feat, but Black Sabbath made it seem like a piece of cake. Admittedly though, it's not my slice of cake (or cup of tea, but let's keep with the cake references). There's no denying the talent and innovation that went into creating this. The spark that it ignited on a bunch of kids who found music that was different, that resonated with them. The influence that it left on music. All cool stuff, but it's not entirely my thing. I like my rock music to have a bit more rhythm, melody, and variety. But kudos boys! Standouts are Paranoid, Fairies Wear Boots, and Electric Funeral.

Nearly five stars for The Message alone. What the hell! An insane track in an equally insane-ly great record.

Jeez. Okay, fine. Radiohead makes atmospheric, experimental, cerebral music. They're somewhat too cool for school and not everyone will get the music their trying to make. If you get it, they're amazing and you, as a listener, are so intelligent - a true audiophile! Because this music is only for REAL music fans. If you don't like it, you're not a REAL music fan.

When you think about how this list also has records from artists like Queen, Stevie Wonder, Fleetwood Mac, Johnny Cash, Zeppelin, Aretha, and The Beatles, it makes even less sense that Jane Weaver is on here as well. This album is so... normal. It's a 2017, indie pop, singer-songwriter record. Maybe, instead of this record we could've had I dunno, Kendrick Lamar's DAMN., SZA's Ctrl, or Paramore's After Laughter?

The brothers did not, in fact, work it out. Although this was better that other electronica albums, mainly because it sounded closer to bands like Massive Attack, at its core it was still the same repetitive thing that leaves zero impact after you're done listening to it.

The best thing about Led Zeppelin's music is that it's always melodic (and singable) despite its heaviness. That means the tracks are also varied; they have peaks and valleys and never feel one-note. Plus, there great rock songs so what else is there to say? Standouts are Whole Lotta Love, The Lemon Song, and Heartbreaker.

In my mind, Talking Heads hit a wide variety with their songs (or at least with the hits that I knew). They could go Psycho Killer, or they could go This Must Be the Place - both of which were equally good. This record falls somewhere in the middle, and I thought I would like it more than I actually do. Shame!

I've been listening to Incubus since I was 4, right around when this album came out. I know all of their songs, I've seen them in concert twice, and another time virtually over the pandemic. So consider this review biased. Make Yourself is a great record. It marked a memorable transition between '90s alt and grunge, and '00s rock, and was made even more interesting by Brandon Boyd's vocals and DJ Kilmore's turntables (which, although I don't know how it would sound today, I kinda wish they still used it with their current music). That said - those straight-up alternative rock tracks are already strong songs, but where this album shines are the songs that make use of spacey, sci-fi effects like The Warmth and Consequence. They sound a little more experimental without being too out there. All in all, this is a record and a band that I grew up with. Though this isn't necessarily the album that I would put on this list (that distinction could've gone to Morning View or A Crow Left of the Murder), it's still a 5.

Not horrible, but not particularly great either.

What does it say that I think the best song on this album is the ballad? The record all feels a little bit derivative, it's not all LOUD SCREAMING which is a relief, but you'd think these guys would sound a little less generic.

Maybe heavy metal just isn't for me, because this also sounds pretty generic. It's all rah rah rah guitar solos, which needless to say requires skill & talent, but isn't particularly enjoyable to me. I'd rather have a catchy guitar riff complemented by a nice melody. That said, I did enjoy Children of the Damned and Run to the Hills.

Oh, here we go! Solid classic glam rock, which is really cleanly produced. All the songs here are consistently good and there are no duds - it's another one of those albums that makes you smile because the music is so fun and enjoyable. Standouts are All the Way from Memphis and I'm a Cadillac / El Camino Dolo Roso.

This album already started out strong, but got even better as it went along. I had it in my mind that this would be a cheesy rock album, as many '70s to '80s records are, but that was not the case at all. It's classic rock that goes hard, sounds "elegant" (if that makes any sense at all), and holds up to this day. Standouts are Jamie's Cryin', Feel Your Love Tonight, and Little Dreamer.

A pretty good album elevated by a few great songs. This probably would have a tougher time making this list if it was made by anybody else, but she gets street cred for being Solange. Most of the songs don't really stand out on a first listen, sort of like background R&B music. The interludes don't do much either. They add context I guess, but I was never one for interludes in the first place so I think they could be omitted without affecting the album either way. However, the good songs are really good - Cranes in the Sky, Where Do We Go, FUBU, and Don't Wish Me Well. With some editing, this probably would have been a much better record.

Thankful for this album, for showing me that there is good electronica out there! Much of this genre is cold, manufactured, and repetitive, but Virgin Suicides feels organic, mysterious, calming, dark, and fascinatingly compelling. I love that it's ambient but never fades into background music territory, that it's a soundtrack but still works as a standalone album. On its own, I wouldn't necessarily give this a five. But because it's a record I genuinely enjoyed from a genre that I will never fully get into, I say why not? Standout tracks are Playground Love, Dirty Trip, Highschool Lover, and Ghost Song. Now to find a copy of this movie.

Too much prog-rock meandering and not enough good songs. Close to the Edge was great, this one is just tiring after the first few minutes.

Experimenting with music is good, but sometimes experiments fail. From the first few tracks I already disliked the record, but then I was attacked by a 17-minute clattering session, followed by another 20 minutes or so of unbearable music. Hard pass.

I love Frank Sinatra, but I prefer it when he's not as filled with melancholy as he is on this record. The songs are still great but singing about heartbreak isn't interesting enough to fill a whole album. Outside of this Sinatra has much more swagger and charm, and that's what I want to hear! Then again, it's a Sinatra record. You can't go wrong with his music & I really could listen to his voice all day. Standout tracks are I'll Be Around and Dancing on the Ceiling.

Femi Kuti took a page off of his dad's work, and made music that might be better than that of his old man. These are great, danceable songs that are performed with a whole lot of charisma. Afrobeat is cool! Standouts were Wonder Wonder & Stubbor Problems.

Peak guilty pleasure music. Where do we even begin with this one? At times it sounds like what would be played during the initiation rites of a fraternity, and other times it's the soundtrack to an '80s coming of age film. It's incredibly cheesy, but sometimes it has its moments. Particularly those songs with longer instrumentals, which make you think that they should not be as good as they are. But then they start talking about orgasms, which completely takes you out of the moment. Once the album is done, you begrudgingly admit to yourself that okay, that was actually enjoyable to listen to at times - before quickly switching to another record so your friends don't see that you've been listening to something called Welcome to the Pleasuredome. Standout tracks were War, The Ballad of 32, and Black Night White Light.

Really cool soul and blues music, but most of the time I spent listening to this I was thinking about how guys like Sam Cooke did it better. Hate to compare but it just kept coming up. On the bright side, it's still amazing how classic and essential this music feels.

This sounds like sitting out in your garden on a breezy Sunday afternoon, listening to your grandparents talk about their younger years.

It's rare to find a hip-hop album that isn't inundated with interludes or skits, so this was a refreshing listen. Not the best hip-hop I've heard, but it was pretty good. Standouts were Lovesick and Here Today, Gone Tomorrow.

Kind of annoying. Had to resist the urge to keep skipping to the next song.

Nineties rebellion, but make it sophisticated. I loved this! For the songs to be as simple and minimalist as they were but still have a lot of spunk - amazing. Before this record the only thing that I knew about Pulp was that they sang Common People, but now I'm about to explore their entire discography. Standouts are Monday Morning, F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E, Pencil Skirt, and Sorted for E's & Wizz.

Dusty Springfield has a way of making you feel lighter with her music. Her songs are effortless and easy, even when they're clearly not her best work. An album full of covers, this was still nice but most tracks paled in comparison to other renditions - whether they were the originals or other covers. Dusty shines much, much more when she's singing fully in her own voice. I got a glimpse of that in Mama Said, but for the most part these were just nice covers and not great songs.

You listen to this album and come away with a good understanding of why Dolly Parton is a musical legend. This is the essence of country music, and it's a shame that modern opinion from most people (including myself) has been soured by the uninspired, pop-country thing that has become super popular.

A ridiculously good album. The '70s-'80s punk-new wave-funk is a fantastic complement to David Byrne's monotonous (but never boring) voice. And then you have experimental elements and instruments, making some songs sound like Halloween hits, some a bit more soulful, and some like drug-induced ramblings. That probably would not have worked with other artists, but Talking Heads creates magic here, that's amazingly supplemented by Brian Eno. You hear his influence all over. This album would be nowhere near as good and cohesive, despite its eclecticism, if not for his work. Standout tracks are Mind, Cities, Air, and Memories Can Wait.

Nice, easy listening folk music. This was a lot better than I was expecting it to be. I would probably not return to this record on my own, but I'm glad I heard it. Standouts were The Calvary Cross and I Want to See the Bright Lights Tonight.

Brian Eno makes weird songs, and the world of music is all the better because of it. He goes places where most musicians wouldn't even try reaching, but the end result never suffers from being inaccessible or too avant garde. Thank the music gods for his solo stuff, for his influence, and for the work he's made with a lot of our favorite artists. Standout tracks were Sky Saw and I'll Come Running.

To me, this album is more easily respected than it is enjoyed. My takeaway was that Yes is filled with talented musicians who know what they're doing, not that this was a record I liked listening to. It's like watching an opera - you leave feeling impressed with the talent that was displayed, before you get home and put on a favorite record by Carole King or Led Zeppelin.

Despite The National always being in the conversation when it came to indie music of its period, I never really bothered with them due to preference for the more lively or synth-heavy sounds of the era. Might've been a bad call though, because this was an intriguing listen that makes for a stark but welcome contrast to all the brightness. The sound and vocals are dull and monotonous, almost lifeless, but they never veer into boring territory. That's actually what makes this record listenable and memorable. If any element of this was any lighter, be it more dynamic vocals or a more slightly more upbeat sound, it would sound like most other albums of the era. Instead, we have The National in all their distinctiveness. Standout tracks are Anyone's Ghost, Afraid of Everyone, and Lemonworld.

This was really cool. The heaviness of Metallica's music is perfectly heightened by the San Francisco Symphony, who adds a level of intensity and urgency to an already powerful setlist. I'm writing this as I'm listening to the guitar solo in One, which sounds even more amazing side to side with a huge orchestra in the background. But although the music is severe, it's not abrasive or offensive. It sounds so clean too, you only remember that it's a live album when you hear the audience applaud or sing along with James Hetfield. Did every song from that concert have to be on this album, which ends up clocking in at over two hours long? Not really, but I'd be lying if I said I didn't enjoy nearly all of it. Standouts are Master of Puppets, No Leaf Clover, Devil's Dance, Bleeding Me, Wherever I May Roam, and Enter Sandman.

Maybe punk music should always be this energetic and lively. This was really cool, the songs just kept getting better and better. Lots of standout tracks here, but the obvious favorite has to be Train in Vain. Way to end an album on a high note!

Not their best, but still good. Much to be expected from Queen. Standouts were White Queen, The Loser in the End, Funny How Love Is, and Seven Seas of Rhye.

A bit of a shame that only two albums were released by these guys. This is the type of album that you just randomly stumble across and are very glad to have found. Peak underground punk that exemplifies the alternative music scene of the '80s and '90s. In other words, this is the obscure band that your own favorite bands listened to as kids, which then inspired them to form their own groups and make music themselves. Standout track is Super Unison.

You can't really deny this album of its spot on this list. Its strange uniqueness warrants an appearance, because not many albums can simultaneously sound like traditional Celtic music, Christmas music, and punk music. It's not something that I came away as a new fan of, but it's something I was pleased to have been exposed to at the very least.

It's your typical post-punk affair, and a little bit derivative. That's the downside of being a genre pioneer, you spearhead an entirely new sound only to get left behind by those you influenced. Oh well. I'm sure this is still fantastic to post-punk enthusiasts. Personally, would've enjoyed the record better if it leaned more into the weirdness of The Great Beautician in the Sky.

See? It's possible for a hip-hop album to be good without being 30 minutes longer than it should be, and filled with mini-episodes of life stories. Sometimes, it's enough for the music to speak for itself. Little Simz has great flow here, and I particularly enjoyed how her music had a stronger alt-R&B feel which lent well to the quiet agressiveness of her rapping. It's still too recent to definitively say that this belongs in the 1,001 albums that must be listened to, but it was a cool record. Standouts were Selfish, Boss, and 101 FM.

Maybe my favorite Neil Young album so far? This really does feel like sitting on the beach. Neil Young works best when he goes for simplicity like this - uncomplicated songs that come from a man simply making music for himself. Standouts are the title track and Walk On.

This is just a worse version of Machine Head

The thing I've always liked about Jamiroquai's (who, until today I thought was a single man named Jamiroquai) music was the lead singer's voice. His vocals are bright and funky, and go well with the music's similarly danceable vibe. Would've been cool to have danced to this during parties in the '90s! Standout tracks are When You Gonna Learn and Blow Your Mind.

Janis, Janis, Janis. What a talent! Her voice was just incredible, and her music is timeless. Beyond the amazing songs, what stands out here is the potential. Imagine this being released three months after her passing at 27 years old. What music could we have gotten throughout the decades! Standouts are Move Over, Half Moon, Me and Bobby McGee, and Mercedez Benz.

Pretty boring. Sorry about it.

This record is very much of its time, and isn't far off from other albums I've heard from Deep Purple. Still a classic though, because no matter how many decades pass, you're always going to find something to smile about when listening to '70s rock. Standout was Living Wreck.

This was Elvis before he hit his full potential, and what an amazing thing to hear the start of a legend. The songs aren't full-fledged hits yet, you can tell that there's some figuring out going on in terms of what his style and voice will be. It results in insane tracks like Blue Suede Shoes, Blue Moon, One-sided Love Affair, I Love You Because, and Trying to Get You; but it also produces songs like Tutti Fruitti, which is a lackluster version of the Little Richard original. All in all it's a beautiful piece of history, but I'm excited to get to his latter work - Suspicious Minds has to be on one of his featured albums on this list, right?

Another album from the Harry Du Bois school of drunk, depressed, music. Murder ballads are an incredibly intriguing and compelling subgenre, but it's hard to pay attention to these stories when Nick Cave himself seems absolutely uninterested in whatever's coming out of his mouth. If only every song on this record spotlighted another artist, because hearing PJ Harvey, Kylie Minogue, and his other guest singers added so much life into the tracks they were heavily featured in. Too bad. Needless to say, the standout tracks here were Henry Lee, Where the Wild Roses Grow, and Death is Not the End.

Talk about going back to basics. It's insane to think of the longevity that The Rolling Stones have had. To still be considered a household name in 2023 (presumably, I guess I can't speak for anyone below the age of 25), or at least a pop culture legend, is crazy. This record shows you the weight of their legacy and cultural impact. It's very early rock & roll, where everything had tinges of soul, rockabilly, and R&B - begging the question of wow, they were already making music then? The result is nothing mindblowing, more so when compared to their latter work. But it's evident that this album was important in bringing rock to the forefront and making it more palatable to wider audiences. You listen to it and gain a better understanding of why The Rolling Stones are, and have been as influential as they are. While it's not one of the best albums of all time, it's a music history lesson that absolutely needs to be heard. Standouts are I Just Want to Make Love to You, I'm a King Bee, and You Can Make It If You Try.

I mean, props to MC5 for not falling into the trap of folk music or psychedelic rock in 1969. They were way ahead of their time. Did I enjoy it, though? Not really. Too messy for my liking.

The worst thing about electronica is that there is just no semblance of any soul or heart - at all. This record is something that I'd expect to hear in a post-apocalyptic night club that's run by robots who have no idea what real music sounds like.

I feel like a bad person for saying this, but despite the fact that Led Zeppelin has a lot of iconic songs, their albums also inevitably contain a good chunk of filler. This record had its fair share of incredible tracks. Houses of the Holy, Trampled Under Foot, Kashmir, and Down by the Seaside. As for the rest of it, there were a lot of strong stuff too. The only problem is that the other songs don't quite reach the heights of the best tracks. Dare I say the album dragged a bit? Maybe if it was trimmed down to less than an hour it would get another notch up.

It's so satisfying to press play on a completely unfamiliar album and have zero expectations, only to be genuinely impressed by the music. If only more late '00s and early '10s indie albums were like this. D still has the trademarks of the indie music of its era, but it sounds infinitely more interesting thanks to its variety and character. You can bet that I'll be returning to this record sometime, especially to the songs that have words. Really cool stuff! Standouts are Back at the Farm, Street Joy, Bess St., and Is and Is and Is.

I'll always have a soft spot for '90s rock and alternative, and my general enjoyment of this album is proof of that. The songs are pretty good but it's the musical nostalgia that got me. Also, the surprise of hearing Brimful of Asha - a song that I'm very familiar with but know nothing about, in terms of title or artist.

I'm reviewing this two days after listening to it, and I can't remember anything about it anymore. Oops.

You know the situation is dire when the best compliment I can muster is "eh, this is fine i guess." It's better than some of Kraftwerk's other records that I've heard here, mainly because it sounds more like music that automotive sound effects. Still proof that this entire genre just isn't for me, though.

Not my favorite, to be honest. This feels like the kind of music I'm only going to enjoy when I turn 45 years old.

It's always been in my musical wishlist that this flavor of R&B and hip hop becomes mainstream again. It is just so much better. Sexier, funkier, more sultry, more angsty. Not every song is an absolute winner, but the album highs are stunningly high.

Clearly, '90s brit-rock and britpop bands have really pulled their weight in making up for the cheesy mediocrity that '80s britpop groups could not help but produce. It's bright and shimmery like much of its predecessors, but punchy too. Like someone screaming at you with a smile on their face. Now I feel bad for anyone who only knows Blur for Song 2, because they are missing out on a lot. Standout tracks are Girls & Boys, Parklife, and London Loves.

The songs are either really good or really forgettable, but I think that comes down more to my preference. I just don't think the instrumentals necessarily translate into good /songs/, if that makes sense. If this record was all Black Magic Woman and Oye Como Va, then we'd have a better time.

The love for Arcade Fire feels more well deserved now that I've heard this album. While The Suburbs felt aimless & meandering, Neon Bible is far more focused. There's this consistent, delicate sound that sounds a bit like church music (but not boring choir songs a la Fleet Foxes), but the hallmarks of classic 2000's indie rock are also present. In a way, this sounds like a blueprint of the genre. I'm not head over heels in love with the album, but I genuinely enjoyed it. Standout tracks are Black Mirror, Intervention, The Well and the Lighthouse, and (Antichrist Television Blues).

Thank you, Louis Prima, for showing me that there is actually jazz that I DO like.

The most interesting that happened on this album was when the music gradually started getting softer at the end of the final track, At War With Satan. Otherwise, just a lot of screaming and unremarkable music.

Too long to be memorable

It's fine I guess. Better than the pure folk or psychedelia of the decade.

This feels like proof that overrepresentation in this list may be just as bad as underrepresentation. I've already heard this before. Yeah, it's classic rock music which is always a treat but in the context of this project, it feels uneccessary to have to listen to this much Rolling Stones. It's not like they're doing something significantly different with each record, it's just different shades of rock and blues. All that said, this was alright. Too long at 18 tracks but there are some good ones there. Can't help but feel like I've heard this all before, though. Standout track is Loving Cup.

World music is simply more joyful than that of any other genre or region. This was, once again, really fun.

I do not care for this type of music at all. The only praise I can give this is that it at least it sounds ahead of its time. You'd be surprised to learn that it came out in 1976.

Props to these guys for doing something different. 3 Feet High and Rising is fun, inoffensive, soulful, and bright - much like the floral album cover. Once again it suffers from being so long that you start to tune out during the weaker songs (a signature of hip-hop records, as it seems), but every so often it pulls you back in with a funky track or a weird lyric. Standout tracks are Jenifa Taught Me, Say No Go, and Me Myself & I.

Why name a specific song Song with No Words when there are actually several without them? This just felt like an old man experimenting with music. Which is fine, I totally support that. But is David Crosby's fun little project worth it for the entire world to hear? Not really. Also, maybe I'm just young but I failed to feel the presence of the powerhouses featured on the record. It sounds like a one-man thing which did not grab me at all. If I could only remember anything about this album, David Crosby. If only!

This is a decent album. It has tinges of '70s rock music despite having been made during the peak of '60s folk and psychedelic phase, which already elevates it versus its contemporaries. Is it a fantastic album, though? Apart from a few tracks like A House is Not a Motel and Andmoreagain, it's still not amazing.

The way that, at 24 years old, Jimi Hendrix was able to make music that sounds like its been informed by decades of exposure and experience, is fascinating. This does not sound like a pioneering record. It sounds as if it took influence both from the music that came before it, and the music that came after it. How is that possible? It's also minimal, straightforward, and a bit basic. But also incredibly rich and dynamic. This is classic rock & roll. I don't often listen to an album's bonus tracks to stay true to what's actually included in the 1001 Albums project, but I had to extend my time with this one. Standout tracks are Third Stone from the Sun, Purple Haze, Are You Experienced?, Highway Chile, and Red House.

Maybe it's nostalgia speaking, but this album's singles are fantastic. Crystalised and Islands are almost always present in any indie playlist I put together. They're calm and subdued but never boring, quiet but still interesting. The rest though? Pretty uninspired. After a strong opening with the first four songs, the album really dips when you get to Heart Skips a Beat. The tracks become lazy, plain, and bland, dull and uninteresting. There's a return to form with Basic Space, but the last set of songs are back to boring again. Too bad.

There were a few middling tracks in the latter half of the record, but the heavy hitters make up for it. Not to mention, this is pure nostalgia fuel. Memories of catching the Californication music video on MTV or hearing Scar Tissue on nearly every radio station suddenly become so vivid. At its best, this album feels sitting by the beach with friends, enjoying a cold beer before a sunset swim session. Standout tracks (other than the singles) are Porcelain and Emit Remmus.

A solid hip hop record with zero filler, thank goodness. It has a steady sound that maybe could all sound the same, but to me it creates a signature style - and a really good one, at that. It's just pure 90s hip hop, no frills and no fuss. Standout tracks are N.Y. State of Mind and One Love.

Dr. John as an actual doctor would not be a good time, I'd probably just accept my inevitable demise. I would rather not be the subject of voodoo chants and medical procedures done around a campfire, inside a tent with sketchy equipment and weird concoctions. As an artist though, he at least makes really interesting music. This perfectly captures the experience of being the victim of a voodoo cult. Spooky and bizarre. I fully expected to hate it but you know what? It's very unique and I respect that. Standout track is Jump Sturdy.

Normally I'd be a lot less interested when an album has all these cerebral, self-indulgent instrumentals that sound like filler, but not so much when they actually elevate the rest of the record, which already sounds so lush. As an entire body of work this is really strong. Sort of like a greatest hits album where you have several distinct hits, but even better because here, every track fits so well with one another to create a complete experience. It's atmospheric, sonically diverse, and has a lovely sax too. This transcends music - it's art. As pretentious as that sounds, it's true!! And those transitions between songs? Sublime.

I was listening to this record via speakers at home, but decided to switch to headphones halfway through the second song because I didn't want to subject the other people in my house to this music. Turns out I was right to do that, because this is an awful album. Apparently it was recorded over four days, and I wish someone had recommended the band to take maybe four more years to mull over whether this was worth releasing or not. It sounds like someone repeatedly drilling into my skull, with an ocassional scream that really pisses me off, to be honest. I will be very happy to never think about this record ever again. To those who love this, more power to you guys! But this album SUCKS

Cool, but I don't like bongos THIS much

The more you listen to this cheesy brand of '80s metal, the less impressive it becomes. Save for a few signature moves by each of the bands, they're all pretty indistinguishable. A guitar solo, a bright, happy (and horny) rock and roll vibe, soaring vocals. It's a good album, let's not get that wrong - but it's less notable simply by virtue of this style being so prevalent during the '80s.

Really enjoyed this one. I occasionally veered into 'noisy' territory, but for the most part it was just the right amount of loud and messy guitars + drums. Love that it caps off at 33 minutes too, never overstaying its welcome. Standouts are Bone Machine, Cactus, and Where is My Mind.

Three full albums later, I GET IT NOW! I LIKE TALKING HEADS. Standout tracks are With Our Love, Artists Only, and Take Me to the River.

There is something about this album (mostly the vocals) that is so lazy, uninspired, and bland. Despite there being some good songs like Music When the Lights Go Out, The Ha Ha Wall, and What Katie Did, the Brits were right when they collectively decided it was overrated.

A classic, iconic album. It has a very distinct, signature sound, which is a huge accomplishment when you think about how many psychedelic rock albums were floating around in the late '60s. So many of them were painfully mediocre too, which makes this stand out even more. Everything about the record is interesting, but what I enjoyed the most were the keys. Jangly, whimsical, sort of like carnival music at times - pairing really well with the guitars and Jim Morrison's droning (but also powerful) voice. Standout tracks are Alabama Song, Soul Kitchen, and Twentieth Century Fox.

I mentally tuned out even before pressing play on this record, after seeing that it was 1 hour and 13 minutes long. There are some interesting beats and rhythms throughout, but not enough to elevate this to anything above a 'meh.' It feels like an album that would only be good if you were already a hip-hop fan, or if you were someone who had some sort of nostalgia for Raekwon and the Wu-Tang Clan. I am neither of those, so I didn't care for this album much at all.

Not as good as Maggot Brain, but still awesome nonetheless. This is best experienced as an entire body of work, played front to back to really take in the full onslaught of funk and all the goodness that Funkadelic has dripped into it. Who says a funk band can't play rock, or any other genre and style that they could ever possibly want to?

Gotta love a record that comes in, gets you pumping for half an hour, and then just stops. But that half hour is joyful, reckless, and energetic - peak punk music if you ask me! Do the songs sound the same? Yeah sure, but why mess with a formula that works so well, right?

Amy Winehouse, what could've been! It's a shame her artistry tends to be overshadowed by what happened in her personal life because this is one hell of a soulful record. It's a modern recapture of the 1960s, sung beautifully and produced really well too. Those musical touches all throughout (thanks, Mark Ronson) breathe even more life into the album. Standout tracks are You Know I'm No Good, Back to Black, and Love is a Losing Game.

Well, this is definitely a record of its time. It is signature indie brit rock from the late '00s. But a lot less... interesting? The strange thing is that it feels like there was a very deliberate effort to make this album sound so unremarkably similar to other artists. I get Kasabian, Arctic Monkeys (obviously), and other bands of the era, except The Last Shadow Puppets are exactly that, puppets who fall in the shadow of their fellow artists. There are single Arctic Monkeys songs that are better than this as a collective record. Nowhere near is it something that needs to be heard before you go.

It's a bit of a shame that Imagine is generally known among the public as John Lennon's high point, because this record is better. It leans more towards rock and has the grit, soul, and rawness that his other material lacked. That said, remove the 'John Lennon' of it all and it loses a bit of impact. Should a record be given higher marks than it deserves just because it came from a prolific and culturally relevant artist? Don't think so. Plus, he does this annoying growly sound on some tracks (like I Found Out) - not a big fan.

It's a bit of a disservice to Ella Fitzgerald that a compilation of otherwise well-known songs is among her featured work here, because some people will inevitably compare her versions to that of others. That's not to say that these songs aren't lovely - because they are. And she sounds beautiful. But for some of these songs there are stronger, or at the very least more memorable versions floating around. 'S Wonderful is better when it's Gene Kelly and Georges Guétary performing it in An American in Paris for example, while Someone to Watch Over Me sounds suprerior when coming from Frank Sinatra. Maybe this is an observation that better fits the entire jazz and soul landscape of pre-1970 though, so I digress. Like I said, Ella Fitzgerald sounds lovely and her tender, buttery voice puts a warm blanket over these songs like no other vocalist can. I would love to listen to this again during a rainy afternoon, after digging up some of my grandparents' old photo albums. I also imagine myself sitting in a 1950's jazz bar, in the scene of a classic film. The record is great. It's evocative of all these memories and emotions, and it's a show of the amazing talent and body of work by both Fitzgerald and the Gershwin brothers. Just those unavoidable comparisons are getting to me - but I guess that's more of a me problem.

You get this when you put together the sound of '70s punk rock, the 'in your face' character of '80s metal, and the stylish angst of '90s hip-hop. It's an amalgamation of three decades that interestingly works pretty well. Not my style as it's a bit too abrasive and rhythm-less, but respect, right? At least, even through the loudness Black Flag manages to sneak in some funky bass lines and drums that stand out against all the noise. Standout tracks are TV Party and Gimmie Gimmie Gimmie.

What's with the long stretches of silence throughout this record? Are listeners being punished for sitting through the music? It wasn't that bad. Maybe sometimes, but not all the time. Sure, it was long and meandering, random and aimless, but there were spurts of heavier music that were a joy to listen to.

He sings cheesy love songs and tells gloomy stories in a single record, but none of it feels out of place. Only Elvis, I guess. The latter is easily a lot better than the former though, which feels too commercial, too Vegas bar music. It's like Elvis was just going through the motions. But then he comes alive during the later songs, especially in that stretch from In the Ghetto to the last song of the album. They're more mature and better suited for Elvis at this later stage of his career. There's a bit of heartbreak and age in the way he sings those tracks too, which was partly reminiscent of Johnny Cash's last set of albums. Also, this album has Suspicious Minds - which is easily his best song. Other standouts were In the Ghetto, and It Keeps on Right A-Hurtin + Gentle on My Mind.

For better or worse, the '80s (and the '70s) had a lot of cheesy music. This genre of 'dad's playlist during a roadtrip' or 'uncle hitting the karaoke machine' might be my favorite. Steve Winwood does the grown-up soul-pop-rock hybrid really well, and even with the synths it doesn't feel gimmicky. Outdated maybe, but still a great listen. Plus, he has a great voice. I am giving everyone who worked on this record a massive side eye for creating a song like Second Hand Woman though, which just made me roll my eyes at how prehistoric it was. That aside though, I can't lie that this was banger after banger. Standout tracks are While You See a Chance and Arc of a Diver.

My appreciation for this album was due primarily to the fact that it felt like listening to a talk show. I could imagine the full 1960s set-up in my head. Any piece of singular media that can hit multiple senses like that deserves at least some praise. The unfortunate thing is that as /songs/, they were less than stellar. I'm leaving this review a day later and I can only remember that variety show vibe, but none of the actual music.

Sorry for being initially dismissive of yet another jazz album, because there were some great tracks here. Big band is generally background music to me, and only enjoyed passively when you're in the right setting. But then those quieter, more intimate songs sneak up and suddenly I'm transported to an imaginary stage, wanting to swing dance à la Fred Astaire and Ginger Rogers. That's the kinda jazz I like. Quiet and muted, but oh so enjoyable. Standout tracks are Duet, Teddy the Toad, and Midnite Blue.

Although it was good, this was a tad too long and a tad too generic. At some point my attention was lost. This entire spectrum of '90s rock is easily my favorite realm of music, but there are plenty of records that are better than this debut. I know that more of Oasis' hits are in the latter albums, so let's see if those records meet the hype. They should, because Noel and Liam talk too much smack for guys who make middling music with the ocassional banger. Standout tracks are Live Forever & Supersonic.

It's crazy that this was their debut. This record is awesome! A far cry from 1986's Infected, which I pulled a few months ago and found really underwhelming. Soul Mining on the other hand is far from it. It's a perfect blend of new wave and post-punk, their fusion adds so much character to the music. And for an album that came out in the '80s, nothing about this was corny or cheesy. It felt like a very fresh and modern take on its genres, and must've been influential to at least a few of the indie bands who rode the '80s nostalgia wave over these past few years. If it wasn't, then it should have been. Standout tracks are This is the Day, Uncertain Smile, Soul Mining, and despite being nine minutes long, Giant.

Incredible?? Thank goodness for the art of music, as it gives us amazing records like this. I'm very unfamiliar with country music so most of this was new to me, but each song sounded right at home with Ray Charles' voice and his backing band. So much soul and good vibes, whether it was a ballad or an upbeat track. It's also not as dated as some of its contemporaries, mainly because of how clean and well-produced it is. Crazy good stuff, made even better by its cultural impact. He transcended genres and broke racial barriers during a very rocky time in history. Talk about hitting two birds with one solid record. I can't even name a standout. Every song was a standout. Imagine that!

ABBA is a band that I feel like you can only really be a fan of if you grew up with their music. Without the nostalgia glasses on, their stuff is super corny and very much of its time. As someone born in the '90s, I for one would never say something like "Hey, I think I'm going to voluntarily listen to an ABBA record today." But then again, if one of their hits came up on shuffle or started playing during a night out, you bet your ass I'd be having a ball. That type of appeal certainly counts for something! Standout tracks are Dancing Queen and Why Did It Have to be Me?.

Radiohead's current description on Spotify starts with "At some point in the early 21st century, Radiohead became something more than a band." Ugh. What in the self-righteous pretentiousness. These guys really came together to make yet another self-indulgent piece of work. Sure, there were moments where the music was actually a bit catchy. But then it would by drowned out by another stretch of random nonsense, or Thom Yorke's whining. Enough with the Radiohead records please 😩

This record sounds like a 28-minute long keyboard smash

This feels like Disney music for old people, which is not as bad as it sounds! There's a certain whimsy that Randy Newman brings into your standard '70s pop, and that's where most of the album's charm comes in. It was a fine listen overall! Standout tracks are Lonely at the Top, Last Night I Had a Dream, Political Science, and You Can Leave Your Hat On.

I know that it's the point, but this is way too sleep-inducing to hold my interest. Probably the least interesting form of indie music in the late '00s-early '10s.

Apparently, Paul Revere & The Raiders were making the music that I hoped more well-known bands like Rolling Stones, The Kinks, and The Doors were doing instead. They all fall into the same sound, but this is better executed. The instrumentation is more interesting, the songs are varied, and the overall sound is cleaner. Standouts are Ballad of a Useless Man and I'm Not Your Stepping Stone.

Finally, this website is talking U2 to me. This band gets a lot of flack, but they have a lot of great stuff attached to their name. The Joshua Tree is one of their strongest. You can't go wrong with their roaring stadium anthems, and even though there's a little bit of a lull somewhere in the middle, things pick back up by the last third. And then it ends with two quiet but amazing tracks - the dark and brooding Exit, and the beautiful Mothers of the Disappeared. A nearly perfect album! Besides those two finishing songs, standouts are Where the Streets Have No Name and I Still Haven't Found What I'm Looking For. Obviously.

I was a bit disappointed during the first few tracks, after feeling like they were a little too messy. Maybe I was expecting Alright to be the main sound of the record? Well, pretty much every song but the first three was exactly what I wanted to hear. Supergrass leaned into a heavier, guitar-intensive sound that was more reminiscent of the '90s alternative I grew up with, while still keeping that fun energy that's a staple in britpop. It makes you wonder why Oasis became the global poster boys for the genre when bands like Supergrass, Pulp, and Blur existed too. Standout tracks are Alright, Lenny, and Time.

You know how when you open an old photo album from the '60s, the pages are stuck together and there's a distinct, old musty paper smell? That's what listening to this album reminds me of. Old people music that's super unfamiliar. Early blues and standards from Ray Charles & Frank Sinatra, or '60s pop from Dusty Springfield all do a really good job of evoking emotion and non-existent memories from decades past, but this one just feels like generic, radio-friendly old people music. It's like looking at those old family photos and recognizing zero faces. But despite that, you can't help but look and observe, just like you can't help but take in this record and appreciate it for what it was. It has a strange appeal, starting out as something that sounds unrelatable before it draws you in with that same "ancient-ness" that's so far removed from today's music. I'm rambling, but all that is to say that even though this record didn't evoke much emotion or feeling in me, I kinda dug it. Standouts are I Call Your Name, California Dreamin', and Spanish Harlem.

On its own, an atmospheric, post-rock instrumental just isn't for me. Slap it on as a soundtrack to a movie or a TV show and I'll appreciate it within the context of the scene it's in, but listening to this music just makes me forget I'm even listening to something in the first place. I will say though, there are certain sections where Sigur Rós leans into heavier rock sounds - that's where this record really shines. For that reason, the standout is Viðrar Vel Til Loftárása.

Pleased to say that this is more than just Bittersweet Symphony. It offers up a darker, more melodic side of '90s britpop and I'm here for it. Standout tracks (besides the obvious hit) are Sonnet, Lucky Man, Space and Time, and One Day.

Disclaimer: I listened to this album while rain was pouring heavily outside, so I couldn't understand a good chunk of the lyrics. That may have been a blessing in disguise, because the lyrics that I did hear were a lot of n-words, bitches, motherfuckers, and other forms of cringey, outdated stuff. Musically, though? This was great. Nineties hip-hop but with really catchy and rhythmic beats that leaned closer to R&B. If it was this with better lyrics it would've been a 5 or a high-4, but alas, it's a '90s hip-hop record. So ya know. Standout tracks are Gin & Juice, Lodi Dodi, Who Am I (What's My Name?), and Ain't No Fun.

Who cares dude. This was such an unremarkable album from a band that I've never heard of. I guess there was a bit of a point of interest when the music veered into an electronica version of '60s rock (specifically, parts of Alleged and Eclipse), but neither of those were interesting enough to elevate this beyond a 1 star effort.

My heart sank when I saw this was a live album, a double album, and an album filled with psychedelic space rock. Aka three things that can really turn a record into something unlistenable, which Hawkwind does flawlessly over the course of two unbearable hours. Congratulations! I hated this album.

This stuff is in my musical DNA. I heard the singles all the time on the radio growing up. I slapped at least some of its songs on every iPod I owned, put them on those bootleg mp3 CDs that I burned myself, and added them to my Spotify playlists for regular rotation. For whatever reason though, today is the first time I'm listening to the entire album. Glad to know it lives up to its reputation among the general public and in my head. Standout tracks are Longview, Welcome to Paradise, When I Come Around, and F.O.D.

It's a rare talent to have someone with an admittedly strong voice, backed by the classic '60s pop sound, to create music that's so bland. This record reminds me of someone like Barry Manilow - but for all of Manilow's corniness and cheesiness, I'd much rather listen to his music.

So confusing. My thoughts on it ranged from 'wow this is pretty cool' to 'wow wtf is this?' That's probably the point, though. Music sure would be boring if everything had sensible rhythm and melodies, I guess? Admittedly, I kind of liked some parts of it. A little bit. Standout tracks (well, maybe specific parts of the track) are Jennifer and Just a Second.

It starts off slow, but you eventually start to appreciate Pavement's brand of subdued, lofi '90s rock. It offers something different from the louder, agressive grunge. There are some really nice melodic moments too, I enjoyed the hints of early Radiohead that I heard. Standout tracks are Cut Your Hair, Newark Wilder, and Hit the Plane Down.

I can, in fact, kick this. One hour is still too long for a single album - especially from a genre that I'd never consider to be a favorite, but the steady grooviness and overall accessibility of this record leaves it with something that nearly anyone can enjoy. Including me.

Jazz is infinitely better when it's not an inaccessible, esoteric mess. Ellington at Newport is a nice showcase of the brass section, and a good starting point for people (like myself) who do not like jazz.

It's hard to fully review this album given that it's not available on any streaming service, save for a chunk of tracks that people were kind enough to upload on YouTube. What I did hear sounded like the soundtrack to a theater performance, it felt like I was only getting half of the story and needed something visual to add more context. That said, the music was fine, just a bit lacking in terms of artistic impact. Maybe in a different medium it would've been a better package. Who knows?

There are some albums that you wish you could have heard live, in its full glory. This is one of them. It's the perfect intersection of blues, soul, and a little bit of rock & roll. Muddy Waters is full of swagger, and the guitar playing is exquisite. It reminds me of Gary Clark Jr., which makes this even more impressive when you realize that Clark is only 39 while Muddy Waters was 64 when this record was released. Big props to the man. If I were to critique it I'd say that it starts wearing out its welcome towards the end, but it never actually gets to that point and instead closes out at a perfect 45 minutes. Standout tracks are Mannish Boy, Bus Driver, and Jealous Hearted Man.

Dinosaur Jr. is listed as playing a significant role in bringing guitars back into indie rock. I can believe that. Budding indie rock musicians probably listened to their music and said to themselves 'Hey, the guitars here are pretty good but I bet we can make music that's MUCH better than whatever these guys are doing.' Nothing memorable about this at all.

I have never heard of this band before, probably because they were drowned out by so many of the rock powerhouses during the '90s. And rightfully so, because this is a pretty subpar version of '90s rock. I can see what they're going for - there's a punk rock, Ramones vibe with the incessant energy and unwavering noise, but that sound doesn't work for everyone. This album could've used a few peaks and valleys for the actual sound, because the only peaks and valleys I observed were with regards to the quality. You wait nearly half of the album to get to a good song with Ball Lightning & Fat Lip, but after that it stumbles again. There's another good track with Burnt Alive, but what a bummer because that's the last song on the album. But then again, if the record is as inconsistent as this then maybe it's best to just get it over with.

How is their debut album the best one out of those I've heard so far? The simplicity of this record is its obvious highlight. It's just some guys jamming out and making music. The band called this a rush job and that much is obvious, but it didn't detract from the album in any way. Honestly it makes this stronger because you feel the authenticity and rawness seeping through. And then it becomes even better when you think about most of the music during the mid-'60s, which doesn't really sound like this at all. Their concept albums are (sometimes) cool, but other times a pure rock album just hits the spot in a way that no innovative artistic vision can. Standout tracks are I Don't Mind, My Generation, The Kids are Alright, A Legal Matter, and The Ox.

This is a fantastic effort, an absolute masterpiece in making 38 minutes feel like 3, horribly long hours.

What has always exhausted me about Xtina was her incessant use of vocal runs, and her general oversinging. I had expected to hear all of that with this record, but instead I got layers. She exhibits control over her voice - only belting when she needs to and when it's most impactful. On the upbeat tracks she's energetic and feisty, on her slower songs she's subtle but dynamic. Her voice aside, these are great pop songs. They're radio-friendly but not bubblegum; the influences from R&B, latin pop, soul, and rock are obvious, and they elevate the album. This is a showcase of what pop music can be when it's trendy but not overly manufactured. And the themes she sings about are important for the general public to hear, aren't they? Simplistic maybe, but still relevant nonetheless. I legit remember hearing Beautiful at the tiny age of 8 and being awoken to the value of self-respect! Lastly, what a perfect source of nostalgia. Nearly everything about this is so reminiscent of my childhood music in the early '00s, from the sudden shift to sexual pop music to the inclusion of Spanish phrases in any song's chorus or bridge. The only problem is that it's long. Albums rarely need to be over an hour long. But fine, that's forgivable in this case. Standout tracks (besides the very familiar singles) are Walk Away, Loving Me 4 Me, Impossible, and Get Mine, Get Yours.

As this album shows, the rare time that '60s music is good is when it's infused with the gritter, harder sound of the early '70s. I enjoyed the versatility between folk and rock, as well as the character that each member brought into the record. They were a supergroup (one of the first ones), and the music showed it. Whether they were fronting their own tracks or coming together to collaborate and harmonize, the results were strong, distinct songs that also meshed with one another really well. And sidenote: this is maybe the best that Neil Young has ever sounded. Standout tracks are Carry On, Teach Your Children, and Almost Cut My Hair.

This album is somewhat stained by its reputation as a cheesy pop album for old people. To be fair that's what it is, but it's elevated mainly due to Karen Carpenter's voice. The music is simple and the melodies are sweet (maybe too much at points), but you can't help but enjoy her serenading. Neither can you help singing along to the massive hits in the record. It's not a five-star effort but I liked it a lot. Standout tracks are Reason to Believe, I'll Never Fall In Love Again, We've Only Just Begun, and Close to You.

Third/Sister Lovers sounds like it was made a decade earlier than it actually was. From the bland '60s folk sound to the lack of production polish, it all just feels very subpar. Within the context of these 1001 albums, this is one that you will have undoubtedly forgotten about by the end.

Not much really needs to be said, because you can't go wrong with Aretha. Standouts are Natural Woman and Groovin'.

Normally, it's this genre of '70s to '80s hard rock (or metal) that doesn't age well. A few decades after it sounds cheesy and dated, only passing as either guilty pleasure music or drunken karaoke staples. Not this album though. It's a lot more varied than I thought it would be - there's obviously plenty of rock, but we also hear a fair bit of jazz, some theatrics and drama, and a fully instrumental closing track. And all the while it stays familiar to the Alice Cooper sound. This is how you write a record that stands the test of time. Besides the title track, standouts are Blue Turk, Public Animal #9 and Grande Finale.

Fine, but not as good as his contemporaries.

I never really listened to Fiona Apple, but I always heard about her and her music growing up. Now I understand why.

Quintessential '80s pop, but without all the cheese. A lot of the music during this decade would make you cringe despite your enjoyment of it, but a-ha strikes the balance between the shimmery, bold, synthy pop and the "coolness" factor. It still sounds dated after how many decades, but I don't think that takes away from how good it is in this case. Standout tracks are Take on Me and The Sun Always Shines on TV.

I love an album that can really build an atmosphere. Ocean Rain is spooky, dark, and mystical, as though I'm wading through a shadowy forest with only a lantern in hand, and the sound of wolves howling in the distance. It's also peak '80s new wave that falls on the darker side of the spectrum. Standout songs are obviously The Killing Moon, but also Silver.

This is the superior '80s sound. I love new wave, and I especially love dark, brooding new wave. Standouts are Strangelove, Sacred, and To Have and to Hold.

Beyond Sledgehammer & In Your Eyes I'm not too familiar with Peter Gabriel's music - so I expected him to sound like Peter Frampton only because the was also named Peter. I'm glad to be wrong. The percussions here are insane, as is the dark atmosphere coupled with his commanding vocals. Very innovative and ambitious, but still listenable! Those dudes from Genesis made some great solo stuff, huh. Standout tracks are And Through the Wire, Intruder, and I Don't Remember.

See what a few years and actual talent can create? What a step-up versus the incredibly boring era of '60s folk and psychedelic rock. Sure, maybe this is a bit too sweet and saccharine. What about it, though? Sometimes it's nice to listen to calm, soft rock. Gotta say, that last song was a bit of a cliffhanger. Suite for 20 G goes heavier and is just as much of a fit for JT. That track is an obvious standout, alongside Lo and Behold, Country Road, and Fire and Rain.

It's pretty sad when I'm only one or two songs into an album and I already know I don't like it. It's even worse when said album is over an hour long, with a few tracks that run for 9 minutes or 12 minutes. I guess it gets points for bearing a few similarities to Talking Heads, Joy Division, and other bands of the genre, but it just sounds like a supbar version that goes on for too long. There /are/ moments where it develops a sound of its own - particularly with the title track which is the clear standout here. For the most part though, it's like LCD Soundsystem tried to modernize their inspirations but instead created a soundalike that just was not as good.

I won't pretend and say that this music resonates with me, or that I really enjoyed listening to it. I would never seek this music out, nor would I ever listen to it again after today, but -- I'm glad to have gotten the experience of finding out about it and hearing it. The same goes for most of world music. All that being said, this is one of the more enjoyable records of this genre that I've heard. You feel the charisma and joy that went into creating it, and complementing that is a lot of grooviness brought by the guitar playing. It's particularly obvious on tracks like Soukora, Gomni, and Amandrai.

Funny how this is only a 34-minute record, because it feels like it goes on for much longer than that. It's nice that The Undertones figured out a sound, but there's not enough variety or any distinct flavors to keep this album interesting. It's too much of a soundalike of its contemporaries. This will be one of those albums that I will have forgotten about by tomorrow. The sole track worth taking note of is (She's A) Runaround.

So many people on the album cover but not one of them stopped to think that maybe this was shit. Sounds like music that a cult would make under the delusion that they're talented musicians. I feel a bit sorry for the children and the dog on the cover - sorry that you've been immortalized as having a part in this album by way of your faces. Unless you actively contributed to making this music, in which case you deserve the shame!!!

Ever come across an album that you feel bad about not having listened to during its prime? This is one of those for me. I know The Strokes and grew up hearing them on the radio, and even have some of their newer stuff on regular rotation. But for whatever reason I never gave this record a fair shake. Wrong decision, because this is fantastic! Carefree indie rock that's so representative of the early 2000s. The instrumentals are simple, the melodies are easy, and the vocals are never anything complicated. Sonically, it's not actually anything that's particularly exciting. The sound and its simplicity are very much evocative of my childhood, though. Music has many qualities, but nostalgia is an easy way to my heart. Standouts are The Modern Age and Someday.

These guys are talented musicians for sure, but this is not my favorite brand of rock music. I like mine with a little more melody and rhythm. It's just a matter of personal preference!

It's a little bit too pleasant, sweet, and sleepy for me, I'm afraid. My Foolish Heart was a nice listen, but otherwise I'm gonna have to pass on ever listening to this record again.

The truth is that music just sounds better in the hands of Frank Sinatra. I've always adored this guy's voice. Between his confident swagger and his big, commanding vocals, he's a legend for a reason. And those arrangements are exquisite. Nelson Riddle did an amazing job with arrangements that perfectly complement Sinatra’s voice without getting drowned out by it. Listening to the instruments is just as enjoyable as listening to the singing. Also, the coolest thing about this record is that it doesn’t even have what I consider to be Frank Sinatra’s best work. Just goes to show how strong his discography is, and how well he can elevate any classic American pop song. I could listen to Sinatra allllll day. Standouts are You Make Me Feel So Young, It Happened in Monterey, Swingin’ Down the Lane, and I’ve Got You Under My Skin.

This was supposedly U2's return to form after their Zooropa and Pop eras. For the most part, I think they succeeded. This fits right in with a lot of the rock music of its time, and never feels like a forced attempt for industry veterans to be hip and current. The record feels fresh, even. It sometimes falls a little too far into the 'soft, inoffensive pop rock' scale, but the songs are still legitimately good and complement the bigger hits well. And yes, most of what comes after Elevation is cheesy, but whatever - I can handle a little cheese. In a Little While and Kite are very pretty listens, while the rest of the songs have their own moments too. Y'all can hate on U2 all you want, but this is a great record. Dare I say that I like it even better than The Joshua Tree? Besides the songs mentioned above, standouts here are Walk On, The Ground Beneath Her Feet, and my personal favorite U2 song, Stuck In a Moment You Can't Get Out Of.

Oh man, Robert Wyatt. We started out well with this one. I was shocked when I heard how pleasant Heaps of Sheeps was. It was actually listenable. How did we devolve so quickly from there? The music became disjointed and weird, the singing (if you can call it that) was off key, it was just all very unpleasant. There were a few minutes of respite with songs like Free Will and Testament or Blues in Bob Minor which were again, listenable, but then you get hit with four minutes of mumbling in A Sunday in Madrid or an expanded version of the 'wenk wenk wenk wenk.......' sad trombone noise in September the Ninth. I won't give it a one star because it's still much better than this list's other solo Wyatt appearance of Rock Bottom, which was horrible. Shleep, I can actually see the appeal of. That said though, it's still far beyond what my brain can comprehend and appreciate as music.

Groovy as fuck. The heights that this record reaches are so high that you feel like you're being transported to another plane of existence. The Highways of My Life is so good and smooth that you never want the song to end. Summer Breeze (which I had no idea that The Isley Brothers had a version of) just became the definitive version of the song in my mind, and Don't Let Me Be Lonely tonight oozes with soul, funk, and sexiness. Besides those tracks are a few ups and downs throughout the record (including the unfortunately subpar version of Listen to the Music - sorry, I prefer the original by The Doobie Brothers!), but overall it's oh so very strong. Reminds me to listen to these guys more often. It's been a minute since I last listened to Between the Sheets.

It takes a few tracks for this to find solid footing, but when it does, it's a solid '80s record. Cyndi is obviously super well known for Girls Just Want to Have Fun but that's actually one of the weaker tracks here. That's not to say it isn't good, but she shines so much more on the weirder, quirkier tracks like She Bop, I'll Kiss You, or Yeah Yeah, and the more emotional numbers like Time After Time. She's definitely unusual, she's weird, fun, and playful, and it's all reflected in her music. This was a really fun record, overflowing with infectious '80s joy. Quintessential listening if you're a fan of the era.

For a comedy album, the songs are actually not too bad. You can get through a chunk of this thinking that you're just listening to a weirder subsection of pop music. But then you get hit with lyrics about your frog princess turning into a cow. The novelty is interesting, but besides that the music is nothing special. Not sure the concept of it all grants it enough merit to earn a place on the 1001 albums, but I guess there's gotta be something for all music fans?

Let's get this out of the way - Neil Young's music is not my cup of tea. Having said that, based on my limited exposure to the genre he's easily the best at these folk, singer-songwriter affairs. This album is so musically interesting. It's very minimal, with the London Symphony Orchestra only providing additional instrumentals to a couple of songs. There's so much richness with just strings and a few other instruments though, to the point that suddenly having a full-ass orchestra doesn't feel out of place. I came out of listening to this record thinking to myself 'Oh boy, I think I just became a fan of Neil Young?' I'd give this 4.5 stars if I could. Standouts are Out on the Weekend, Heart of Gold, Old Man, There's a World, and Words.

Being someone who is largely unfamiliar with Springsteen's work, my biggest takeaway here is how much he served as an influence to a few artists I actually do listen to (ex: The Killers). A booming, sound fit for stadiums, a big voice, all that jazz. On its own merit though, I don't know. I'm sure people love it but maybe I lack the lifelong, American connection to Springsteen that'll let me fully enjoy this record. It's good but it's not blowing my mind. If it was more energetic I think I'd like it more, that seems to fit him better than the softer melancholy that's present for much of this record. Adam Raised a Cain and Streets of Fire were pretty cool, for example.

I mean, at least it seems like they had fun performing this, right?

Jethro Tull should have veered away from the tracks that were closer to pure folk rock. The album started out amazingly with the first two songs, but completely lost me during the stretch from Mother Goose until Up to Me. Those songs, while they still carry elements of the Jethro Tull sound which kick them up a notch in terms of quality, could be given to any other subpar folk rock band from the '60s. Thankfully the band regained their senses and went back to the heavier stuff, or at least songs that effectively meshed together the harder rock sound with softer elements with the flute and its friends. It created a really unique, timeless sound. Standout tracks are Aqualung (which is maybe one of my favorite songs ever), Cross-Eyed Mary, Hymn 43, Locomotive Breath, and Wind-up.

Tim Buckley?!! What is this??! How did he go from psychedelic folk rock to this sexually-charged, sleazy music? Talk about musical whiplash. Strangely though, I kinda liked it? Barring the outdated, eye roll-inducing lyrics, the vibe was actually quite nice. It has a sticky, beerhouse R&B feel which interestingly complements Buckley's rich, classical voice. Amazing how this style fit him just as well as soft folk rock did - you can't deny the talent that goes into making that possible. Standout tracks here are Move With Me and Sweet Surrender.

All the cheering and squealing in between songs made me smile. Experiencing live music is such a universal thrill. Hearing that must've been my favorite bit of the album, because although this is James Brown, the music or these performances weren't that impressive. I'm not a huge fan of live albums in the first place, but even I can admit that there are some amazing ones out there - Sam Cooke and Johnny Cash are just some of them. This record was fun and upbeat, but not... that.. amazing. There are better live albums for sure. Standout track is Try Me.

evermore and folklore are the only two Taylor Swift records that I would ever actively seek out to listen to. The dreamy, ethereal, stuck in the woods vibe fits her really well, and I enjoy her storytelling against that backdrop. Especially with the stronger country sound that's also present, the songs sound more lyrically and musically interesting. They're never boring or lazy either, which was sometimes the case with some of the slower singles I've heard from her. As usual, Taylor is a little too heavy on the metaphors and figurative language, so I actually appreciated it more when she went all the way and wrote a murder ballad. Use that creative writing talent and give us stories, girl! For a record released so recently that its long-term cultural impact still remains to be seen, I'm not mad that evermore is on this list. It's a good album, although a little bit too long. Standouts are 'tis the damn season, no body, no crime, dorothea, and cowboy like me.

Fred Neil's Presley-esque voice makes this record sound more country than it folk, and it's a lot better because of that. The music alone would have been unremarkable and way too similar to everyone else doing the same thing in the '60s, but the lack of a shaky, higher-pitched voice does a great job of elevating this album. Standouts are The Dolphins and Faretheewell (Fred's Tune).

The more I listen to these iconic hip hop albums, the more I confirm that I'm not a fan of the genre. This Wu-Tang Clan debut is my breaking point. It is supposedly one of the best hip hop records of all time, but I spent most of its 58-minute runtime wanting it to end. Repetitive beats, too many skits, just not my thing at all.

It's rare that a live album truly captures what it would've been like to see a show first-hand, or to sound any good at all, to be honest. It happens, but not often. Live at Leeds had some of those moments where you feel like you're listening to a really cool jam session, but they're not enough to warrant five stars. Maybe if it was a studio recording, but not for a live album.

Easily the best Rolling Stones record so far, out of the five that I've gotten through this list. The bar is not very high, though. This group has a chunk of REALLY GOOD songs, but their larger discography hides quite a lot of mediocrity. Let it Bleed is evidence of that. It starts out with a banger and ends with one of the Rolling Stones' best songs ever, but everything else is kinda meh. There are maybe one or two more strong tracks in there (my personal pick was Live With Me), but all in all it's very middle of the road.

Why is this here? The '90s was a great decade for music, but not EVERY ALBUM was amazing. This is a nothingburger. So many artists were doing this type of music during the period too, and it's not like Shack did anything amazing with the sound. Why is this album here?

Man, Radiohead should've stuck with this sound. The heavier guitars and the beauty of the vulnerable tracks, this might be the band's peak. Because sometimes, experimentation isn't all it's cracked out to be. Without the self-indulgence of their later albums, you get an amazing alt-rock record that stands so well alongside grunge and Britpop. This is what '90s music was all about, baby! Standouts are Fake Plastic Trees, Bones, Just, and Bullet Proof ... I Wish I Was.

I tried to get into it, but by the time the album got to U.S.S.A. I realized that it kinda sucked. Sure, when I listen to music I like to have some noise. But I don't like NOIISEEEE@!!$??!.

Speaking purely from a "did-I-enjoy-this-record" standpoint, this was much better than his uncle's The Sounds of India. I appreciated that he covered The Rolling Stones and The Doors, because it's more fun to listen to something you already know. Ananda's originals were pretty cool too. The best way to describe this record is that it's interesting. You get a peek into another culture. My favorite here is Mamata - a very pleasant, ambient song. The rest kind of drag on a bit (especially that 13-minute track), but I could never hate becoming exposed to this stuff.

A Hard Day's Night becomes ten thousand times better when you know what other music had been coming out in the '60s. It's perfection. Catchy hooks, unrelenting energy, and songs so timeless that you still seek it out nearly 6 decades later. I particularly loved how as soon as I read the title of this record, the song started playing in my head and got me eager to run through the entire album. Clearly, they were one of the best to do it. Standouts are the titular track, Can't Buy Me Love, And I Love Her, & Any Time at All.

This very much sounds like a band that doesn't take themselves seriously. They're just having fun and doing what they want, throwing music styles at the wall and seeing what sticks. As a listener, the fun is infectious. The songs are just fine, nothing special, but the playfulness of this record seeps through the speakers and you have to give 10cc props for that. Not what I expected from the guys who I only know for the song I'm Not in Love. Standouts are The Wall Street Shuffle and Oh Effendi.

War has become a bit of an outlier when you look at U2's grander discography, but it's one of their strongest sounds. It's raw and gritty, intense and aggressive but still intimate, and it's very earnest. I guess that's a quality that U2's music has always had. It also has a level of authenticity that was somewhat lost in the band's latter work. The U2 that we know today has evolved significantly and while they're still the rightful icons that they are (what can I say, I have a soft spot for the group), it's nice to go back to this sound. You end up missing it after some time. Save for a few middling tracks after New Year's Day, this is a solid record. Standouts are Seconds, New Year's Day, The Refugee and 40.

If I didn't understand English, I might've enjoyed this album a teeny bit better. The instrumentals are pretty good for the most part but what's up with those lyrics? There's a big difference between sexy and creepy, and Ian Dury falls into the creepy uncle category here. I don't need to hear about your sexual fantasies, thank you very much.

Everything comes together so well in this record. The twangy strings that feel like a spider's legs crawling across your arm, the haunting Halloween keys, and Jim Morrison's big old voice, every layer is very exciting to listen to. And then it becomes even more interesting when it all blends together! Standouts are Love Her Madly, Cars Hiss by My Window, L'America, and Crawling King Snake.

Too long and monotonous for its own good. Their sound in itself is fine for two songs or so, being a combination '60s folk rock vocals and instrumentals that sound a bit like The Killers. The problem is that nearly every song sounds the same, which is an issue when the record pushes one hour. It also feels too reliant on its older musical influences, because barely anything of value was added by the indie sound. An indie-Americana record sounds great in theory, but this was not a very strong or varied application of it. Red Eyes was a good song, but everything else was pretty bland.

I'm very simple. When I listen to R&B, I want it to be as conventional as possible. Maxwell has all of the '90s R&B tropes in this debut, and that's exactly what I love about it. Because there are times when you gotta ask, why the need to mess with a good thing? Sometimes ice cream is better without chocolate syrup, sprinkles, or peanuts. Just the basics. My only qualm is that it gets a little stale by the end of it. Two or three tracks could be trimmed down and this would be a lot better. Standouts are Welcome, Sumthin' Sumthin,' Dancewitme, ...Til the Cops Come Knockin,' and Suitelady.

I love old people music. It never fails to make me FEEL something. So smooth, bluesy, and soulful - exquisite stuff!

Well, shame on me for never listening to Sonic Youth before. This was awesome. Noisy and agressive instrumentals, but not grating. The music perfectly matched the vocals, too. It was cool to have alternating singers, each adding a different flavor to the music. Kim Gordon was the definite highlight but I also enjoyed how Thurston Moore and Lee Ranaldo complemented the abrasive sound. Putting these guys on regular rotation from now on, that's for sure. Standout tracks are Purr, Chapel Hill, Sugar Kane, Wish Fulfillment, Shoot, and 100%.

A couple of bangers mixed in between a bunch of okay songs. But props to Queen Latifah for helping pave the way for women in hip-hop and R&B! Standouts are Dance for Me and Princess of the Possee.

Pink Floyd is the perfect example of music as an art form. Besides being great music, this record carries so much weight, emotion, and darkness. It's artsy and a little bit self-indulgent, but never in a manner that's off putting. At the same time it also wears its heart on its sleeve, without ever being corny. Not as good as The Dark Side of the Moon, but very close. Standouts are Wish You Were Here and the entire 25-minute run of Shine On You Crazy Diamond.

2006 was a rich year for rock music and I'm not sure this was one of the huge highlights. But then again, save for a handful of songs I never really got into Arctic Monkeys. Especially this album, it's fine but it's not a favorite. A lot of the songs have the same relentless rah rah rah energy, so it feels like when you hear one you've heard them all (nearly). Thankfully you get a little more rhythm in the stretch from Riot Car to Mardy Bum (plus A Certain Romance, which is a great ender), so that's where this record is at its best. Everything else sorta blends into one another.

The industrial, robotic sound of this record serves as a nice complement to a lot of other '80s music and that makes it very refreshing. However, it's really only the title track that makes this good. The rest of the songs never reach that same level.

Supposedly this was the first techno concept album. What is the concept, might I ask? Boredom in space? Or boredom inside a sweaty nightclub during a rave?

Insane debut from an already established name at the time, soon to become even bigger as one of rock's most well-known groups. Dave Grohl hit the ground running with 1,000 gallons of momentum and never looked back. Foo Fighters have a way of working with grief, turning it into music that's raw, energetic, emotional, cathartic, and just a treat to listen to. Not to mention, these songs sound amazing live - I'll never forget hearing the intro to I'll Stick Around as the band walked out onstage, and then proceeding to have two of the most enjoyable hours I've ever had at a concert. I do think The Colour & The Shape, There is Nothing Left to Lose, or even Wasting Light would be better representations for this list (mainly because this record didn't even have the rest of the band in it), but I'm biased so.... Standouts are This is a Call, I'll Stick Around, Big Me, Floaty, and For All the Cows.

I was having fun during the first few songs, but as the album wore on I got more and more tired of the music. Breathe is always a cool song, though!

Musically I feel like this could have used a little more flavor, but I can dig listening to a record with something to say + being exposed to a genre that's admittedly a total blind spot to me.

Not a fan of jazz, but when you infuse it with rock things change. This is as smooth as a good cocktail while watching the sunset onboard a yacht. It is absolutely the definition of Sunday easy listening, but it's never boring thanks to the jazzy melodies and instrumentals giving the music a ton of flavor. Delicious stuff! Standouts are Black Cow, Deacon Blues, Home at Last, and Peg.

I appreciate what Public Enemy was going for here but barely any of this connected with me.

Laibach, so sorry for being terribly unfamiliar with your game. What a cool record. It's like music for conjuring demons, made more elegant by the undertones of classical music, but also with elements that feel like a graduation march or sounds from the trenches of war. Very unique, with so much personality and a weird (but very fitting) album cover that I kinda love. This is not the kind of record that I'd play on a regular basis, but there are a few songs on it that I'd absolutely go back to. I can't believe this is among the lowest rated albums on this list!! Well, I guess I can. But I strongly disagree with that general sentiment. Standout tracks are Leben Heisst Leben and Geburt Einer Nation.

Let me sum this album up for anyone reading this: it's (mostly) serviceable, listenable music that's made much worse by vocals that sound more like whining than singing. Wah, wah, wah, whatever.

The more I listen to Talking Heads, the more I feel at home with them. This record just feels like something I've been listening to for years, on regular rotation. Psycho Killer is obviously familiar (and is the runaway winner of the album), but everything else has its own charm. It feels simpler than the band's latter records, but already they sound so good. I even enjoyed the constant 'yayayas,' it felt like a little inside joke throughout. Besides Psycho Killer, other standout tracks are Uh-Oh, Love Comes to Town, New Feeling, and No Compassion.

Look, I like loud music but stuff like this really captures my inner old lady that doesn't care for incessant loud noises with zero direction. I breathed a sigh of relief when I got a few seconds of silence and realized that the album was over, with no need for me to ever revisit it again. The only reason this isn't getting a one star is because I liked how the production and album artwork felt more modern than 1986.

I didn't think new wave could be so one-note? The music had its fun parts but the vocals man, so monotonous. Talk-singing does not work for all artists I'm afraid. Neither does making covers of very popular songs, only to remove nearly every ounce of soul that the originals had. I think the answer to the question "Are we not men?" should be "No, you are soulless monotonous robots."

I love that The Beta Band has more than one entry on this list. Who the hell even are these guys and what are they doing here? It's not even that the music is bad, it's just painfully mediocre and boring. The last song has the repeated lyric of "I'm so glad you found me." Well let me tell you Beta Band, I'm personally not very glad I found you

How cool is it to go from not knowing anything about an artist to being somewhat of a fan, all in the span of 41 minutes. I had never even heard of the name Joan Armatrading before, and now I wonder how she slipped through so many people's radars. This record feels like a precursor to the '80s and '90s female singer-songwriter wave. It's nearly every bit just as good. Standouts are Down to Zero, Water with the Wine, Love and Affection, Join the Boys, and People.

This is the perfect definition of average. Super laid back and chill, vocals that anybody can do, big college radio or open mic vibes. I guess that makes it perfectly listenable, but also very bland.

There are a few Fleetwood Mac songs that I love, but I don't have the history or knowledge that many others have with them. Learning about the context of this record makes me appreciate its length and disjointed nature a little bit more. From an outsider's perspective, of course it's interesting when artists' lives seep into their music, when their songs become so authentic as a reflection of their realities. Strictly speaking of Tusk as a piece of music though? This IS too long and too disjointed. There are about ten or so great songs, and the other ten I could chop off to create a standard-length album that's tighter and more coherent. But I guess there's a certain charm to the mess that this record is. And the standout songs really are standouts, regardless of who sings them. Favorites here are Think About Me, Sara, Sisters of the Moon, I Know I'm Not Wrong.

Oh no! I'm so sorry but this didn't resonate with me very much. My life has not changed and the way I approach music has not elevated as a result of listening to this record. In all seriousness, I can appreciate the appeal of Nick Drake and this debut. It's a lot better than most folk music because it has more heart and emotion - coupled with some beautiful melodies and instrumentals. But like most folk music, it's just not for me. Besides Man in a Shed and its lovely piano, I don't see myself ever returning to this album.

I was prepared to go into this with a neutral mindset. Yeah, it's the best-selling album of all time but let's forget that for a second. After all, I had never actually listened to entire thing from front to back. But when I checked out the track list, I realized that I already knew all but one song. Not only that, but seven out of the eight songs I knew were also massive hits. How can you can be neutral with all of that going on? There's really no other rating but five for this. The insane cultural impact, the ubiquitous nature of the songs - be it catching music videos on MTV, hearing it on CD or the radio, having my dad play it in the car through his iPod as I rode with him to work, or adding it to throwback Spotify playlists - are undeniable. They're great pop songs too, come on. I never really cared for MJ's early disco eras, but the marriage of disco with pop, rock, funk, and soul is, as they say, chef's kiss. The three biggest hits aren't even the best songs on this album. That recognition goes to Wanna Be Startin' Somethin', P.Y.T., or The Girl is Mine because yeah, I like song a lot. And while I prefer the edgier sound of Bad or even Dangerous, this album is indeed... very thrilling.

The album got better as it went on, but overall it's a bit dreary? Very bland and just not as good as other britpop. It feels like a rainy afternoon, only instead of making you feel cozy, you feel ultra miserable. There were some good songs though - Pantomime Blues, The Drowners, and Sleeping Pills.

Uhm, if this is a joke, I don't get it. If it's music, I don't get it either.

A lot of Paul McCartney's solo material is fun and lively, and Band on the Run is no exception. It's 41 minutes of straight-up rock bangers. Also - pardon the direct comparison between two former bandmates and songwriting partners, but I highly prefer Paul's stuff over John Lennon's introspection and journey of musical experimentation. Standouts are Band on the Run, Jet, Mrs Vandebilt, and Let Me Roll It.

We should have left this music back in 1965. Even moreso when the singer sounds like he has zero interest in what he's doing. The vocals are so devoid of life and personality, so much that the album's best song is Transylvania Blues, which is an instrumental. Any bit of music with an oomph is overshadowed by this guy's dull voice. His songwriting is interesting at times, but then you get distracted by a dumb lyric like "you're the only ten-ah-see" which is of course, a line in the song Tennessee. Jesus Christ

If nothing else, Beatles detractors have to at least admit that the band never stagnated in terms of their sound. Their innovation and creativity in Revolver is a lot of fun to listen to, even if the lack of coherence puts it below other Beatles albums on my personal tier list - only because I prefer records to come together as a full, consistent package. From the strings in Eleanor Rigby to the sitars in Love You To, the soul and R&B leanings of Got to Get You Into My Life to Yellow Submarine as sort of a precursor to Sgt. Pepepr, you have to appreciate the boldness to have so much variety in a 35-minute album. Not all the songs will appeal to everyone's tastes, but when they do, they really do. Standouts for me are Here, There and Everywhere, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, I Want to Tell You, and Got to Get You Into My Life.

I love hearing these Nirvana songs, some of which are favorites of mine, in a smaller setting. Kurt's voice and the band's talent really shines through amid the intimacy. But what boosts this record to crazy heights are the covers. Nirvana's version of The Man Who Sold the World is probably my favorite cover of any song by any artist. The emotion and weariness that it carries never gets old. And then you have the string of Meat Puppets songs which sound right at home with the rest of the tracklist, plus that rendition of Where Did You Sleep Last Night? So heavy, so good. This album is an all-timer.

I know of Harry Nilsson, and I know a couple of these songs, but I never put 2 and 2 together. This was a fun listen! I have a soft spot for this genre of "your uncle or your dad's favorite pop songs," so I'm into this. Standout songs are Driving Along and Without You - which I could not help but sing along to when it started playing.

Bjork!!!! Gotta love an album that directly speaks to the part of me that had Aqua's Aquarium as the first album I ever owned, or the part of me that loves The B52's Love Shack. It's super weird but super cool. I was never into Bjork's solo material, but apparently I really enjoy her work with The Sugarcubes. Standouts are Cold Sweat, Birthday, Deus, Blue Eyed Pop, and F***ing in in Rhythm and Sorrow.

While listening to this, there were fleeting moments when I was reminded of ambient music in various video games - but without the joy and excitement of actually playing one. Apparently Orbital DID appear on a few games, so perhaps they should've done a full career change and leaned as far as they could into making soundtracks. Because listening to their music on it's own is not enjoyable. At all.

Oh, I'm so conflicted about this record. The first seven songs are fantastic, ambient art rock that's very danceable and Bowie-esque. It's crazy that this was influenced by Neu! and Kraftwerk, because those guys are pretty horrible but this album rocks. And then... I reach the 8th track, Warszawa. Ah.... this is where the influence is at its peak. What was initially a fun twist on avant garde music became a slew of boring and monotonous sounds. What a shame! Oh well. We'll always have Breaking Glass, Sound and Vision, Always Crashing in the Same Car, Be My Wife, and A New Career in a New Town.

Once you get past the weirdness, this is actually a good record. The uniqueness works to its favor, whether it sounds like circus melodies, the soundtrack to a Crash Bandicoot game, or traditional folk rock. It's very bold and I admire that. It's also way better than Swordfishtrombones; I feel like Tom Waits gained a better understanding of how to create bizarre music that actually works after that record. Standout tracks are Tango Til They're Sore, Diamonds and Gold, Hang Down Your Head, Rain Dogs, and Walking Spanish.

Good news: The 2018 version of the book no longer contains this album, so it must've been eliminated somwhere along the way. This record is proof of a problem with some post-2000s inclusions in these 1001 albums. Maybe it was added for being culturally relevant at the time, for being a light, summery indie record fit for the early 00s, but what about it? Twenty-one years later and it has barely made a ripple in the grander scheme of 2000s records, much less in the entirety of post-Y2K music. I don't mean to say that every record included here should have some immense impact on pop culture, but I can think of other titles from the early 2000s that deserve a place on this list over this. That's more of commentary for this entire collection though, so to go back to my thoughts on this album, I'll just say this: it's light and sweet but ultimately very meh.

If you told me that half of these songs had the same melody and only different lyrics, I would believe you. It's hard to come up with the words to talk about an album that's so soft and unassertive. It evokes no emotion whatsoever. A Simple Desultory Philippic was the closest we got to any semblance of fun, but otherwise we're just left thinking okay.... that was it?

From this day forward, I'll probably have a little laugh to myself whenever I see a construction site. I'll imagine the workers making weird, deranged music like this with their hammers and drills. Before pressing play I knew that there was only a 0.0003% chance that I would enjoy this record, and safe to say I didn't like it at all. This is not music, this is noise - then again, that was the intent anyway. I pretty much hated this, but maybe my ears are slowly opening up to the fact that this music does exist. And some people are legitimately fond of it. I am not one of those people. But you know what? Respect. It's completely unlistenable to me but I see the appeal better than I do electronica, grindcore (hello, Napalm Death's Scum), or avant-garde jazz (hello, John Zorn's Spy vs. Spy).

To me, R.E.M. is a good middle ground between grunge and britpop. Being that middle ground removes the angst of grunge and the fun swagger of britpop though, so it results in something that's a little too mellowed out. Sometimes it works - Man on the Moon and Ignoreland are some standouts, but most times R.E.M. fails to really grab your attention with this record.

The boys made up a good chunk of the grunge scene, but the girls can rock it too. I love how Hole offered up a different flavor of the genre. Obviously the lyrical perspective is different, but the strong feminine energy is also awesome. Standouts are Plump, Asking for It, Doll Parts, Credit in the Straight World, and She Walks on Me. Long live grunge!

After listening to this I had to think back to their second album and wonder what happened in between. Why was Deja Vu so musically interesting and this debut so..... dull? Case in point: Teach Your Children appears on both albums but the 1970 version is so much better. Was it the addition of Neil Young? Did these musicians all just happen to hone their craft between 1969 and 1970? Did the friction and personal events among the members pave the way for something great, a la Fleetwood Mac's Rumours? Did they decide, 'you know what, screw straight up folk rock!' when the decade turned? More reading is probably necessary for me to find out, but the truth remains that this is a lackluster album. It fits very well into the box of folk rock, rendering it mostly uninteresting save for Pre-Road Downs and Long Time Gone. Anyone could have made this record, which isn't the best sign when you're an actual supergroup.

Artists from other genres should take a page from Circle Jerks. In 15 minutes they create an album that sounds fully-realized, with songs that feel complete. I still can't say I enjoyed the music as it's far too noisy and abrasive for me, but this is kind of a must-listen just to see that good, short albums CAN be done. Like they say, why say many words when few do trick? Standout song is Operation.

Four of these songs were massive in the late 2000s. Some of them were so overplayed that you end up getting sick of them and forgetting how good they are, but doing a revisit many years later serves as a great reminder that hey, these are solid mainstream rock tracks. I sure miss the days when rock easily crossed over to pop and Top 40 radio! Standouts are Revelry, Sex on Fire, Crawl, and I Want You.

Took a while but this really grew on me. The laid-back, easy-going rock sound is a vibe! Standouts are Waterfall, Shoot You Down, Made of Stone, and I Am the Resurrection.

It's like The Pogues but much worse

Tom Waits makes very interesting music, and this one might be my favorite so far. The bluesy, jazzy sound fits him so well, and he has a really good way of creating a scene - particularly one in a seedy bar on a cold, windy night. But there are moments where I have to ask, what in the world is he doing with his voice?! Gravelly singing works sometimes, but there are songs where he sounds like he is trying so, so hard to add grit to his voice. It's as if there is phlegm in his throat and he's trying to get it out. Please stop! Your normal voice is fine!

Two things: these songs are way too long and way too repetitive, and none of them are as good as Weapon of Choice and Praise You.

Blunderbuss was a bit of an eye-opener to me when it first came out, in that I saw that music was changing right in front of my ears. Alt and pop punk were falling out of flavor in favor of more indie sounds, and a growing number of artists were sounding like Jack White (and by extension, The White Stripes) and less like.... Franz Ferdinand or My Chemical Romance. Add that to the fact that I turned 18 a few weeks before this record came out - all the signs of growing up, I guess? I enjoyed the album though, particularly the back half where he took more influences from other genres. It's very creative all in all, which is to be expected with Jack White. Standouts are Sixteen Saltines, I'm Shakin', and Hip (Eponymous) Poor Boy.

Bonnie Raitt has always been synonymous with I Can't Make You Love Me in my mind. And then I listened to this album and realized that Miss Bonnie can rock it! This is really good '80s pop rock that kinda bleeds into '90s vibes too. After this record I found out that she also did Something to Talk About - one of those songs you forget about but as soon as you hear it again, you instantly remember how much you enjoy it. Nick of Time gave off that feeling a lot too. Within seconds of a song starting you instantly fall in love with it. Standouts are Nick of Time, Love Letter, and I Will Not Be Denied.

Could this have been Kanye's final peak before everything inevitably came crashing down? I really don't know the details of his life story besides what they show on the news & social media (nor do I want to know the details), but this seems like Kanye at his most ambitious and at his most inventive. As soon as the album starts it's already creative as hell - On Sight begins like any electronica track, but then Kanye comes in rapping and it's like whiplash between the two sounds, but in a very good way. The rest of it is really cool too, with the blending of industrial and experimental music with his abrasive and belligerent bars. His last-minute decision to take a minimalist approach to this worked so well in his favor. Too bad for the person outside of this music but this is a genuinely awesome album, barring a few meh tracks. Standouts are Black Skinhead, New Slaves, Blood on the Leaves, and Bound 2.

In the mid-2010's, I had a short phase during college when this album was all I listened to. It was probably a mixture of me finding The Black Crowes refreshing amidst the sea of grunge and alternative during their era, and the pure nostalgia of listening to a blues-rock record that sounded older than it was, all while the ultra-modern sounding EDM was permeating the airwaves. I think I kept coming back because of the album's heart and authenticity. It's a breath of fresh air with every listen and it never gets old. Like coming home after a long time in an unfamiliar place. Before today it had been a while since I listened to it in full, but the same feeling was still there as I went through the entire album. Standouts are Twice as Hard, Jealous Again, Could I've Been So Blind, Hard to Handle and She Talks to Angels.

What a pleasant album from a super unpleasant man! It doesn't have much going for it but it doesn't need much, just some cool guitars and melodies. Too bad for the man behind the music but this was genuinely nice and chill.

Having zero context about who this guy is or what he's singing about, I thought I would lack the knowledge to enjoy this. Guess I was wrong though! I enjoyed how modern it sounds and I suppose being in French gives it an extra cool factor. Standouts are A temps partiel and Ragga Jam.

Crazy, sexy, cool is right. Between the slow jams and the karaoke bangers (Waterfalls is my go-to), this album was amazing then, and it's amazing now! Plus points for a record where even the interludes are enjoyable.

Stevie is so reliably good that even his lesser-known stuff is worth listening to from front to back. Nothing here beats his biggest hits, but he just makes such good music that anything you hear from him is gold - or at least close to it. Standouts are Heaven is 10 Zillion Light Years Away, Boogie On Reggae Woman, They Won't Go When I Go, and Please Don't Go.

Besides two songs which had a few kinda cool parts - The Noise of Carpet and Emperor Tomato Ketchup - I just cannot get myself to care for this type of music in any. way. at. all.

Jack does ramble, alright. It's kind of endearing, like you're sitting around a campfire while he has his guitar in hand. I guess if you were a fellow young one in 1958 you would be drawn to his music and his stories, so much that you would be inspired to make your own, but that electric effect doesn't really hold true in 2024.

Better than I expected. Some of it still sounds like cheesy old people music, but a lot of it is pretty progressive for its time! Standouts are Afterglow and Rene.

I can appreciate this. The big band vibe makes it more soulful and fun, as opposed to other jazz records that seem so much like an exercise in technicalities that they lose out on emotion. Very good, Mr. Theolonious Monk! You made me feel something with your jazz. Standouts are Pannonica and Bemsha Swing.

Just to get it out of the way, I do feel Dry is better. It has a dirtier quality that's somewhat lacking in this sophomore effort. I can't fault the cleaner production though because it still sounds great. The rawness is still there, and PJ Harvey's voice (and anger) is oh so present. How you view her albums is more of a matter of preference, but she can do no wrong it seems. Standouts are Legs, Rub 'Til It Bleeds, Highway '61 Revisited, Me-Jane and Ecstasy.

There's some fun to be had here, but it doesn't necessarily have me screaming for more specials...

The beginning had me thinking I would tire of the sound and of Justin Hawkins' voice pretty quickly, but not at all. Somehow they take all these rock & roll cliches but instead of turning it into something generic, they create an album that's super fun and unique in its own familiarity. Standouts are Get Your Hands of My Woman, Growing on Me, Love is Only a Feeling, Givin' Up, and Love on the Rocks with No Ice.

What happened here..... You ever feel like you're a bad music fan for enjoying (or not enjoying) an album? That's what Pulp makes you feel here. Different Class, which precedes this, is sophisticated but also high-spirited and spunky. One of the peaks of britpop, in my mind. It's as if the band (or what was left of it by that time) grew to detest the people who enjoyed that record, leading them to create... this. It's dark, dreary, humdrum, and it completely removes the liveliness that was present in their previous effort. There are songs that are still good, but the overall sound makes you feel let down. And then you feel a bit pissed like, I'm sorry I enjoyed it when your music was fun, screw me I guess. Admittedly about half of the record is still good - The Fear, This is Hardcore, I'm a Man, Sylvia, Glory Days, and The Day After the Revolution. It's less of a hardcore record and more of a betrayal though. Hmph!

This might be the most '60s album I have ever heard. It encapsulates everything about the decade's music, culture, drugs.... everything. In that regard it also sounds dated as hell, so much that you feel like you're being transported back in time, or that you feel like a withering, yellowing page of a book from the 1960s. That 'of its time' quality somewhat diminishes the level of enjoyment you might get from listening to this, but it still merits a spin. For one, it's probably the best psychedelic/acid rock record I've heard so far. I suppose that made it super influential to '70s psychedelia, too. And, it was the best selling album of its time which isn't at all surprising. Must be equivalent to teens discovering heavy metal or grunge in later decades. It's best to listen to the whole thing to get a full picture of the entire album, but one thing is for sure - don't let the 17-minute title track discourage you. It's the best song on here.

This is Radiohead in many different flavors. I do appreciate that every song sounds like its of a different genre, though. The downside is that it took me three days to finish listening to this, due to a pure lack of interest. Whoops. Standouts are Little Sister and Waiting for a Dream.

What's worse than a bad album? An album that leaves no impression.

Jesus of Suburbia alone can put this up to five stars. Overall though, this record was essential listening as a tween. It's so memorable in my mind, from the rebellion that felt so relatable to me at 10 years old(?!?) to the black shirts and red ties that made up a lot of of the visuals from this era. There's just something about the albums that you grew up with. There's no replacing them.

If these are the songs that the Lord taught you, well I'm sorry but he's just not a very good musician. I had higher hoper given the Halloween, zombie visuals and song titles but most of this was very one note.

The more I dive into Bowie's deeper discography, the more I realize that fair chunk of his music is not something you listen to when you just want to vibe to some tunes. He has stuff that demands intent listening, the kind where you sit down with your best speakers or headphones to get a fuller experience. But then again, he also has stuff that's so easy to dance or sing along to. I suppose it's a good thing to have the best of both worlds in one album, it's just a bit jarring to have two contrasting sounds when you're only in the mood for one and not the other. Dampens the enjoyment a little bit, even when you know that the music is good. And it is good. Standouts are Heroes and Joe the Lion.

Can't go wrong with soul music, and can't go wrong with Marvin Gaye.

There's music that sounds cool, and artists that exude cool. Living Colour does both here. Every song is full of personality. Like, an entire cult's worth. 🤭 Standouts are Cult of Personality, Middle Man, Open Letter (To a Landlord), and Funny Vibe.

Being a double album automatically puts any record on shaky ground, and this is no different. It's very hit and miss. The misses are forgettable. The hits, though? Soft, introspective alt-country with lovely melodies supplemented by Jeff Tweedy's voice which hits you just right. There's a beautiful sense of yearning and melancholy that you get while listening to this. A lot of emotion is packed into the simplicity of the music. Wilco has been a familiar name for a long time, and now I understand why they always seem to pop up in music conversations. Standouts are Outtasite (Outta Mind), I Got You, Say You Miss Me, Sunken Treasure, and Kingpin.

It's good, but very samey. Green River, Wrote a Song for Everyone, and Bad Moon Rising were awesome but everything else could've been left off this record.

Maybe the most cheerful that The Smiths has ever been. Ending things on a good note, I guess? There's still a lot of dreariness but there's also more life and melody. Thank goodness for that. Standouts are Girlfriend in a Coma, I Started Something I Couldn't Finish, and Stop Me If You Think You've Heard This One Before.

Jane's Addiction received less mainstream attention than some of their contemporaries but the music was almost just as good. In a sense it fits, the more abrasive and cutting sound that they had painted them as underground icons - sort of like Sonic Youth? It's a testament to the variety of GOOD music from the late '80s to the '90s. Standouts are Had a Dad, Ted, Just Admit It... Jane Says, and Pigs in Zen.

This is as far into country as I can go. A few of these songs were nice, pleasant listens. But even then, the imagery of dirt roads, concrete, driving cars made me laugh. They really are staples of the genre, aren't they? Standouts are Car Wheels on a Gravel Road, Lake Charles, I Lost It, and Metal Firecracker.

Yikes. Maybe I'm a cretin who only likes music when it is played using traditional instruments like the guitar, the piano, and the drums, and not when it sounds like a cross between a science experiment and a witch's incantation. Did not like this one at all, and found myself scrunching my face up in confusion or disgust at multiple times.

"Band leader Stuart Murdoch has stated the album is probably his best collection of songs." In what world, my man? This was super super super boring and lifeless, I'm sorry.

Musically, I love this. Classic '90s alt with a tinge of grunge is always a win. Lyrically, it's questionable. Obviously this isn't the first (or last) album to have unfortunate lyrics, and I get the bitter heartache, toxic relationship approach they're going for. But listening to some of these lyrics in 2024 makes me feel like this dude is not one I'd want to associate with. Anyway, standouts are Gentlemen, Be Sweet, and I Keep Coming Back - just need to ignore the lyrics for some of these.

I'm not too familiar with Common's music but he's always struck me as a man of many talents. This album confirms it. The marriage of hip-hop, R&B and soul is smooth, and the songs have substance - in terms of both music and words. Whole album is solid but the clear standouts are The Food, They Say, and the Baz Luhrmann Everybody's Free (To Wear Suncreen)-esque It's Your World.

'90s gangsta rap is a huge Hawaiian pizza, but I don't like pineapples. I've tried, but the music and my personal tastes are simply incompatible.

I don't get it. I guess he packs a lot of emotion and vulnerability into his lyrics, but the music is nowhere near interesting enough for me to capture anything he's singing about. It's the type of music where you forget you're listening to something because it's so blah.

Between his solo music and his material with The Smiths, Morrissey might be one of my most controversial artists. He has songs that I really love, and a bunch of others that are too drab and dull for my liking. The worst part is that both types of songs are often present within the same album, making them wildly consistent and ultimately, average. This was no exception. The standout here was The More You Ignore Me, the Closer I Get. Surprise, surprise! I guess to me, Morrissey is a hits guy with a few good deep cuts here and there. Everything else I can do without.

I'm not mad that I had to listen to this record, but I also could have gone my entire life without ever hearing it. One additional star for that one song that somewhat resembles The Rolling Stones, but the rest of this made me go 'well, ok. that was okay i guess.' It's also not a great sign that I can't remember which song I'm even referring to as the pretty good one, but whatever.

This is my 423rd album, and I feel like the best days are behind me. The entire week I've been served with albums I did not like, in genres I do not enjoy. Add Dizzee Rascal to the list, who made me feel dizzy indeed. Incomprehensible lyrics, annoying and repetitive beats, ugh. I can at least appreciate hip hop when it's good, but this was NOT. I could not wait for it to be over

When I saw that this record involved the Divine Comedy I rolled my eyes and knew that I was gonna be in for a bad time. The rest of Ute Lemper's collaborators weren't any better, it's as if the 'nightmare blunt rotation' meme made its way to music-making. It's cool that you guys can sing dramatically but my goodness. As the last seconds of the last track (which was 10 whole minutes, like a final piece of torture from Lemper), trickled down, I breathed a sigh of relief and prayed that Ute Lemper would never make another apperance on this list.

Better than the other album of theirs that I've heard, but still not very good. The music feels so synthetic and the singer sounds like he's bored out his mind

Bummed takes all the tropes of pop, rock, and new wave, and while the end result is pretty standard '80s music, it's not corny or generic. It was better than I thought it would be, essentially. I particularly enjoyed the instrumental tracks.

The thing with this record (and heavy metal in general) is that there's too much shredding and not enough music. I can appreciate the talent that goes into all that guitar playing and screaming, but that's all there is to the album...? It's not bad to have music that you can turn your brain off to, but for that purpose I'll just listen to pop.

Time did not do this album any favors. It's not so much an 'invention' anymore, it just makes you roll your eyes and smile politely because all that was probably special about this was lost. On a personal note, I'm not big on satirical albums either. They're just kinda whatever to me.

Here's another one of those records where there's just not much to say about it. It's there, it's listenable and sometimes almost good, but it never really reaches that point. Other dudes did this slow, sleepy singer-songwriter thing better. There was one standout though - Paris 1919 was pretty fun and theatrical. The rest could put me to sleep.

Britney is deservedly a member of pop royalty, but this debut is largely dated and pretty mediocre? There's not a lot of variety in the non-single tracks, just slightly different flavors of bubblegum. BUT - you cannot deny the strengths of the singles, they're the saving grace of this album. I mean, Sometimes in itself is a top-tier track.

Not as good as Protection. It was still pretty good, but the vocals were a step down in quality for me. I would've preferred just instrumentals and ~vibes.~

If you told me this was made a few decades later than it was, I would believe you. I guess that's a good thing it has going for it. Otherwise, it was pretty boring. Best for me to stop here because I could fall asleep just thinking about this album any longer...

'Layla and Other Assorted Love Songs' is exactly right because that's exactly what this is. Layla is a great song, the rest is just a mish-mash of rock and blues tracks with varying qualities. Pretty fine way to spend an hour though, just not mindblowing.

It took me two weeks to finally press play on this album, and about three to four sittings to get through the whole thing. I won't even review the music, because that previous sentence is enough to gauge how much I enjoyed (tolerated? endured?) listening to this.

This could've been something, but this attempt to merge R&B with electronica was better in theory than in practice. You'd think putting together genres would result in something interesting but it was all very samey. One sound, one tempo, one vibe. Kind of a missed opportunity, really. One artist that does this whole thing better is Banks. If anyone cares to pay attention to my suggestion, Banks also integrates futuristic and electronic elements into her music. The difference is that there's more variation with her stuff - danceable tracks, dark ballads, emotional tracks - the whole shebang. Anyway, I digress. Point is that I had high hopes but this did not live up. The few standouts were Frontline and LMK.

By this point, I've already heard a good percentage of The Smiths' discography. And I don't get the love. I do understand the influence. They have a distinct sound which you can hear in more modern bands. But as far as actually enjoying the music in itself, I dunno. I don't get it, I guess. The music is just okay.

Nothing new here. It's just another one of those albums that you listen to and think 'okay, this is kinda cool.' But then you never ever think about it again after that one listen.

I'm sorry, I can't do anymore of these slow folk albums. There's nothing I can say about it, except that it's slow and boring. Enough please 😭😭😭

There have been a handful of artists who, after getting exposed to their music through this project, have had their discographies become a regular part of my musical rotation. The Pixies are one of these artists. This record is super good. I love the industrial sort of off-rythym sound they have, coupled with the signature '90s alt and grunge vibe. If this is what all surf rock sounds like (I have no idea, honestly), then I'm a fan of the genre. Standouts are Allison, Is She Weird, Down to the Well, and The Happening.

At the time this came out, there was probably a heavier expectation that The Icarus Line would be among the biggest rock bands of the 2000s. Instead it's another point of evidence that critics had a less than clear reading of what music fans (and the masses) wanted out of the early '00s. This album barely made a splash in the larger scheme of things, and I can think of a handful of albums that could've taken this one's place. Musically, it's nothing interesting either. A lot of groups were going for this sound and most of them did it better than The Icarus Line. All that said, Caviar was a pretty good song.

It's okay. I know I lack the interest (or vocabulary) to talk about albums like this. I did not hate it, but I did not love it either. At the very least I can give it points for not being uber-repetitive, and for having some interesting melodies and vocals here & there.