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.

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

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.

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.

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??!

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.